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Circus Aerial Acts 

Submitted by Editor on   6/30/2005
Last Modified

CIRCUS AERIAL ACTS*

By
Joseph W. Rogers, Ph.D.
Member, Education Committee
Circus Fans Association of America

*This is a specially written monograph directed toward the middle- school grades, 6-9. Included references encourage adaptation to other grade levels. It is the second in this series distributed by the Education Committee of the Circus Fans Association of America under the auspices of The National Circus Preservation Society. The first in this series was about clowns; the third will cover acts; a fourth is planned about animal trainers.

The Education Committee Chairman is Mr. Robert Kitchen, 29 Damon Street, Fall River, Massachusetts 02720.

First written January 1, 1996
Updated May 18, 2006

CIRCUS AERIAL ACTS

Introduction

Imagine what a thrill it would be if you had the ability to truly fly like a bird! Probably most of us have thought of just this possibility at one time or another while watching sea gulls sail above a beach shore or a brown breasted robin land in a nearby tree. However, brothers Orville and Wilbur Wright did translate such notions into the 1903 invention of their airplane, the "Kitty Hawk." In an age of jets and helicopters, we have gained the mechanical means of flight on the wings of these wonderful aircraft, which can fly us to far reaches of the globe within a matter of hours!

In this paper we want to think about a similar thrill -- using the flight of one's own body through the air. We suspect you already know something about this in several ways. How about leaping from a diving board at a pool or beach? Perhaps you are lucky enough to have a nice tree nearby not only for climbing, or building a house, but one with "flying capabilities;" that is, some tree limbs which allow you to leap from one to another. And no matter how old you are, you probably remember fun sensations from a park swing when you were younger. What an unforgettable feeling it was to have mom or pop, older brother or sister, or a friend give you an extra push when you wanted to soar "just a little bit higher!" When you visit a circus, you usually have an opportunity to watch performers, called "aerialists," who have developed the artistry of swinging and flying to its highest level.

A Short History of Aerial Feats

When John Bill Ricketts presented his first circus in America in 1793, the show contained acts of horsemanship, acrobatics, rope walking, and clowning but NOT aerial acts. Much aerial performance grew out of ground tricks (the subject of another paper in this series), becoming among the most thrilling acts to be seen in the modern circus.

Although some authors might include other acts, the term "aerial" is restricted here to those requiring either the apparatus (e.g., trapeze) or the performer to work from overhead rigging, rather than referring to those acts which are simply performed high off the ground (e.g., high wire). Most of the rigging is attached to a strong metal crane bar, which usually stretches across the big top's roof between the center poles. It will be interesting for you to carefully observe such rigging at future circuses.

Without question the centerpiece of aerial performance is the trapeze whose history is elusive. According to Steve Gossard, the foremost authority on this subject, such acts may be traceable to the 1830s; certainly to the 1850s. In earlier cases the trapeze may have consisted entirely of ropes, later by either a wooden or metal bar. The simplest performances were single trapeze routines, involving the bar as a stationary object -- the tricks consisting of posing in various positions on the bar. Mr. Gossard reports the first application of the word "trapeze" appeared in 1851 in London, England. The article described the tumbling and twisting by two brothers over wooden bars on a trapeze slung below the car of a balloon nearly a mile above the crowd below!

Frenchman Jules Leotard (1838-1869) is generally credited with the invention of the "flying trapeze." Hardly out of his teens, Leotard developed the idea of hanging two trapezes several feet apart. He taught himself how to jump and swing from one bar to the other while practicing his tricks above a swimming pool in his father's gymnasium. He was invited to perform at the Cirque Napoleon (now the Cirque d'Hiver, the oldest permanent circus building in the world), in Paris, France where he made his sensational debut on November 12, 1859. This innovator also created and wore a tight-fitting body stocking to show off his muscular physique -- a shocking display at the time. Today the name "leotards" is still applied to similar athletic garments.

Many other variations of the single trapeze, the flying trapeze, and other aerial devices were to follow. New inventions gave birth to aerial innovations quite unimaginable to Jules Leotard and his immediate imitators. In the next section we shall mention several types of aerial acts, then proceed to a glossary of related terms.

