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CYR WHEEL
02
FEDEC
european federation
of professional
circus schools
fedec 2011 CYR WHEEL 1
Introduction 06
GENERAL CHARACTERISTICS 08
Description of the working tool 09
Types of material and construction of the working tool 10
PRE-REQUISITES 14
GLOSSARY OF TERMS 58
CYR WHEEL
Sven Demey (coord.)
02
Marie Bartoux / Rmy Bnard / ric Deschnes / Grard Fasoli /
Thierry Maussier / Juho Sarno / Silvia Ubieta
FEDEC
european federation
of professional
circus schools
1
2 CYR WHEEL fedec 2011
FEDEC
FEDEC is supported by the European Commission (DG Education and Culture - LifelongLearning Pro-
gramme), the Education, Audiovisual and Culture Executive Agency (EACEA), Cirque du Soleil, Franco
Dragone Entertainment Group and Cirque Phnix.
Between 2005 and 2007, FEDEC coordinated a series of Based on the work of the previous years and the issues
European Pedagogical Exchanges that, for the first time subsequently raised by teachers, the focus group has
ever, allowed teachers of different nationalities and from begun to conduct an analysis and evaluation of the
different schools around the world to meet together to existing chapters. Between 2010 and 2015 the focus
focus on 6 circus disciplines (or groups of specialisms). groups task is to coordinate the revision of the original
These weeklong meetings were synthesised into the chapters, as well as to address emerging and innova-
chapters that now make up the Basic Circus Arts Instruc- tive circus arts disciplines.
tion Manual.
Like any educational publication, the manual must
The development of this Manual was undertaken with the be continually revised and adapted. The focus group
intention of creating a guide to best practice for Higher has therefore developed a methodology for revising
Education, vocational and preparatory schools, includ- the Manual and ensuring that core elements of circus
ing the most thorough requirements in terms of injury training are covered.
prevention. Transdisciplinary issues such as rigging and
safety, physical conditioning, and artistic development Throughout the Manual, FEDEC considers the acquisition
are therefore dealt with as key cross-cutting elements in of circus techniques as an artistic discipline in its own
the context of the disciplinary chapters, and in the case right, complementary to the technical standards required
of rigging & safety and physical conditioning, treated as by particular circus specialisms. As well as focusing on
separate chapter topics in their own right. . specific disciplines, the Manual is committed to exploring
artistic codes of practice such as intuition and perception
The innovative nature of this series of exchanges was and the various fundamental relationships of circus arts
recognised by the 2009 Creativity and Innovation Golden (the artists relationship with his/her partner, the appara-
Award from the European Commission. tus, the space and the audience).
On the strength of this acknowledgement and keen to FEDEC does not wish to impose any specific aesthetic
further develop the range of pedagogical circus arts approach, but instead hopes to lead teachers to develop
tools available, the FEDEC network has formed a focus educational methodologies that integrate artistic con-
group comprised of experts from a variety of schools, siderations into a holistic training programme. Its up to
aiming to identify the educational challenges faced today each teacher to put this into practice as he/she sees fit
and to consider how solutions to these challenges might when devising his/her own methods for supporting his/
be implemented. her students progress.
FEDEC
The Cyr wheel is an acrobatic piece of apparatus, a metallic tube in the shape of a
wheel, invented by Daniel Cyr.
Born in the les-de-la-Madeleine (Canada/Quebec) and First of all, this was the first experience with a new-born
graduated from the National Circus School (Montreal), discipline so the manual is the result of one week of
Daniel Cyr has made this new piece of apparatus popular meetings with Cyr wheel teachers from high schools and
by winning a silver medal with his act at the Festival Mon- professional schools, accompanied by their students.
dial du Cirque de Demain in 2003. This was organised in September 2011 and hosted by
In just a few years, the Cyr wheel has become a piece of Dans och Cirkushogskolan in Stockholm, Sweden. The
apparatus taught in several schools around Europe and teachers set out to define new terms to designate the
beyond, and practised by an increasing number of artists. different moves and figures, share their knowledge and
teaching methods, agree on a classification and estab-
Several shows have integrated this piece of apparatus in lish some common principles.
every continent, starting with Cirque Eloizes creations,
co-founded by Daniel Cyr. Secondly, as explained in the preface, in this manual
The Cyr wheel allows the circus artist to perform a virtu- FEDEC aims at bringing both a biomechanical and an
ally endless number of acrobatic figures and sequences. artistic vision to the teaching of circus apparatus.
