Roman times

The history of the circus can be traced back to the Roman times, where a circus was an open air arena used for the exhibition of chariot racing, staged battles and displays featuring animals. Spectators embraced this new form of entertainment and it was the only public spectacle where men and women were not separated. The circus of Rome was thought to be influenced by the Greeks who used chariot racing as a popular form of entertainment. The first circus established in Rome was called Circus Maximus which could seat up to 250,000 people. However After the fall of Rome, Europe lacked an animal circus with only travelling showman left performing at local towns and fairs.

 Medieval Era

Groups of travelling entertainers began moved from village to village performing songs, bringing news and telling stories for townspeople.  In England, these travelling performers were called “gleemen” and eventually became known as “minstrels.”

 16^th century

Minstrels were seen as a threat and laws were passes banning their gypsy life. But performers quickly adapted to this by performing on street corners and holding their shows in permanent locations that were designed for the events.

 17^th century

In the 17^th century Country fairs began to gain popularity throughout England. They became a venue for performers to show off their talent. Acrobats, jugglers, rope dancers, and riding exhibitions became regular fixtures at these country fairs.

 1768

The modern concept of a circus appears to have existed in the late 18th century in England and was created by Philip Astley who established the first permanent and travelling circus. He opened an equestrian riding-school in London where he gave riding lessons and then began performing daring tricks on horseback in the afternoon. His school featured a circular area that he called a ‘circle,’ or a ‘circus,’ which would later be known as the ring. The first performance of a circus is believed to have been held on January, 9, 1768 with Astley being known for a trick horse riding into the ring.

1770

As Astely’s show increased in popularity he began to introduce jugglers, tightrope walkers and clowns and had them perform in between his equestrian acts. He borrowed the idea of a clown from Elizabethan theatre to entertain audiences in between acts. This is what became known as the modern circus.

 1782

The circus became very popular in England and large cities built buildings such as the London Hippodrome to accommodate these types of shows, where wild animals appeared in the ring. Astley opened Paris’s first circus, the Amphithéâtre Anglois, in 1782. That same year, his first competitor arose – former pupil and equestrian Charles Hughes who opened the Royal Circus and Equestrian Philharmonic Academy on 4 November 1782.

 1793

Charles Hughes brought his circus show to the Court of Catherine the Great in St. Petersburg in Russia. In that same year in April, one of Charles Hugh’s pupils – John Bill Rickets, a British equestrian opened the first circus in the United States in Philadelphia.  

1797

Ricketts established the first Canadian circus in Montreal.

 1802

British equestrian Philip Lailson (who came to the U.S. in 1795), introduced the circus to Mexico in 1802.

 1825

Joshuah Purdy Brown became the first circus entrepreneur to replace the traditional wooden circus building with a canvas tent, which soon became a common feature for circuses by the mid-1830s.

 1835

Hachaliah Bailey exhibited the first African elephant in the United States. Other wild animals were also introduced later and exhibited all over the country, which inspired the menagerie portion of the circus. Following this a group of 135 enterprising farmers and menagerie-owners from Somers created the Zoological Institute, a trust that featured thirteen menageries and three affiliated circuses, which developed a market for travelling-circuses and the menagerie business.

With that, the unique character of the American circus emerged: It was a traveling tent-show coupled with a menagerie and run by businessmen, a very different model from that of European circuses, which for the most part remained under the control of performing families.

 1836

British Equestrian Thomas Cooke, visited the United States and brought back to England the idea of the American circus tent. Around this same time, three important circus innovators, Giuseppe Chiarini (Italian), Jacques Toruniaire (French), and Louis Soullier (French) transported their early travelling circuses to the rest of the world.

 1871

Circuses began to grow in the United States and American William Cameron Coup dramatically changed the concept of the circus when he was the first to introduce circus trains to transport the shows around the country. This practice still continues to this day. He also introduced a second ring.

 1881.

P.T. Barnum and James Anthony Bailey formed a partnership and called it Barnum & Bailey Circus known as “The Greatest Show on Earth.”