Types of Aerial Acts

Author Tom Ogden provides an excellent guide to a variety of acts. Two of the first routines learned by a showgirl, he says, are the "web" and" ladders." The former, also known as the "Spanish web," is a canvas-covered rope, or a canvas rope stuffed with cotton, that hangs from the dome to the ground. The performer climbs to well-placed canvas loops through which she places her hand or foot. Safely attached, she can assume various graceful positions. Imagine one or two-dozen beautifully costumed ladies, called "rope dancers," aloft around the expanse of a three-ring circus engaged in an "aerial ballet."

The second, also known as "Roman ladders," are made of metal, contain several rungs, and are about 5 x 2 feet. The aerialist uses a web to climb up to the high-hanging swinging ladder on which she may perform an elegant set of routines.

The "iron jaw" looks like it sounds -- a showgirl hanging high in the air, apparently attached to a rope solely by her teeth! According to Mr. Ogden, the performer has a plaster cast taken of her mouth, jaw, and teeth. From the cast a large leather piece is formed which fills her entire mouth cavity. This piece is attached by a hook to a hanging strand from which the artist spins.

Another incredible act is the "hair hang." Ogden notes that the showgirl hangs by her real hair, which is braided. Tied into the braiding is a metal ring that is placed on a hook. She is then raised aloft by a pulley system operated by her ground crew. Once in the air, some performers astonish the audience further with an assortment of juggling skills!

The "Roman rings" is a more familiar act, especially to those who enjoy gymnastics or who watch the summer olympics on TV. Originally a ground act, the circus has long shown this as a high aerial display. Two large metal rings (perhaps canvas-padded) hang from separate strands attached to overhead equipment. Some stars use the web to climb up, while others might be pulled aloft by assistants. Grasping a ring in each hand, or placing legs through the loops, the performer engages in artistic feats of agility and strength.

An "aerial perch" is recognized as a single pole hanging down from the top rigging or crane bar. One or more artists perform various maneuvers while hanging onto this rod.

The "cradle" is a metal apparatus consisting of metal bars strongly molded together into a frame. It enables one or more performers to place their legs over one cradle bar and to then lock their feet under a second bar. By so doing, you can visualize the extra strength gained in contrast to just letting the legs hang loose. This increased strength allows a second performer to work all sorts of fascinating gymnastic routines while hanging on to the hands or body of the person above. Sometimes this exciting act is not easily recognized because the metal device is disguised by decorations (e.g., a star or rocket ship).

The "trapeze" in its simplest form is a single bar held aloft by two cloth-covered ropes hanging from high rigging in the tent or arena. When one artist performs alone on the bar, it is referred to as a "single trap" act; when two perform, as a "double trap" act. These "double trapeze" acts are done by a pair of performers on two bars with a shorter trapeze bar mounted some distance above a longer one. Such acts become even more perilous when they are transformed into "swinging trapezes."

The modern "flying trapeze" apparatus consists of at least three components: a platform from which the flyers take off; the swinging trapeze from which the flyers make their leaps and somersaults; and a second trapeze, or cradle, from which the catcher hangs. Note the catcher’s legs and how they are intertwined with the webbing, to prevent his being pulled from the trap when receiving the flyer. (Incidentally, many viewers enchanted with the gyrations of the flyers seriously underestimate the great importance of the catcher whose strength, timing, and eyesight are vital to completion of such feats as the triple somersault.)

Increasingly popular variations on the above involve "casting" which uses one or more cradles, either stationary or swinging. Catchers "cast" (i.e., throw) the flyers or leapers from one to another or to some part of the rigging network.

Conclusion

Today we benefit from many decades of practice and progress for which many aerialists sacrificed their lives. The acts described above are very dangerous and they remain so. In fact, during this past summer (1996) at least five artists were injured in falls -- fortunately, none of these was fatal.