New figures and movements are investigated and imple-
mented by all these artists, thus contributing to enriching
the circus vocabulary.
In writing and editing this Cyr wheel manual, the FEDEC
network was faced with a two-fold challenge.
The Cyr wheel, a perfectly spherical tube with a diameter of 1.80 metres,
is a simply shaped tool yet awe-inspiring when put to action.
It allows the artist to perform an almost infinite number of acrobatic moves,
when considering the principle of equilibrium and disequilibrium
in each moment.
1/ For people around the practitioner; In all circumstances (when falling) the practitioner
Delineate a safe area, according to the competence has to try and keep hold of the wheel with one hand
of the practitioner. for the safety of people around him
Wear the appropriate clothing (not too long,
2/ For the practitioner; specific shoes for the discipline, bare feet
On first trial - if possible - let a trainer assist you depending on experience)
with movements Work on the automatic reflex of opening your hands
Mark out an area free of obstacles, and extending your fingers fully when hands travel
Check the quality of the training surface past the floor on the wheel.
(ideally a dance mat, otherwise a clean and
not too slippery surface)
05
The following suggestions come from permanent
members of staff at circus arts Higher Education
Institutions which are members of the FEDEC network.
DISCIPLINE-SPECIFIC
METHODOLOGY
HANGING MOVES
With two arms.
With one arm.
During the drafting process of this Manual, the Com-
mittee has come across a few differences in the inter-
JUMPS pretation of the terminology: turn left. turn right, in
HORIZONTAL POSITIONS backward/forward position and this also happened in
1. BACKWARDS (half turn forward) the different language versions, French and English. By
2. FORWARDS (half turn backwards) convention, turn left means that the left hand guides
the wheel backwards (towards the left) and the right
CARTWHEELS AND COINS hand pushes the wheel forward (towards the left), anti-
CARTWHEELS.
clock wise.
COINS.
Also by convention, it was decided that backward (in
SPINNING ON ONE ARM hanging positions) refers to forward figures such as
dives and handsprings, while in forward position
ENTRANCES refers to the figures performed backwards such as the
In front.
backward dive and flick.
Behind.
01 02
Feet position
parallel and on the soles, heels raised. AIMS
Body position Always keeping the wheel in front of the body,
in a slight dish position: pelvis slightly behind the centre, which is in a vertical position.
chest sucked in (stay in front of the wheel! Do not enter it!). Feeling the change and the weight transfer from
Head position one foot to the other.
straight, looking in front (far away, to the ground). Your gaze anticipates the direction of the wheel.
Arms position Symmetrical action of right and left (metronome).
almost straight but elbows slightly bent. Keeping the pelvis relaxed and the back open in
space.
Next: Using the direction of the right and left arms in the
Start in the same way but put the foot which just joined the push/pull action.
other one on the wheel further apart, with legs slightly
bent, the wheel slightly tilted forward, the body in a ver-
tical position. Try and transfer your body weight from
right to left by pushing with your feet and legs (bend and
straighten) and accompany the wheel movement with
your arms in front/behind to push it/pull it.
VARIATIONS
ON THE BASIC STEPS
2.1 With legs:
01 With one leg raised in front, keep pushing with the
other leg (right/left), BASIC
02 03 Take off the foot from the side and put it back on
the wheel to push it (walk), BASIC
07 08
AIMS
Working on the dissociation of one body part:
being aware of different changes in leg and feet
positions on the wheel.
16 17
18
12 Crossed arms, BASIC
01 02 07
Flag on the right: INTERMEDIATE In a straight line; slightly higher rhythm of the basic
Start from the basic step with legs apart. steps to avoid turning in circles, almost let go of the
In a half turn forward, staying under the wheel, put the hand and leg which are behind (accentuate the action
left hand and leg together simultaneously when rotat- of the arm and leg forward, not behind), look out to-
ing on the right foot. ward the direction of the trajectory desired. INTERMEDIATE
While passing on a half turn backwards, stretch the
left leg forward and rotate the trunk to the left, with
the left arm behind the wheel. AIMS
To keep looking in the direction
of the trajectory desired.
