This graphic novel is part of IMAC#2, the inter-magazine circus festival project which brings together 3 international circus magazines, Around About Circus, Juggling Magazine and StageLync, all part of the INCAM network, and students from the Université Libre de Bruxelles, who share their thoughts on circus architecture. The analysis

This article is part of IMAC#2, the inter-magazine circus festival project which brings together 3 international circus magazines, Around About Circus, Juggling Magazine and StageLync, all part of the INCAM network, and students from the Université Libre de Bruxelles, who share their thoughts on circus architecture. The analysis of

This article is part of IMAC#2, the inter-magazine circus festival project which brings together 3 international circus magazines, Around About Circus, Juggling Magazine and StageLync, all part of the INCAM network, and students from the Université Libre de Bruxelles, who share their thoughts on circus architecture. The analysis of

Contemporary circus can be an artistic language for decoding our complex relationship with society and opening new perspectives on how we see the world around us. Since its foundation in 2022, the digital platform Around About Circus has visited festivals and experienced shows, often enlarging the spectrum of participation by

A piece of collective writing by Amanda Homa, Itzel Sandoval Valladares, Laura Jansen, Micaela Castrillo Vargas, Carlos Landaeta Meneses, Simone Di Biagio, Thiago Souza, Giulia Aleandri, Gaia Vimercati. As an introduction to what follows, let me (Amanda) set the context in which these worlds emerged. First, what you’ll read

Opportunities and challenges of international collaborations What does it mean to be a company based in Flanders from an internationalisation process point of view? What are the obstacles and opportunities for Flanders-based companies with international members? What are the differences or similarities between structures, working dynamics, opportunities and challenges? Three

Necessities and consequences of its recognition as part of the UNESCO Intangible Heritage across different countries Intangible Cultural Heritage represents today's customs, knowledge and practices that people have acquired from the past. Safeguarding these aspects supports their survival by ensuring viability, ongoing re-creation, and transmission. Heritage and practices

We preserve an object related to a specific time, often using it as a tool to interpret the past or to understand our present better. In the same way, we store gestures, actions, and words that provide a foothold in existence, a familiar structure to refer to over time. In

by Ilaria Bessone, Heta Mulari, Ian R. Walsh  In response to a growing need for youth and social circus trainers’ work to be recognised and standardised the Circus Transformation Programme (CTF) was established. This was the first ever European training programme for social circus trainers and there have been eight

What engagement practices can we bring into play in Italy to ensure that contemporary circus can grow and continue to mature on stage as a language? To stimulate reflection on its positioning and ongoing dynamics within the Italian cultural system, the promoters of the project SOLO BUT NOT ALONE created