Among the most dangerous tricks was the "legendary triple," which has injured or killed some of the best pioneering flyers in the business. Mr. Gossard reports that before 1930, only one woman (Lena Jordan) and three men (Ernest Clarke, Ernie Lane, Alfredo Codona) were able to complete a triple somersault consistently enough to include it in performance. While Clarke came to be known as "The Father" of the triple, Codona became praised as "The King," -- for the grace with which he performed this aerial accomplishment. Alas, among the above, Ernie Lane died in a fall at the age of only 22; Alfredo Codona's flying career prematurely ended with a 1933 severe injury from a fall into the safety net. The excellent (1956) movie Trapeze, featuring Burt Lancaster, Tony Curtis, and Gina Lollobrigida, tells a similar tale with flyer Lancaster suffering the Cadona type injury. The plot centers on Tony Curtis’ hounding Lancaster to teach him the triple. While real flyer Fay Alexander performs the aerial acts supposedly done by Curtis, Lancaster (a former circus performer himself) does his own aerial routines.

Today's big trick is "The Quad," or quadruple somersault, which was first completed in practice as early as 1976 by flyer Tito Gaona and the Gaona troupe. However it remained for Miguel Vazquez to make circus history on July 10, 1982 by completing the first quadruple somersault to a hand catch in performance with the Ringling Brothers and Barnum & Bailey Circus. Afterwards, the Vazquez troupe continued to complete the quad consistently, and have since been joined by a Soviet troupe, The Flying Cranes, in accomplishing this extraordinary feat.

The persons mentioned so far barely touch the long list of aerialists who have contributed to the history and development of aerial performance. As you pursue your own research, check for such additional names as these: Fay Alexander, Winifred "Winnie" Colleano, Antoinette Concello, Art Concello, Dolly Jacobs, Lillian Leitzel, Marguerite Michelle, and Charles Siegrist. These entries should lead you to still others of interest.

A Short Glossary of Aerial Jargon

Circus "lingo" may vary with country, time, and even with personal preferences. Here are a few terms to help you identify what you are seeing during aerial acts.

Pedestal
The platform from which the flyer leaps. For some acts, such as the triple somersault, look for the pedestal to be raised higher than for more simple tricks.

Flybar
The trapeze from which the flyer or leaper springs toward the hands of the catcher.

Catch trap
This is the receiving end where the catcher hangs upside down on the second trapeze. Notice he is usually larger than the flyers and observe the location of his legs. He does NOT hang by his knees from the catchbar, but wraps the ropes supporting his bar tightly around his legs. Otherwise, the catcher risks being knocked free of his bar by the tremendous force of a flyer coming out of a somersault, triple or quad.

The "Grip"
Contrary to a common misperception, the flyer and catcher do NOT grab hands, which simply would not be strong enough. Instead, the catcher grasps the flyer's wrists as the flyer grasps the catcher's wrists to form a double wrist lock.

The following terms identify a set of basic aerial maneuvers. In reading them, remain conscious that they do not depict the artistry and technique of the flyers who develop their own individual styles through timing, hesitation, posturing and so on. Although the generic "he" is used, these descriptions apply equally to women.

Straight Pass
A relatively simple act where the flyer, who hangs from his trapeze by his hands, lets go at the top of its swing and into the grasp of the catcher. Watch for this early in an aerial act.

Pirouette Pass
Although probably considered somewhat routine today, this pass can be strikingly beautiful as demomstrated long ago by Alfredo Codona. Visualize the flyer, hanging by his trapeze with his back to the catcher. At the top of the swing, with body erect and the grace of a ballet dancer, he turns a half pirouette in the air now to face the catcher on the second trapeze.

Hock Pass or Hocks Off
This is similar to the straight pass except the flyer hangs from his trap by his legs or heels (Heels Off). As his trapeze rises, the flyer can release by simply straightening his legs for the catch. Bird's Nest or Crab A position in which the flyer swings chest forward and downward while doing a strenuous back bend, holding the bar by both feet and both hands at once prior to release to the hands of the catcher.

Vault
Now imagine the flyer's body resting on his trap bar, which is also gripped with his hands. On a forward swing he can either release from the bar to the catcher, or rotate on his trapeze passing under the bar to the catcher in a Plange pass.

Passe par dessus
This French term refers to an aerial maneuver in which the flyer does a handstand on his trapeze, then plunges head foremost toward the catcher.

