The purpose of my Churchill Fellowship and study was to gain global insight into the operations of other elite training organisations with a lens on how they integrate and balance artistic practice and technical circus training as well as current trends, best practice, pedagogy in teaching and education, equipment, staffing, injury prevention and health. This topic seems to be the age-old question that many institutions are still struggling to answer. I was lucky enough to speak with many passionate teachers, trainers, and artistic tutors regarding their individual approach to best support individual student’s needs. It was amazing to see so many similarities between organizations, as well as huge differences in content and delivery, depending on the cohorts, cultures, and the countries I visited. I am pleased to report that NICA places very well against other international Bachelor accredited circus courses.
The interview and data gathering process was fascinating as I gained an insight into each organisation on multiple levels. Talking with directors, managers, teachers, and students, I was able to understand the strengths and challenges that each of the organisations faced. One key area of interest was the required qualifications, currency and expectations of what teachers and trainers are responsible for. I spent time unpacking what the expectations for circus teachers were, through planning and programming, technical circus skill development, routine creation, improvisation, artistic exploration, and creative research. It was here I received a varied response.
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