Future visions for circus leadership in Europe

Stéphane Segreto-Aguilar, the Coordinator of Circostrada Network and Head of Development at ARTCENA, a pivotal figure in the European circus arts scene, takes center stage in the evolving landscape of circus leadership across Europe. In a conversation with Cosmin Chivu, Associate Professor at Sands College of Performing Arts, New York (USA), Segreto-Aguilar highlights the network's innovative efforts to unite project partners, participants, and professionals, driving forward the future of circus arts through collaboration and strategic development. The seminar was showcased in the official program as Future visions for circus leadership in Europe.

Cosmin Chivu: I'm delighted to introduce a great professional, someone I have followed online for a long time. He has been fearless, and has turned many challenges in his area of expertise into opportunities. So without further ado, please allow me to introduce Stéphane Segreto-Aguilar, coordinator of the Circostrada Network and head of development at ARTCENA. Welcome back to the festival and to the Sibiu International Performing Arts Market.

Stéphane Segreto-Aguilar: Thank you, everyone. Thank you, Cosmin. 

Cosmin Chivu: My first question is about the cultural and social impact of circus performance in Europe and beyond. How can circus leaders address and reflect Europe's diverse cultural landscapes in their performances?

Stéphane Segreto-Aguilar: First, I'll tell you what we do at Circostrada because I firmly believe it's better to start by explaining what you do before advising others. Circostrada, as you know, is the European Network for Contemporary Circus and Outdoor Arts, supported by the French Ministry of Culture and the Creative Europe Program of the European Commission. We are dedicated to these two sectors and have been around for 20 years, just celebrating our anniversary. If you're not familiar with the European project, you should know that every three to four years, you have to write a new project. Ours is 70 pages long, with a budget of a couple of hundred thousand euros, responding to the priorities of the European Union.

In the current financial framework of the European Union, there are two main priorities: the green transformation and diversity and inclusion. At Circostrada, we decided to have a different focus each year to encourage our members and ourselves to address these topics in various ways. During the second year of the project, all our activities dealt with diversity and inclusion to different extents, whether during capacity-building activities, networking events, or other activities. At the end of the year, we produced a charter outlining our diversity and inclusion values and actions we commit to. We also published a document encouraging artists to share their practices regarding diversity and inclusion. This publication, available online for free in English and French, serves as an advocacy tool to inspire our members and connect with other networks, aiming to change the discourse on these topics and focus on artistic practices in the circus and other arts.

Cosmin Chivu: In what ways do circus performances contribute to social change and community engagement in Europe?

Stéphane Segreto-Aguilar: This is a tough question. We certainly contribute to social change and community engagement, and we create advocacy strategies around that. I recently discussed with someone writing a paper on recent advocacy strategies in Europe. We talked about how we often change our strategies. A few years ago, we used economic indicators to show our impact, like a study in France stating that every euro spent in Avignon would bring back seven euros. Before that, we focused on intercultural dialogue. Today, the new advocacy strategy deals with how culture benefits mental health and well-being. It's fascinating how much we need to justify ourselves. The change we produce is real but takes time to see and feel its ripple effects throughout society. Maybe our indicators aren't good enough, or we're just impatient. As a provocation, I suggest we stop justifying our work and focus on the impact.

Cosmin Chivu: Would you share with us sustainable financial models for circus companies in Europe, especially considering fluctuating public funding and economic challenges?

Stéphane Segreto-Aguilar: It's definitely challenging. Artists are losing jobs, and it's hard to find good technicians and administrators. Post-COVID, our sector is more fragile. For sustainability, diversify your income structure and don't rely solely on public funding. Be innovative and look outside Europe for models. For example, in South Africa, I met an artistic company with no public subsidies. They rented a space in a commercial mall, sold garments and objects, and had a venue for shows, classes, and workshops. This innovative model wouldn't be found in France, where public subsidies are the norm. Look outside Europe for inspiration.

A project called Perform Europe, supported by the European Commission and Czechoslovakia, aimed to rethink and experiment with new models for touring performing arts sustainably and inclusively. The results will be published soon, so stay tuned.

Cosmin Chivu: How do you think circus leaders can develop innovative funding strategies such as partnerships, grants, or crowdfunding?

Stéphane Segreto-Aguilar: For contemporary circus in Europe, I suggest pursuing public funding for recognition. Crowdfunding campaigns rarely work effectively. Look for private foundation opportunities, especially in areas like social change, social entrepreneurship, and mental health. Rethink your model; the traditional create-produce-tour model may not survive. Engage longer with communities and explore different roles. It's great to have big festivals, but try other approaches if you have the capacity.

Cosmin Chivu: Speaking of education, what future-oriented training programs and educational pathways should be developed to nurture the next generation of circus performers and leaders?

Stéphane Segreto-Aguilar: Informal education, like watching YouTube videos, is significant. There's also formal education through professional circus schools, organized under the network FEDEC. I suggest better preparing future circus artists for the performing arts ecosystem and how to build successful companies. Strengthen their understanding of dramaturgy, storytelling, and the impact of their performances. Additionally, increase connections with other disciplines like dance, theater, visual arts, and performance.

Cosmin Chivu: Should creative leadership be incorporated into the curriculum of circus schools in Europe to prepare students for future challenges?

Stéphane Segreto-Aguilar: Yes, but not all students need to create their own companies or be leaders. There are different paths: performer, creator, etc. Offer leadership training, but also support those who choose other roles within the circus arts ecosystem.

Cosmin Chivu: How could contemporary circus performances be marketed to appeal to both traditional audiences and new, younger demographics who are often behind screens?

Stéphane Segreto-Aguilar: Circus has an advantage: everyone has an image of it, like clowns or acrobats. Work from that image to introduce diverse contemporary circus forms. It's easier than other contemporary arts because there's a recognizable starting point.

Cosmin Chivu: What are the most effective leadership styles in managing creative teams in circus arts?

Stéphane Segreto-Aguilar: Leadership styles in contemporary circus often involve values like community, horizontal decision-making, and connecting with the audience. These values inform decision-making processes and leadership styles. We're releasing a publication on this topic, including articles from various countries, at the end of the summer.

Cosmin Chivu: Can regional identity and global audience appeal coexist?

Stéphane Segreto-Aguilar: Yes, they can. There's no opposition between local and international; they're connected. The concept of translocalism is relevant here. Projects like ReShape explore this, inviting artists from different regions to work on local issues, bringing unique perspectives and similar contexts from their own cities.

Cosmin Chivu: What lessons were learned from COVID-19, and how did it reshape leadership in circus arts?

Stéphane Segreto-Aguilar: We all thought we would learn a lot from COVID-19, but implementation has been challenging. Personally, I now do less but ask for more funding to do it well. Focus on impact, collaboration, and learning from others' mistakes. There is still much to improve in our collaborative efforts.

Cosmin Chivu: Circus is one of the oldest forms of entertainment and has survived by reinventing itself. How can your network adapt to global disruptions to ensure survival?

Stéphane Segreto-Aguilar: The word "resilience" is often overused, putting pressure on artists and companies. I'm interested in reshuffling power dynamics and making small changes where possible. It's about being mindful of impact and supporting each other.