Double Pass or Passing Leap
This intricate act involves a catcher and two flyers -- usually a man and a woman. Deemed by some as particularly beautiful, visualize one flyer, having made his first pass, returning to his trapeze in a single somersault as the second flyer leaves it in a passe par dessus. For just an instant both artists are seen flying through the air in opposite directions, one above the other!

Addendum
It is essential to emphasize such routines as these have undergone extraordinary modifications into a vast array of exciting combinations of catches, direction, pirouettes, twists, somersaults, body movements, equipment and the language that describes them. The books by Coxe and Gossard provide helpful sketches of some of the above acts.

Selected References

Although the few following entries should prove helpful to you, most have been written for adults such as your parents and teachers. Also many may be difficult to locate; thus, you are encouraged to begin any study project with the assistance of your school and city librarians. If time permits, ask the librarian or a clerk in your local bookstore to check the "circus" and "acrobats" sections of a reference volume entitled Books in Print for additional possibilities. Most will be glad to help you. Since our initial writing Internet has become a valuable contemporary resource for purchasing vintage books, videotapes, and DVDs. Check out such entries as EBAY, Amazon.com, etc.

Books (Adult)
Some of these entries provide a larger circus perspective, including history that I feel is an important asset to anyone seriously interested in this area of study.

Apps, Jerry. Ringlingville USA, Madison, WI: Wisconsin Historical Society Press, 2005.

Coxe, Antony Hippisley. A Seat At the Circus, Hamden, Connecticut: Archon Books, Revised Edition, 1980.

Culhane, John. The American Circus: An Illustrated History, New York, NY: Henry Holt and Company, 1990.

Gaona, Tito (with Harry L. Graham). Born to Fly: the Story of Tito Gaona, Los Angeles, CA: Wild Rose, 1984.

Gossard, Steve. A Reckless Era of Aerial Performance, the Evolution of Trapeze. Self-published, 1994. Mr. Stephen Gossard, 10 Siesta Ct., Bloomington, Illinois 61704.

Hoh, LaVahn G. and William H. Rough. Step Right Up! The Adventures of Circus in America. White Hall, VA: Betterway Publications, Inc., 1990.

Ogden, Tom. Two Hundred Years of the American Circus: From Aba-Daba to the Zoppe-Zavata Troupe, New York, NY: Facts on File, Inc., 1993.

Pond, Irving K. Big Top Rhythms: A Study in Life and Art, Chicago, IL: Willett, Clark and Company, 1937.

Books (Youth)

Cushman, Kathleen and Montana Miller. Circus Dreams: the Making of a Circus Artist. Boston, MA: Little, Brown and Company, 1990. Non-fiction -- High School.

Fenner, Mildred Sanderson and Wolcott Fenner (editors). The Circus: Lure and Legend. Englewood, NJ: Prentice-Hall, Inc., 1970. A collection of short pieces, both fiction and non-fiction -- Middle School/High School.

Schreiber, Mark. Dreams of the Solo Trapeze: Offstage with the Cirque du Soleil, Unlisted city: Canal Press, 2005. This book was written independently of CdS;thus was not endorsed by it. The work is a combination of non-fictional biography and a novel, but offers cultural insight through interviews and travels. High School.

Stern, Peter. Whompers and Whammies: The Great Circus War. New York, NY: Lothrop, Lee, and Shepard/Wiliam Morrow and Company, 1994. Fiction -- Elementary School.

Vasquez, Juan and Harry L. Graham. The Biggest Trick: Miguel Vasquez' Quadruple Somersault,Orange, CA: Words & Pictures Press, 1994. Non-fiction -- High School.

How-to" Books: Learning Skills

Wiley, Jack. Basic Circus Skills, Harrisburg, PA: Stackpole Books, 1974.

Videotapes
For a large listing of circus-related videotapes, request my annotated listing, which is available from the CFA Education Committee chairman, Mr. Robert Kitchen, 29 Damon Street, Fall River, MA 02720-0388. The following listing simply presents titles that contain some aerial material. Unfortunately, there are few tapes devoted to trapeze.

