This article is written by Oleg Pospelov, PhD in Performing Arts, former circus artist and now head of the Duo Pospelov circus studio. It was originally published on CircusLife.com.ua and explores the journey of aerial gymnastics from its early origins to its present-day form.
The Story Behind
The art of aerial gymnastics has a long history. Researchers of the history of the Circus have found its origins in the games, entertainment, and spectacles of several ancient cultures on different continents. For example, aerial gymnastics can be found in the traditional “flyers’ dance” (Spanish: Danza de los Voladores), which spread among the peoples of Mesoamerica. The Aztecs considered the “Danza de los Voladores” a symbol of their culture.
The image of acrobats, “Volantum ludus” (from Latin, “Flying people”), dated to the 18th century, is exciting. Ritual dances in the air of the Aztecs, whose empire was conquered by Hernán Cortés at the beginning of the 17th century, evoke impressive associations with aerial gymnasts’ performances.
Lithographic images and posters of the past give us some ideas about the development of this art and the achievements of aerial gymnastics performers. In the middle of the 19th century, Europeans became acquainted with aerial pole dancing, which was performed on bamboo and came from China and Japan, where it had been developed since the beginning of the 12th century. Therefore, the modern prop known as the “Chinese pole” has ancient Eastern roots.
Aerial straps also came to us from the East, as the “Chinese straps” appeared during the reign of the Qing dynasty (1644–1911). In a lithographic image from the 1830s, the artists of Michel Averino’s acrobatic troupe, who at that time performed acrobatic acts on the stages of leading theatres in European capitals, were recognized by critics as unsurpassed masters of the art of balance, demonstrating stunts in the air.
An outstanding acrobat and dramatic actor of the first half of the 19th century, Eduard Klischnigg, also used elements of aerial gymnastics in his performances. Thus, we have eloquent evidence that the European public became acquainted with aerial gymnastics in theatres in the first half of the 19th century. Also, in the first half of the 19th century, exercises on the aerial rope, aerial ladder, and trapeze were integral parts of the sports gymnastics of that time. Texts and illustrations in manuals published in the 1830s testify to this.
In John Howard’s training manual “Athletic and Gymnastic Exercises,” published in 1860 in London, we find an illustration and description of the technique of performing the popular modern aerial gymnastics stunt, presented under the unusual name “twist.”
The complications of sports elements, the improvement of the technique of their performance, and the desire of performers to achieve an aesthetic effect contributed to the inclusion of popular sports equipment—the trapeze—in artistic performances.
It is believed that the birth of circus aerial gymnastics is associated with the name of the legendary Jules Leotard, who demonstrated his “Leotard’s flight” on a flying trapeze at the Circus Napoleon in Paris in 1859.
In 1866, Charles Spencer wrote: “I am not aware of anyone (professional or otherwise) who can approach the great maestro, Leotard, in performing the ‘flying trapeze.’ Some of the movements of Leotard upon the trapeze are really the perfection of what someone somewhere calls ‘the poetry of motion'” (“The Modern Gymnast,” by Charles Spencer, 1866). It was under the big top of the circus where aerial gymnastics received permanent “registration” and an impulse for systemic development. In the second half of the 19th century, the aerialists’ performances became an integral part and true gems of the programs of circuses and variety theaters.
In 1878, the famous American aerial trapeze gymnast Miss Wanda (Leona Dare) presented “unsurpassed performances on a flying lyra” (German: unübertrefflichen Productionen an einer fliegenden Lyra) in the theater of the city of Ingolstadt. Today, “Aerial Lyra” is synonymous with “Aerial Hoop,” so the artist likely performed on props similar to the modern “aerial hoop.”
Let’s note that Leona Dare was a real star of aerial gymnastics at that time. She performed unique tricks, such as holding a partner in her teeth, hanging on a trapeze, or hanging in her teeth from a balloon. For this, the artist used a special “mouthpiece.”