Being aware of the direction of the arms while
they accompany the movement.
Feeling the trajectory in space, whether it is a
straight line or a curved line.
Being aware of the surrounding space.
CENTREING
AIMS
Following the direction of the wheel with the leg in
dvelopp.
Keeping correct form of the foot movement for the
leg in dvelopp.
Feeling the acceleration of leg and arms when
09
centreing.
Possibility to play with the width of the dvelopp;
the rhythm will change as a consequence.
turn/right hand),
bend the legs forcefully until the arm is fully ex-
tended (hanging position)
push with the leg which is basically horizontal (left
turn/right leg) on the wheel,
at the same time let the other hand go,
06 07
wait for the wheel to have done a whole turn forward
before putting your feet and hand back on it.
5.1 01 02 Half spin forward BASIC 5.5 Half spin crossed backwards
Centre, towards eagle grip INTERMEDIATE
let go and move one hand and leg on the same side Centre,
(left turn/right hand and leg) doing a half turn in the change the position of one hand (left turn/right hand)
direction of the wheel (forward), to palms facing toward you,
pivot on the foot which stays on the spot and return when the left foot is at floor level, cross the right leg
the hand to the starting position forward and in the direction of the wheel towards a
tucked in foot position,
5.2 03 04 Half spin backwards BASIC do a half turn backwards (in the direction of the
Centre, wheel) letting go the left hand and putting it behind
change the position of one hand (left turn/right hand) the wheel in eagle grip.
towards palms-grip, It is also possible to start without changing
let go of the hand and foot on the opposite side (left the first hand with palm-grip. We finish with
turn/right hand, right leg) and do a half turn back- two hands in eagle grip.
wards (in the direction of the wheel), pivoting on the
supporting foot. 5.6 Half spin backwards towards eagle grip,
return the palm facing hand to the starting position. whilst open, in combination with a forward
half spin INTERMEDIATE
5.3 05 06 07 Half spin backwards towards After arriving into an open reversed grip position
eagle grip INTERMEDIATE (see above crossed half spin),
Centre, when the right foot is at floor level,
move the left hand on the wheel above your head do a half spin forward cross letting go
at the moment of leaning on the left leg, let the right of the opposite arm and leg.
hand and foot go and do a half turn backwards (pivot
on the left foot) to place them on the wheel, with the 5.7 10 11 Complete spin in hang in the same
body in an open position. direction as the wheel ADVANCED
Centre,
5.4 08 09 Half spin crossed INTERMEDIATE place one hand in eagle grip above your head (left
When doing a half turn forward (rotating on the right turn/left hand),
foot), put the left hand closer to the centre of the top put your feet together slightly,
of the wheel. keep bending your legs until the arm of the hand in ea-
Do a half spin under the wheel by moving the right gle grip is completely stretched out (hanging position),
arm on the other side of the left hand and the left leg when the arm is vertical, let the other hand and two
that just touched down simultaneously, from behind feet go and spin in the direction of the wheel,
on the wheel. - The half spin is done rotating on the put your feet and hand back on the wheel,
right foot after returning from a half turn backwards put the hand back in palm facing position toward the
Put back the left hand with palm down. starting position.
AIMS
Keeping the body in a constant vertical position.
Being aware of the support of the foot we pivot on.
Using the energy of the side of the body that takes
it back in order to turn.
05 06 07
08 09 10 11
AIMS
Feeling the vertical position.
Using our hands and feet to give the direction
we wish to move towards.
05
05
AIMS
The trunk leads the movement.