The Most Astounding Circus Acts of All Time. Ringling Bros. and Barnum & Bailey Home Video/Family Entertainment/MCA Distribution Corp., 1988: color, 30 minutes.

The Most Death Defying Circus Acts of All Time. Same as above. 1987: color, 60 minutes. Note: contains the Vasquez troupe performing the incredible Quad!

The Greatest Show on Earth. 1952: color, 153 minutes. This film, directed by the acclaimed Cecil B. DeMille, won Oscars for both Best Picture and Story. Although today it may seem a bit “hokey” & dated, it remains interesting. The aerial acts performed by movie star Betty Hutton, were actually the work of RBB&B center ring performer, La Norma Fox.

Trapeze. 1956: color, 105 minutes. As mentioned earlier this film features the aerial work of Fay Alexander, doing the triple for actor Tony Curtis.

Circus World. 1964: color, 135 minutes. Confession: I am including this one because it is probably my personal favorite circus film, despite only modest critical reviews by others. It contains a stellar cast of John Wayne, Rita Hayworth, and Claudia Cardinale, plus two of the most dramatic tragic sequences I have ever seen in a circus story.

Additional Resources

Circus World Museum
Attn. Robert L. Parkinson Library and Research Center
426 Water Street, Baraboo, Wisconsin 53913

Once our country’s foremost center for circus research, this great facility has fallen prey to escalating costs and diminishing incomes. With severe reductions in staff and limited hours of service, we cannot assure you of receiving either materials that were previously on loan or further assistance with school projects. Contact well in advance of any deadlines. www.circusworldmuseum.com

The Clown Hall of Fame and Research Center, Inc. 114 North Third Street, Delevan, Wisconsin 53115.

Clowns of America International, Inc. P.O. Box 570, Lake Jackson, Texas 77566-0570’

-- NOTE: According to their brochure, this organization’s membership is open to all persons, 16 years and older. “The purpose of C.O.A.I. is to teach and educate and act as a gathering place for the serious minded amateur, semi-professional and professional Clown.” They hold annual conventions, which include clowning competitions limited to members only. Their official publication is entitled, The New Calliope.

If you reside in or visit one of the following cities, plan to visit the fine museum or library listed. Their courteous, trained staff will make you feel welcome, and will be glad to answer questions concerning their exhibits, books, and programs. NOTE cautionary comments

The Barnum Museum
820 Main Street
Bridgeport, Connecticut 06604

The Hertzberg Circus Collection and Museum
210 West Market Street
San Antonio, Texas 78205

This fine institution is another recent causality of financial woes. Much of the enormous holdings have been transferred to the Witte Museum, which plans to inventory, catalogue, and eventually display some of the collection.

The International Circus Hall of Fame
P. O. Box 700
Peru, Indiana 46970

This small town remains an outstanding custodian of circus, history, traditions, collections, and displays that demand an overnight stay if you are in the area. Each summer Peru presents an extraordinary youth circus and parade, usually featuring over 200 youngsters. Since every performance is commonly sold out, advance reservations are essential. Incredibly, a troupe of these youngsters has even accomplished an eight-person pyramid on the high wire!

The Ringling Museums
P.O. Box 1838
Sarasota, Florida 33578
(Located on Sarasota Bay, this huge complex is easily found.)

This is presently the premier circus collection today due, in part, to the imaginative leadership and financial support of Mr. Howard Tibbals. His gigantic miniature circus is considered the finest in America, and it provides a significant centerpiece for the museum. However, for research purposes try: www.ringling.com. This is an excellent site with thoroughly developed lesson plans and projects at different educational levels, plus background information about circuses. One tip: If you visit, plan to take along some extra funds for purchasing some of the many enticing circus-related items in their gift shop.

Additional information may be available from such web sites as the following (An asterisk marks sources which in the past have offered teaching & lesson plans):

For continuation of newer resources or corrections as they become available, check the initial website above and/or

Mr. Robert Kitchen
CFA Education Committee Chairman,
29 Damon Street
Fall River, MA 02720-0388.

Yours for the CFA and the Circus

--- Joe Rogers
5/18/06

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