In August 1893, American aerialist Ceado the Marvel, seeking a winter season circus engagement, advertised his “strongest and most perfect” aerial hoop act through an advertisement in the “New York Clipper” newspaper. Unlike the “Aerial Hoop” we know today, Ceado used a larger diameter hoop with a vertical crossbar in the middle, which likely allowed him to perform “flags” typically made on a Chinese or parterre pole.
At the end of the 19th century, the aerialist Miss Saida performed the Aerial Hoop act called “Aerial Act on the Asiatic Apparatus.” It should be noted that the Aerial Hoop did not gain immediate popularity among performers. Information about performances on aerial hoops appears only at the end of the 20th century. The development of circus architecture and new technical possibilities in circus buildings contributed to the diversification and enrichment of circus genres. In this way, aerial acts became more spectacular and refined.
The development of circus genres and aerial gymnastics in particular, which actively took place throughout the 19th century, evidently needed “theorization,” and at the beginning of the 20th century, a professional classification of the circus genres of the time was defined in two manuals published in Italy (“Acrobatics and Athletics” by Alberto Zucca (1900) and in France “Acrobatics and Acrobats” by Georges Strehly (1902). The attempts to describe the techniques of performing stunts in these manuals deserve special attention. The illustrative material allows us to understand the props used more than a century ago and also to get closer to understanding the level of skills of the artists of that time.
The pursuit of perfection in performing spectacular and dangerous stunts in the air had a reverse side. In the rush to conquer the heights, gymnasts neglected their safety. Accidents often occurred during aerial gymnast performances in circuses, resulting in injuries and even artists’ deaths. Unfortunately, accidents still happen nowadays.
In the first half of the 20th century, circus art faced challenges that significantly impacted its development and understanding. Researchers point out that the appearance and spread of cinema almost completely deprived the circus of its leadership among the performing arts, and the two World Wars significantly reduced the material base and creative potential of a significant number of circus troupes.
In the second half of the 20th century, the trend of the circus losing its former popularity continued. In Europe, some permanent circus buildings that were monuments of history and architecture fell into disrepair and were destroyed. For example, in 1972 the historic building of Circus Medrano in Paris was demolished, and in 1973 the Rancy Circus in Rouen was demolished. Of the six stationary Rancy circuses in France, built in the 19th century, only the building in the city of Amiens (now the Jules Verne Circus) has survived to the present time.
It should be noted that aerial acts on trapezes, ropes, duo acts on bamboo, and frames have been popular in circuses throughout the 20th century. Aerial flying trapeze performances were impressive. Leotard’s followers improved the technique and complexity of the elements.
The movement towards the “revival” of the circus at the end of the 20th century is connected with the emergence of the so-called “new circus” (nouveau cirque) trend, which was most clearly manifested in the creative projects and productions of Cirque du Soleil. Gradually, we arrived at the youngest prop, which has become a kind of symbol of aerial gymnastics of the 21st century—“Aerial Silks.”
Aerial Silks as the Symbol of Aerial Gymnastics of the 21st Century
The history of Aerial Silks dates back to the beginning of the 20th century. In a photograph dated to the early 1900s, during a performance at the Vaudeville Theater, aerial gymnast Amy LaVan performs a stunt while hanging in the air on a vertical cloth.
The next known episode in the history of Aerial Silks dates back to the mid-20th century. In 1959, when the students of one of the French circus schools were asked to present an unusual acrobatic act, one of the young artists used a long piece of cloth for her performance. Unfortunately, little is known about this performance, except for one small article in a local newspaper.
In 1987, the Canadian Andre Simard, a former member of the Canadian national gymnastics team who later mastered the art of clowning, joined the first Cirque du Soleil performances, where, in particular, he presented performances on aerial silks. In 1995, Isabelle Vaudelle showed an impressive aerial silk act at France’s “Mondial du Cirque de Demain” Festival.
In 1998, Isabelle Vaudelle and later Isabelle Chasse presented their Aerial Silks acts in Quidam, a Cirque du Soleil show. It is believed that it was from this time that “Aerial Silks” became widely known and began to gain popularity.