Looking for a maximum extension of the whole
body backwards, starting from the open shoulders
Open gaze forward
05 06
Glissades with jump INTERMEDIATE Jump holding onto stretched arms and return
do a few glissades (see p.33), to basic step without legs ADVANCED
when you do a half turn forward (tilting forward), join Starting from a central position,
your feet in front of the wheel on the ground (so the do a straight jump with one arm straight (see previous
back foot joins the foot at the front) description),
do a vertical jump by pushing on the wheel with your lower yourself into a centred hanging position without
hands legs,
when descending, place one foot in front of the wheel transfer the weight to the right in the wheel to place
and one foot behind, yourself half turn forward,
continue with glissades. once the body is tilted to the right, move the left hand
taking it away from the right hand,
Climbing INTERMEDIATE in a backward turn, move your right hand taking away
Centre, from the left hand so that the space between the hands
move one hand slightly towards the foot on the same is enough to do a basic step without legs.
side (left turn/left hand),
when the right foot (left turn) is at floor level (half turn Jump landing onto feet on the wheel ADVANCED
forward), jump with it at the same time as you pull with Same as jump that ends in holding,
your left arm and push with your right leg towards the when you have to stretch your arms, jump up on top
side of the wheel, and place your feet on the wheel next to your hands,
after a whole turn, descend to the initial position, after a turn, come down and put your feet on the wheel
also possible in a series of basic steps. in the starting position.
AIMS
Extending the body
Keeping a neutral trunk position
AIMS
Feeling the vertical axis of the body
before jumping.
Really pushing your feet into the wheel to go up.
Once up, trying to stretch out the body
to the tips of your feet.
AIMS
Using your body weight when leaning to the floor
before holding on with the hand.
Looking for maximum width and extension of the
body once the hand is resting on the floor (open
shoulders, back and pelvis).
03 04
AIMS
Using your body weight when leaning to the floor
before holding on with the hand.
Looking for maximum width and extension of the
body once the hand is resting on the floor (open
shoulders, back and pelvis).
07
2.1 01 Horizontal tilt with closed legs BASIC 2.4 Backward coins ADVANCED
During the basic step, close your legs, Same start as the flip (see previous description),
when doing the half turn backwards, go from bent to as you go backwards with your arm you dont use your
stretched position with your legs by pushing towards feet, keep the wheel at the back with your feet (do not
the sides of the wheel with your feet, bend your legs too much),
at the same time dive down with your hands, transfer the weight of your left hand to your right hand
your body will be in a horizontal position, (left turn) (stretched arms) by keeping the body open,
feel the pelvis leading the movement, transfer the weight of the right hand to the right foot
when doing the half turn forward, bend your legs and by pushing with your foot (pull with your left arm to
raise your arms and trunk, straighten the wheel)
the body will be back in its starting straight position. transfer the weight from your right foot to your left foot
start with the same principle and focus on really open-
2.2 02 Diving with one bent arm ing your body.
and one leg on the wheel INTERMEDIATE
Same movement as the previous one but: 2.5 07 Still surfer
before diving (tilting the body towards the floor), pull (hold the surfer position) INTERMEDIATE
with one arm (left turn/right arm), Change one hand to eagle grip (left turn/right hand)
at the same time bend and lift the opposite leg (left and move it slightly/well to the right,
turn/left leg) (during the half turn backwards!!!), do a dvelopp,
when doing the half turn forward, stretch the arm and when you bring the leg back to the interior (half turn
leg and end in the starting position. forward), do a forward dive,
can be performed in a series. bend one leg (do not rest it on the wheel anymore) and
let one arm go (left turn/left arm and leg),
.3 03 04 05 06 Backward flip ADVANCED bring the free arm and leg next to your body and pull
Slow down the rhythm of the basic step, the wheel with one arm straight to get your body closer
when doing the half turn backwards, squat down to the wheel,
deeply (sitting position), after rotating in this position, legs go back down while
transfer the weight from the right to the left leg (left doing the half turn backwards; place the free leg back
turn) (lean on the side), on the wheel.
while you are falling and are off balance backwards, ( Possible to do a pushed twist immediately)
open your body, shoulders, back, pelvis and knees
(come out of the wheel slightly), 2.6 DynamicSurfer, (going up in the position,
then put your hand (left turn/left hand) with one arm and down, in a series) ADVANCED
stretched to the floor, extended fingers, one arm in an Same start as the still surfer,
inverted position, the other arm helping by pulling the when doing the half turn forward, when the supporting
wheel. leg goes down and the foot is at floor level (standing
the legs are bent, position), bend your leg,
when coming from the inverted position, bend your when doing the half turn backwards, push towards the
legs and go back up to the starting position. side until your body is in an horizontal position.