 1884

The Ringling Brothers—Albert, Otto, Alfred, Charles and John—started their first circus.

Each of the brothers had their own roles within the circus, Alfred was in charge of publicising, Albert chose the acts, Charles produced the show, Otto was the treasurer and John supervised transportation.

By the late 1880’s The Ringling Brothers established itself as one of the largest and best-run circuses in the country and became the major competitors to the Barnum & Bailey Show.

 1898

The Barnum & Bailey “Greatest Show on Earth” travelled on tour throughout Europe, every day until 1902. They travelled at night by trains and set up canvas tents that had a triplicate circus, a zoological exhibition and a freak show. 

 1902

Bailey returned to the U.S in 1902 to find that his market was under serious competition by the popular Ringling Brothers.

1907

A year after Bailey’s death in 1906, the Ringling Brothers bought the Barnum and Bailey Circus and kept the circuses separate for several years.

 1919

After deciding it was too difficult to run the shows independently the remaining Ringling Brothers, Charles and John decided to combine the two circuses and created the Ringling Brothers and Barnum and Bailey combined shows.

 The show made its debut at Madison Square Garden in New York on March 29^th, 1919.

 1922
German wire-walker, Karl Wallenda began his own high-wire act with his brother, Herman, Josef Geiger and Helen Kreis, who became known as The Flying Wallendas. They were an internationally known circus act famous for performing death-defying stunts. The Wallendas became headliners with Ringling Brothers, Barnum & Bailey Circus during much of the 1930s and 1940s.

1919

Soviet circuses in Russia were nationalised by Lenin in 1919 and became a popular art form.

 1927

Many performers originally from Western Europe fled to Russia and The State University of Circus and Variety Arts, better known as the Moscow Circus School was established. This was where performers were trained using methods developed from the Soviet gymnastics program which led to the invention of entirely new kinds of original acts.

 1944

On July 6^th, 1944, during an afternoon performance of the Ringling Bros. and Barnum & Bailey Show, in Hartford, Connecticut, the circus tent caught on fire. The Hartford Circus Fire, was one of the worst fire disasters in the history of the United States. Approximately 7,000 people attended and 167 were killed in the fire.

 1967

Irvin Feld purchased the Ringling Bros. and Barnum and Bailey show.

1984

Cirque du Soleil based in Montreal Quebec, was started as part of the celebration for the 450th anniversary of Jacques Cartier’s discovery of Canada.

Using no animals in the performance, Cirque du Soleil focuses on a dramatic mix of circus arts and street entertainment. Its absence of animals and theatrical performances is what helped define the notion of the contemporary circus, which still remains today.

 Contemporary Circuses

Circuses have evolved over time. Nowadays circuses have begun to adapt their shows to attract business by creating a range of acts that include both human and animal performers. There has been a rise in animal free circus productions, but despite the shift towards more theatrical productions and an emphasis on human performances rather than animals, traditional circuses still remain including ones that still maintain to use animal performers, such as the infamous Ringling Brothers and Barnum and Bailey Circus.

However when the all-human Moscow State Circus arrived at Birmingham Star City this Christmas it certainly brought the circus back to life with its fantastic new production Babushkin Sekret. Inspired by the Russian legend of The Twelve Chairs, the show follows the story of Valerik a former member of nobility who works as a desk clerk, in his quest to find his family fortune which has been hidden in one of the twelve chairs. Comical Valerick and his side kick Valik become treasure hunters, as they try to track down the lost chairs.

This interesting narrative is what helps cleverly link the whole show together and keeps the audience hooked with a mixture of spectacular acrobatic performances and comic moments. The Moscow State circus illustrate that animals are not always needed to keep audiences entertained as they place the emphasis of their production on displays of human skill, acrobatics and special effects.  

The show was packed full of impressive gymnastic displays and balancing acts, which included Yana Alievia hanging off a revolving ariel Chandelier,  juggling Sherbakovs on the reverse pyramid of St Petersburg, The Doktrov, flying & spiralling in the apex of the big top and even a motor bike on a hire wire with a trapeze act performing underneath the bike.

