The Rebellion: Anarchy – A New Era for Circus Arts
In an industrial building in North Philadelphia, vibrant teal and red fabrics hang from the high ceiling, setting the stage for a unique artistic endeavor. This is where Alyssa Bigbee, co-founder of the International Black Indigenous Circus Week, gathers a group of performers for the first rehearsal of their show, The Rebellion: Anarchy. As the iconic strains of "Welcome to the Jungle" by Guns N’ Roses fill the air, Bigbee encourages her team, primarily composed of Black and brown artists, to breathe, pace themselves, and support one another.
A Performance with Purpose
The rehearsal is more than just a practice; it’s a commentary on the current sociopolitical climate, particularly in the wake of the November presidential election. The performance aims to encapsulate a spectrum of emotions, from anger to hope, reflecting the struggles and aspirations of marginalized communities. Bigbee articulates her vision: “I’m hoping that this can help fight against some of the actions that are taking place right now; the way that we are stripping down different forms of DEI. I want people to leave thinking, ‘This is why we need these spaces.’”
Celebrating Diversity in Circus Arts
The Rebellion: Anarchy is one of ten full-length shows featured in the second annual International Black Indigenous Circus Week, running from September 15 to 22. This weeklong festival showcases the talents of 40 circus artists of color from around the globe, specializing in aerial arts, juggling, clowning, and acrobatics. The event is part of the Cannonball festival, an incubator for experimental performances in Philadelphia, and the Philadelphia Fringe Festival, which boasts over 1,000 artistic programs every September. Last year, the inaugural circus week attracted more than 600 attendees, highlighting a growing interest in diverse circus arts.
A Space for Connection and Growth
Bigbee and her co-founder, Zeloszelos Marchandt, established the circus week to create a nurturing environment for Black and brown artists. Historically, these performers have often found themselves marginalized in predominantly white circus spaces. Veronica Blair, a San Francisco aerialist and founder of the Uncle Junior Project, emphasizes the importance of such gatherings, noting that the official count of Black and Indigenous circus artists remains unknown.
The legacy of Black circus performers is rich yet complex, beginning with sideshows in the 19th century, where they were often excluded from mainstream performances. The first Black-owned circus, created by Ephraim Williams in the 1880s, paved the way for future generations, but it wasn’t until the early 1990s that Cedric Walker launched the UniverSoul Circus, marking a significant milestone in the industry.
An Inclusive Approach to Circus Arts
This year’s circus week features a variety of workshops and panels designed to engage the community. Morning sessions cover topics such as navigating the circus space as queer and gender non-conforming individuals, creating unique personas, and using movement as a form of healing. Evening performances include a celebration of Egyptian spirituality set to Afrobeats and house music, as well as a family-friendly event at Smith Memorial Playground featuring aerial and acrobatic displays at no cost.
Bigbee’s journey into aerial arts began in college, where she transitioned from cheerleading to aerial performance as a means of rehabilitation from a knee injury. She describes the experience as liberating, allowing her to lose herself in the flow of movement.
Breaking Barriers in Accessibility
In 2020, Bigbee founded the Rebel Arts Movement in Philadelphia, a studio dedicated to teaching aerial arts and circus skills to individuals of all ages. Recognizing the financial barriers associated with aerial arts—where rigging systems can cost thousands—she aims to make these art forms more accessible. The circus week includes free performances and workshops, ensuring that artists receive stipends of at least $100 for their contributions.
Bigbee also emphasizes the importance of inclusivity, particularly for individuals with disabilities and neurodivergent artists. She believes that circus arts can be a creative outlet that transcends traditional rules, allowing for unique expressions of identity and experience.
Building a Community of Circus Artists
The connections formed during last year’s events have continued to flourish, with performers staying in touch through social media. Bigbee envisions expanding this network, potentially through a membership system or co-op, to further support circus performers of color.
Veronica Blair, while not directly involved with the International Black Indigenous Circus Week, expresses her enthusiasm for the initiative. She has been instrumental in fostering discussions among Black circus performers nationwide, focusing on topics like circus history and representation of diverse body types.
Honoring the Past and Inspiring the Future
The Uncle Junior Project, founded by Blair, aims to document the stories of Black circus performers, ensuring that their contributions are recognized and celebrated. The project was inspired by the legacy of Emanuel “Junior” Ruffin, the first Black person to lead a department in Ringling Bros. and Barnum & Bailey Circus. Blair’s work highlights the importance of preserving the history of Black circus artists, many of whom have paved the way for future generations.
As the rehearsal unfolds, performers like General Smalls, who recently joined the circus arts, express their excitement about the opportunity to blend dance and meaningful storytelling. Smalls reflects on the significance of their performance, stating, “Being able to dance, which is something that I love to do, but to also put a meaning behind it and present it to people, that’s a huge moment.”
In this vibrant space of creativity and community, the International Black Indigenous Circus Week stands as a testament to the resilience and artistry of Black and brown circus performers, carving out a space where they can thrive and inspire.