05 06 07
CARTWHEELS
1.1 Circular cartwheel. BASIC 1.3 The figure of 8 (combination of 2 wheels in
Same principle as the one previously described opposite directions) INTERMEDIATE
(see Straight line), Perform a circular wheel as described above,
the arm and leg pushing is slightly towards the inside when the body straightens up (vertical position), do a
of the circular trajectory , half turn forward in the opposite direction of the wheel
the wheel is therefore tilted towards the inside, (turn in circles towards the right /half turn left)(your
your body stays slightly outside the wheel, right arm and left leg move),
possible to do it in the other direction. turn the left hand with palms upward towards the
starting position,
AIMS continue with a cartwheel in the opposite direction,
Being aware that hands and feet always give the draw a figure of 8.
sense of direction.
Visualising in advance the trajectory we wish to
follow in space.
AIMS
Being aware that hands and feet always give the
sense of direction.
1.2 Straight cartwheel BASIC
Visualising in advance the trajectory we wish to
Start from standing and spin the wheel in a straight
follow in space.
line like an acrobatic wheel, by putting one foot
slightly higher than usual on the side of the wheel,
push the wheel to the ground with that foot to set the 1.4 Cartwheel-Full turn- cartwheel ADVANCED
wheel in motion, As an entrance.
follow the wheel with your body in a tensioned get into the wheel as if you were going
position, you will find yourself with your legs to do a cartwheel,
wider apart than usual, put the first leg at floor level (turn left/right leg),
when your hand or foot are on floor level, the arm or put the second leg further away (cross),
leg is stretched at the same time let go of the opposite arm to catch
your body stays inside the wheel, the wheel behind with palm up (first half turn),
it is possible to do it in the other direction. let go of the other arm with the opposite leg to catch
the wheel in its starting position (second half turn),
AIMS continue with a cartwheel.
Being aware that hands and feet always give the Starting from the cartwheel
sense of direction. do a circular cartwheel as described above,
Visualising in advance the trajectory we when your body straightens up (vertical position),
wish to follow in space. do a half turn backwards in the direction opposite to
the wheel (turn in circles towards the right/half turn
left)(your left leg and right arm move)
after a half turn forward in the opposite direction to
the wheel (your left arm and right leg move),
continue with cartwheels in circles.
COINS
half wheel in open position).
(Preparation for back flip) INTERMEDIATE
To get used to opening backwards,
2.1 01 02 03 04 Big forward coins. BASIC
do a half cartwheel forward,
Slow down the rhythm of the basic step,
when the second hand touches the floor, pull the wheel
when doing the half turn forward, tilt the wheel for-
back (on top of your head) by opening your shoulders
ward and go down with one hand that pushes the wheel
and hips,
to the floor, followed by the other hand (straighten one
push the wheel to the ground with your legs (one after
arm, pull the wheel upwards with the other arm)
the other) by keeping your body open (shoulders/hips),
at the same time, remain in a tensioned position inside
this is the second part of the backward cartwheel
the wheel and take the wheel upwards with your feet
(opening).
and bent legs,
when the second hand goes past the floor, push
the wheel to the floor with one foot followed by
AIMS the other (and stretch your legs),
Using the body weight to put hands down on the at the same time, pull the wheel upwards with
floor. bent arms,
Keeping the back open and the spine extended at after the second leg has gone past the floor,
the same time as having a good grip of feet and push again with your arms, etc..
hands on the wheel. Throughout the movement keep your body in a
dish position
TIP: tip it off balance forward and stay
inside the wheel!
AIMS
Using your body weight to lower your hands to the
floor.
Bending the back slightly to try and open up and
finding the good gripping points on the wheel for
hands and feet.
01 02
03 04
01 02
1 2
In front Behind.
1.1 One foot BASIC
Come into the wheel with one foot when the wheel is in 2.1 One foot BASIC
front of you (left turn/right/left foot), then put the other Place yourself in the middle of the wheel rotating in a
foot apart (45 degrees), coin position (basketball),
the first foot goes on the wheel at floor level, go inside the wheel with one foot
start with the wheel in vertical position (do not tilt it (left turn/right foot) when the wheel is behind you,
too much). then put the other foot in.
the foot goes on the wheel at floor level.