If that wasn’t enough to keep you on the edge of your seats then hilarious clowns Valik and Valerik kept audiences entertained.

The production had the perfect balance of the old and the new by combining contemporary ideas with classic showmanship. The Audience was laughing the one minute and in awe the next.

Highlights of the show had to be the hilarious trampoline capers of Professor Balakov and the ending of the balancing chairs routine.

The skill of each artist was something to be admired and each performer made it appear so effortless. Imagine skipping with someone else on your shoulders and still smiling at the same time.

The Moscow State Circus is not to be missed it’s a spectacular show for all the family to enjoy. Their tour continues until March this year for information about venue dates please see: http://www.moscowstatecircus.com/tour-dates.asp

The use of wild animals in circuses has been a heated matter sparking much controversy. For several years animal welfare organisations have persistently fought to get a ban in place. Yet no such ban has yet been implemented. Earlier this year this issue was brought to public attention when national outrage was caused when footage was released showing a Romanian groom beating Britain’s last remaining circus elephant Anne at the home of the Bobby Roberts Circus.

From this, MP’s motioned for a debate in parliament in defiance to the government’s proposed new licensing scheme. Midway through the debate a free vote was announced which meant MP’s were allowed to vote on the issue independently rather than with their particular party. This was the first ever debatable vote on banning wild animals in circuses (23rd June 2011) This motion was tabled by Mark Pritchard MP, Jim Fitzpatrick MP and Bob Russell MP – who are long-standing animal welfare campaigners.  

The majority of MP’s voted in favour for a complete ban and it looked like the government were going to implement one. However since this nothing has changed, the government have instead opted for a new licensing scheme. So what is happening now with the campaign? Will there be a ban in the future?

The Big Top Debate spoke to MP Bob Russell to find out what is going on.

What is happening with campaign?

The campaign goes on and I very much regret as I see it that the government are not following the will of parliament which was made quite clear that there should be a complete ban of exotic animals in circuses. I regret that the coalition government feels less than enthusiastic to take this issue forward. So as it happens I am tabling a parliamentary question to ask the Secretary of State for Environment, Food and Rural affairs to find out where we are with the legislation.

Why is the government opposed to a ban?

Well they say that there are legal complications and that it is European court action that is pending which means that the UK cannot make a decision. But I think this is just an excuse, there is cross party support and I have personally been against the use of live animals in circuses for over 40 years.

Do you think there will be a complete ban of wild animals in circuses in the future?

Yes, I think it is only a matter of time, it is regrettable that it is taking this long. The House of Commons on a cross party vote has declared its wish for a ban and now want we want to see is the coalition government to deliver on the will of parliament. At the moment they are dragging their feet but I am tabling a parlimentry question and I am sure others will pressing the government fraction.

How would encourage the public to get involved in this issue?

I would urge anyone to contact their local MP and ask parliament to put pressure on Defra or go directly to the Prime Minister or even go to your local council to sign a motion that will get sent to the government. I think people need to raise public awareness and determination so that the government cannot just push this issue away. I think people like myself need to continually keep this issue alive.

Animal welfare organisations have been campaigning for years for a ban but nothing has changed yet, what more can be done?

I think it is just a matter of time but I am concerned that time is getting elongated – this should have been banned in the last century. We are in the 21^st century where we really should have a ban by now and that barbarity towards animals should not be viewed as a spectacle of entertainment.

Circus History

The history of the circus can be traced back to the Roman times, where a circus was an open air arena used for the exhibition of chariot racing, staged battles and displays featuring animals. Spectators embraced this new form of entertainment and it was the only public spectacle where men and women were not separated. The circus of Rome was thought to be influenced by the Greeks who used chariot racing as a popular form of entertainment. The first circus established in Rome was called Circus Maximus which could seat up to 250,000 people. However After the fall of Rome, Europe lacked an animal circus with only travelling showman left performing at local towns and fairs.

Development

The modern concept of a circus appears to have existed in the late 18^th century in England and was created by Philip Astley who established the first permanent and travelling circus.  The first performance of a circus is believed to have been held on January, 9, 1768 with Astley being known for a trick horse riding into the ring. He later added jugglers, tightrope walkers, clowns and performing dogs into his shows to create the modern circus.