Modern Trends in the Development of Circus Aerial Artistry
In recent years, aerial gymnastics has gained popularity among other genres of circus art. This trend is particularly noticeable at numerous circus festivals, where the vast majority of participants present aerial acts. There is a decrease in the number of group acts, with solo and duo acts being actively created instead. The most popular modern aerial apparatuses are the aerial silk, aerial hoop (lyra), and aerial hammock.
The significant popularity of these disciplines has contributed to their major development, leading to the enrichment of stunts and stunt combinations, a process that is currently dynamic. For example, the aerial hoop has evolved into various variations such as the “aerial umbrella,” “aerial chandelier,” “aerial anchor,” and so on. The implementation of original prop ideas depends on the imagination of the performer and the capabilities of the master manufacturer.
It is often said that “the new is the forgotten old,” and this is evident in modern aerial gymnastics, where stunts and accessories from the past, such as the “iron jaw” (a technique involving holding or lifting by the teeth using a special mouthpiece) and exotic acts like hair hanging, have come to the forefront. These creative ideas are used in both solo and duo routines.
Aerial gymnastics so confidently dominates today’s circus that circus officials and critics have raised concerns about a potential “genre crisis” in modern circus art. Some believe that the popularity of aerial gymnastics is hindering the development of parterre genres, which not only struggle to compete with aerial acts but are also on the verge of extinction.
However, this genre imbalance has its reasons. While mastering skills in circus genres such as hand-balancing or juggling requires a significant amount of time and long-term professional training, aerial gymnastics is somewhat simpler, more accessible, and visually attractive. In addition to a significant number of teachers and trainers—specialists who, after finishing their careers as performers, pass on their experience to students—social networks provide an inexhaustible source of stunts. Tutorial videos offer step-by-step techniques for performing stunts of varying complexity.
Spectacular and aesthetically perfect stunts in the air attract not only those who envision a future in the circus profession but also those simply willing to try their hand at an art that, just a decade ago, seemed so difficult and unattainable. This significant demand and widespread enthusiasm have formed a new trend.
Aerial Gymnastics as a Sport
In the past, the “circus world” was somewhat like a closed club, with the stereotype that one needed to master the profession of a circus artist from childhood in circus studios, and performing a circus act was the job of professional artists. Today, however, anyone can explore circus arts at any age and in any physical condition. Classes on aerial silks and aerial hoops have become available in various fitness centers, yoga studios, and aerial gymnastics schools. Ordinary people, unfamiliar with circus art, now engage in muscle training and stretching exercises using aerial silks or an aerial lyra. At the same time, followers of this trend position “aerial gymnastics” as a sport. While circus performers “rehearse,” aerial athletes “train.”
Followers of the art of pole dance, which also combines sports and choreography with elements of circus art on the ground, have begun to actively strive to master the skills of using aerial silks and aerial hoops. Pole dancers have expanded their creative range with new aerial apparatuses that were once considered purely circus props. They have given impetus to the rapid development of aerial gymnastics in a new space.
Aerial gymnastics has started to emerge from circus art as an independent movement, contributing to the aestheticization of sports and fitness. Aerial performances have become accessible to the general public. This popularity has led to the formation of organizations and communities to unite participants in this new sports movement. “Federations of aerial sports” have begun to appear. It should be noted that aerial gymnastics does not have official recognition and is not registered as a sport in Ukraine. The federations that compete with each other lack officially recognized status and are therefore merely public associations and clubs based on shared interests. Nevertheless, they have many fans and are actively promoting the sport of aerial gymnastics.
In contrast to circus festivals, aerial sports have their own competitions. Aerial and pole festivals and championships have begun to appear, where numerous enthusiasts demonstrate their achievements and enjoy the experience of performing like artists on stage.