1.2 two feet BASIC help with your arms to make the wheel turn well.
Hang from two bent arms then put your feet down at
the same time (or with a slight delay) on the wheel. 2.2 Two feet BASIC
Place yourself in the middle of the wheel rotating in a
1.3 SUPERMAN coin position (basketball),
Start as before come into the wheel with one foot hang with two bent arms and head in front of the wheel
forward (see above), then put down two feet on the wheel at the same time.
when setting the wheel in motion, centre it as much
as possible,
instead of putting the foot on the wheel, raise your two INTENTIONS
heels towards the back by arching your body (open Feeling the movement of the wheel (rotational
shoulders, back and hips), speed and trajectory) every time you enter, so
stay slightly on standby with your legs and hands in that the body can adapt. Once you are in, letting
the opposite direction to the rotation of the wheel (left yourself be transported by that movement before
turn/stay right), manipulating the wheel to perform a move.
your body will slowly find itself in a perpendicular posi-
tion to the wheel,
you could close and bend your legs, put your feet on
the wheel or continue in a grouped hanging position
(see above basic step in grouped hanging position)
the same principle is possible with bent arms.
1 2
A movement workshop can be useful for the technical and The actions of touching, rolling and sliding of different
artistic development of the circus artist, alongside teach- body parts (hands and feet, but also pelvis, head, back
ing of how to use the Cyr wheel. arms etc) will help students to widen their vocabulary and
keep in touch with their feelings; to know how to position
A complementary movement workshop can be based on themselves in their performance space; to discover end-
one approach (for example: technical release, floor work, less spatial orientations and different heights (high, mid-
contact, improvisation) or on a combination of different dle, low) in order to familiarise themselves with their own
approaches. sphere of movement.
This will improve the students sensitivity and awareness Improvisation is a technique which helps students
and will help them build their body and become more develop their autonomy, their artistic intelligence and
aware of it using their senses and their feelings, before, kinaesthetic creativity as well as give a space and time
during and after the movement. This starts with search- dimension to their body and movement work. This could
ing for an anchoring to the ground by establishing bases give a new impetus to their own personal work around
of support (vertically, with hands and feet, horizontally their discipline.
with different body parts such as the back, pelvis, head,
arms etc.); searching for the body centre as a result of Improvisation helps students to be receptive to the
forces exerted upon the body, a point where forces can- rhythm of movement, of phrases and sequences, to sound
cel each other out, an anchoring point around which the or silence whilst making themselves available and being
body arranges itself; releasing the body and using gravity exploratative. It helps them search for personalisation
to relieve muscular tension and working with the correct when faced with different options, to move in the direction
amount of energy in relation to the effort required. of their own feelings, to work in the here and now in order
to make the movement real and to clarify their intentions
By adding the sense of direction the body finds its posi- so that they are easier to interpret.
tioning within space; it draws and creates volume and
generates spatial tensions that are constantly stimulat-
ing, in order to build and develop a choreographed mate-
rial which can be integrated into work with a piece of
apparatus. By integrating breathing, students understand
the notion of suspension, impulsion, attack, new impetus,
as well as heaviness and lightness.
The Cyr wheel is an activity which puts a huge demand Identifying the main muscular actions
on the muscular and cardiovascular systems, when Generally speaking, the movements which are most often
practised at a high level. The students initial physical found in Cyr wheel are holding a variety of body ten-
condition, the length of the piece, its technical difficulty sion shapes (e.g. coins, basic steps, basic steps without
and density will determine the students specific aims in legs), leg pushes (e.g. jump into a pull up with straight
physical conditioning. arms, dish) and arm pulling (e.g. climbing, flags ).
Planning the specific conditioning used in the Cyr wheel These movements should be a priority in the goals of a
takes into consideration the following four ideas: conditioning/training programme.