The circus became very popular in England and large cities built buildings such as the London Hippodrome to accommodate these types of shows, where wild animals appeared in the ring. Astley opened Paris’s first circus, the Amphithéâtre Anglois, in 1782. That same year, his first competitor arose – equestrian Charles Hughes who opened the Royal Circus on 4 November 1782.

Circuses began to grow in the United States and American William Cameron Coup dramatically changed the concept of the circus when he was the first to introduce circus trains to transport the shows around the country. This practice still continues to this day.

In 1836, British Equestrian Thomas Cooke, visited the United States and brought back to England the idea of the American circus tent. Around this same time, three important circus innovators, Giuseppe Chiarini (Italian), Jacques Toruniaire (French), and Louis Soullier (French) transported their early travelling circuses to the rest of the world.

Contemporary Circuses

Circuses have evolved over time. In the 1960’s and 70’s circuses began to face harsh criticism as animal rights became a topic for concern.  Nowadays circuses have begun to adapt their shows to attract business by creating a range of acts that include both human and animal performers. There has been a rise in animal free circus productions such as the very successful Cirque Du Soleil and the Moscow State Circus. Could these types of contemporary productions be the future of circuses?

But despite the shift towards more theatrical productions and an emphasis on human performances rather than animals, traditional circuses still remain including ones that still maintain to use animal performers, such as the infamous Ringling Brothers and Barnum and Bailey Circus and the Great British Circus.

Although the popularity of animal circuses is declining, there is still an estimated 39 wild animals remaining in three UK circuses. Circus animals are protected by the Animal Welfare Act 2006, but many feel that this isn’t enough.

In March this year outrage was sparked when upsetting footage, taken by a hidden camera installed by the campaign group Animal Defenders International,  showed a Romanian groom beating and stabbing Britain’s last remaining circus elephant Anne at the home of the Bobby Roberts Super Circus, where the animal has worked since 1957. The footage was released to the Daily Mail and caused a global outcry for the elephant to be re-homed. After much public support, Anne the elephant, who is riddled with arthritis, finally said to goodbye to the circus and was moved to Longleat Safari Park in April.

Following this several animal organisations called for a ban on wild animals in circuses. The Government had initially planned to ban wild animals from circuses but the Department of the Environment, Food and Rural Affairs (DEFRA) was forced to do a U-turn, after David Cameron reportedly blocked the move and proposed to introduce a new licensing system instead.

However MP’s  motioned for a debate in parliament in defiance to the governments proposed new licensing scheme. Midway through the debate a free vote was announced which meant MP’s were allowed to vote on the issue independently rather than with their particular party. This was the first ever debatable vote on banning wild animals in circuses (23rd June 2011) The motion was tabled by Mark Pritchard MP, Jim Fitzpatrick MP and Bob Russell MP – who are long-standing animal welfare campaigners.  

Conservative whips had previously warned they would impose  a three-line whip, to get backbenchers to support the Government’s alternative proposal of a licensing system. But after The Independent’s succesful campaign for a ban and the long campaigns waged by animal welfare organisations, the Government backed down and allowed MP’s to vote on the issue.

Although this was a great success for many animal welfare organisations nothing seems to have changed. The Government seems to be doing a u-turn on the situation. The motion by MP’s to introduce a ban was only to ‘direct’ the Government to introduce one. It is not yet law. 

But why is the government so opposed to a ban? There is a fear that they could be challenged in court under the Human Rights Act because of a legal challenge against a ban in Austria.

The story is no longer in the public eye which is why it is important to keep it alive.

The Big Top Debate will be investigating the future of the animal circuses. Recently there has been growing pressure on the government to propose a ban on wild animals in circuses, but is there actually going to be a ban? If so, what impact will this have on the traditional circus?

This blog is going to look at both sides of the story, by looking at various issues regarding the use of animals in circuses.

Please follow this blog to find out more on the ban and please share your views.

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Thanks for reading

The Big Top Debate