The World Federation of Pole Sports and Arts (POSA), registered in Switzerland since 2016, promotes the idea of having pole sports and arts recognized by the Olympic Committee. POSA also works on the international recognition of pole sports and arts by non-Olympic committees and associations. Another focus of POSA’s activity is aerial sport.
For example, in Ukraine, there is a Federation of Aerial Gymnastics, which organizes the Aerial Gymnastics Open Competition, held several times a year in Kyiv. Additionally, the Federation of Aerial Gymnastics of Ukraine is the founder of the Open Championship of Ukraine in Aerial Gymnastics in Dnipro. There is also a Pole & Aerial Federation based in Kharkiv.
At aerial gymnastics competitions, one can see the impressive achievements of students in mastering complex stunts. Combinations involving dynamic stunts, drops, balances, planches, pikes, and backbreakers performed by young gymnasts are both surprising and captivating.
Various aerial gymnastics championships are held regularly, organized by federations, public organizations, and entrepreneurs. Unfortunately, most of these events are of low quality, with unclear evaluation criteria. The requirement to perform a third of the aerial act on the floor often seems odd. The qualifications of some judges are questionable, as they often lack both sports and circus education. In many cases, federations or studios generously distribute “certificates” to coaches and judges; after practicing for a year or two and attending a few hours of lectures, a “certified” trainer and judge appears.
Sports and Art in the Air
It may seem that aerial gymnastics, which came to the circus from sport, is making a “comeback” to its roots. If, in the 19th century, sports equipment evolved into circus props, then, in the 21st century, circus props are transforming into sports equipment. Such metamorphoses do not seem strange; the reality is that the sports aerial direction is, in some ways, ahead of circus aerial art in terms of popularity.
Aerial Sports and Circus Art are not only competitors here, but in a certain sense, they are antagonists. In sports, it is important to demonstrate physical abilities and surpass the opponent in performing certain compulsory systematic exercises. A high-quality circus act involves uniqueness, dissimilarity, and innovation in stunts and transitions between stunts.
Training an aerial athlete aims to ensure worthy participation in competitions and demonstrative performances in front of a panel of judges. In many cases, championships are held in front of empty houses, where dozens of competing athletes perform one after another with almost the same “Aerial Silks” or “Aerial Hoop” program. A circus performer rehearses and creates an act for performance in front of the public and participates in a show program, where the performance in the genre he presents will be unique (as an artistic phenomenon with imagery parameters).
This indicates that while an athlete views competition as the primary objective in their pursuit of victory, for a circus artist, competing serves not as an end goal but as a way to experience and contribute to the creation of an artistic phenomenon.
The Future
It is clear that aerial gymnastics is developing in parallel as both a genre of circus art and a sports discipline. Aerial gymnastics has become a sport, forming a unique sports subculture.
The circus and aerial sports movements occasionally intersect at circus art festivals. For example, at the “Dyvocircus” festival of circus art, which is held annually at the arena of the National Circus of Ukraine, many participants are regular contestants in sports championships. The status and prestige of the event play a decisive role in the selection of participants for the festival, as performing in the country’s main arena is a unique opportunity for athletes and circus performers of all ages to showcase their acts. At the same time, circus studios show interest in the championships because it provides an additional opportunity to perform for an audience.
It is noteworthy that during performances, representatives of the sports movement often try to impress the audience with the complexity of their stunts. However, the artistic image and acting skills often seem to be the weaker aspects of their acts. Conversely, students of circus studios sometimes lag in technique but excel in the artistic production of their acts.
Naturally, the complexity of aerial stunts will continue to increase, and the technique of their performance will improve in the future. In this regard, such a versatile and convenient prop as “Aerial Silks” is truly unique, offering unlimited opportunities for further development.
Hopefully, the development of aerial gymnastics will not be limited to “silks” and “hoops.” Revisiting forgotten props and stunts from a bygone circus era seems very appealing. The stunts from the past may seem like anachronisms today, yet they surprise with their complexity. The illustrations from hundred-year-old publications even raise doubts and skepticism: are they not just the imagination of the illustrator?
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