Identifying energy systems
Identifying the main muscular actions Exercises performed in the weights room/gym should
Identifying potential injury areas take into consideration these movements and body ten-
Identifying the antagonistic muscles sion shapes and form part of the fundamental base-
in main movements level physical conditioning programme. Likewise, the
more physically challenging, technical Cyr wheel moves
Identifying energy systems performed by the students should also determine spe-
A Cyr wheel act generally lasts 4 to 8 minutes; it often cific exercise selection, which should ultimately improve
has an uninterrupted movement and frequent variations performance of the specific movements being trained in
of intensity which places a demand on the aerobic sys- the discipline.
tem. The anaerobic system is also under pressure during
the whole act through the variation of repetitive muscular For example, if a student chooses to do a basic step on
contractions and intensity during the performance. Both his/her hands, a specific strength exercise for his/her
these systems should therefore be trained, in order to shoulders could be included into the training programme.
make the performance of a Cyr wheel act easier. An example could be an endurance handstand exercise
with hands set at a specific width.
In concrete terms, indoor training could include aerobic
work with short intervals (e.g. 30 seconds at 100% inten- Some exercises can also be undertaken during techni-
sity and 30 seconds at 70% intensity) and uninterrupted cal training sessions movements. For example, for the
(e.g. between 80% and 95% of the estimated maximum basic step on hands, the student can be held in a hand-
heart rate). stand by the trainer, inside the wheel, in order to develop
strength/endurance in his/her shoulders. Subsequently,
During the discipline training we could specifically train forward and backwards tilting movements can be added
these qualities by progressively repeating sequences of to include the flexor/extensor muscle chains. Once the
movements, with an increasing frequency, or, by repeat- student reaches sufficient levels of strength and endur-
ing the act successive times in a row. This could be done ance required to maintain these positions, the trainer can
nearer the time of the assessed performance. assist the basic step movement on the hands by guid-
ing the rotation of the wheel like he/she does during the
learning of the basic steps.
More generally speaking, the live performance can only exist through the
relation with others and with the environment in which the artist evolves. The
truth is in the tangible perception of the elements which make up a simple
movement and its resonances. The space, aerial rigging and the directional
intention of movement reinforce the artists self-awareness and their aware-
ness of the environment and the performance space where they evolve.
The debate is still open on when to introduce a new piece of apparatus. Some
think that training a specific discipline or piece of apparatus is necessary
throughout the academic course in order to perfect the technique and that it
is best to wait until after the course to embark on such an enterprise. Others
think differently and would be more daring.
G. Fasoli
DEMAIN LE CIRQUE
New pieces of apparatus for circus artists
A collaboration that makes reciprocal sense
An example of a collaboration between ESAC director and Caroline Mierop, La Cambres director
two institutes of higher artistic education: wished to enhance.
the Ecole Suprieure des Arts du Cirque
(Belgium) and Ecole Nationale Suprieure The Industrial Design Option department in La Cambre
des Arts Visuels La Cambre has worked with some students and teachers at ESAC to
deal, first of all, with movement and space management.
After the first collaboration between ESAC and La Cam- Contemporary circus equipment was then reinterpreted
bre (which in 2010 led to defining a new graphic identity for creatively, with the idea of going beyond the constraints of
the Institute of Higher Artistic Education in Circus Arts), space and of the body within it.
the two institutes chose to continue these pedagogic and
artistic collaborations through a research project on new Grard Fasoli was invited to present the project to La Cam-
circus apparatus. bre students in November 2010. Research and prototypes
If such collaborations are proof of the favourable envi- have been supervised by La Cambres professors, espe-
ronment provided by the Brussels Region in terms of cially Marion Beernaerts (workshop leader) and Giampiero
an artistic melting pot, they also have the advantage of Adelmo Pitisci. Students from the two institutes met up on
promoting quality in artistic teaching in Belgium, allow- several occasions and then went on to create smaller work-
ing the sharing of knowledge and to engage in debates for ing groups to pursue a specific research project related to
students. An enriching experience that Grard Fasoli, the Cyr wheel and ladder techniques.
A few months later, La Cambre students have presented 8 Grard Fasoli urges participants to approach similar
prototypes, created with the support of the French Com- institutes in their countries of origin. Encouraging the
munity Commission. meeting of different artistic sensitivities from different
backgrounds will allow us to achieve the best results in
An exhibition of each new piece of equipment and a short our research on tools we work with.
demonstration by ESAC students from each of the 3 year The meeting between a technician and a circus artist is
groups took place in La Cambre School on the 27th May good, but one between an artist technician and a circus
2011, in the presence of the pedagogic, cultural, artistic artist is even more fruitful.
and administrative project stakeholders.
This we did with UV-light, hiding the wheel into blackness, from one corner to the other. For me it helped to under-
and creating a square with a white textile connecting it stand the importance of regularity and rhythm in Cyr
from corners to the wheel. wheel technique.
It was a great idea and we got what we were looking for, Our first idea was to work with two Cyr Squares, but after
square rolling and twisting and waltzing. some time I decided to take the other one out, instead we
clad the other performer in white transparent coat, and
But we also got something else, by following the move- found another beautiful image, floating performer.
ment of the Cyr-Square, we could clearly see the regu- Seeing a Cyr wheel performance is quite beautiful and
larity of the basic movements of the Cyr, in basic step, magical by itself, movement is fluid and light, but seeing
we could easily make the corners of the square hit the the movement of the performer without the wheel was
floor equally, like the square would have been stepping even stronger image.
Juho Sarno
The Cube
Rmy Bnard is a Cyr wheel and German wheel specialist who trained at
the National Centre for Circus Arts (CNAC). He reflected on the shape of
the wheel, and decided to explore its variations. He believes in acrobatic potential
and the possibility of manipulating these shapes. Together with the workshop
in charge of devising and making pieces of apparatus in the school, they agreed
to try and build a new structure: the cube.
It is always difficult to evaluate the potential of an appara- Before constructing the piece of apparatus, it was nec-
tus in advance. The construction of prototypes was there- essary to plan an acrobatic piece in order to better cal-
fore essential whereby different shapes could be tested. culate the forces exerted and resistances necessary.
Following this first stage it was determined that every The main difficulty was finding the balance between the
object moved on a trajectory which was determined by weight of the object and its robustness. Once finalised,
its shape. These prototypes enabled the team to explore the apparatus had to be robust enough in order to be used
the possibility of movement, on a reduced scale, to inform for acrobatic work but also light enough to be manipu-
their choices before moving into the construction phase. lated. In order to transfer the technical skills used in Cyr
wheel and German wheel, the new objects had to abide by
It was impossible to construct all the shapes desired, Today Rmy Bnard continues to nourish his reflection
therefore Remy created the cube. Other pieces of appa- on these questions through the several projects he takes
ratus had emerged from this research, namely a spiral part in, namely Kosm, ballet manipulatoire pour cercle
with Benot Fauchier. The cube was formed by 6 metal- et corps (temporary title), a show by the La tournoyante
lic hoops, whose dimensions were determined by the company, a collective of manipulators-wheel acrobats
diagonal of the cube. It was mainly through this diagonal and Tube, a show by the Mauvais Esprits company, where
that the Cyr wheel technique could be used. Today Rmy he uses Benot Fauchiers work on the spiral.
Bnard continues to explore the cube and the paradox
offered by this shape (a round cube? a squared circle?)
and the possibilities it could have for collective works.
It was experienced with Urban Rabbits, CNACs 21st
cohort end of studies show which toured in 2009/2010. Dur-
ing this show, 16 finishing students gathered on the cube.
Authors: Sven Demey (coord.), Marie Bartoux, Rmy Bnard, Eric Deschnes, Grard
Fasoli, Thierry Maussier, Juho Sarno, Silvia Ubieta.
Contributors: Zygmunt Biegaj, Francesco Sgro, Amy Welbourn, Arian Miluka, Fred-
erico De Sandre, Alberto Feliciate, Dirk Shambacher, Pierrick Loizeau, Guillermo
Hunter, Sami Maaoui.
Translation: Luna Venturi
Proofreading : Amy Welbourn
Graphic Design: milie Anseeuw
Observer and Focus Group Chairman: Grard Fasoli
Preparatory Visit and assessment coordination: Danijela Jovic
General Coordination: Zo Lacornerie, Mathilde Robin
Any reproduction or translation is strictly prohibited without prior authorization of the copyright holders.
This project has been funded with support from the European Commission (DG Education and Culture -
Lifelong Learning Programme).This publication reflects the views only of the author, and the Commission
cannot be held responsible for any use which may be made of the information contained therein.
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FEDEC
european federation
of professional
circus schools