National Institute of Circus Arts boss says there’s more to the circus than fun

A degree in circus arts? It’s not all about wigs and juggling, says the boss of Melbourne’s circus institute: “It’s an extremely dangerous profession”.

Simona Jobbagy. Picture: Peter Tarasiuk

You’re the director of the National Institute of Circus Arts, which offers a three-year bachelor’s degree. Why do you need such a qualification to be in the circus? Circus is one of those occupations, like ballet, that has a shelf life. You don’t need a degree, but it does afford graduates the opportunity to expand their employment, as well as teach around the world. We are the only circus institute in the southern hemisphere and our artists, as well as working in places like Cirque du Soleil, are also cast in shows, like Harry Potter, and in film. There’s much more to circus than the fun, creative part. It’s very important that students understand the business side – working with producers, contractual agreements – because it’s also an extremely dangerous profession.

Why is Melbourne home to the biggest circus institute in the southern hemisphere? Twenty years ago one of the vice chancellors at Swinburne University of Technology and a couple of other staff decided they would like to start up a circus school. Before then, a lack of qualifications meant there were no pathways for circus artists to move on to other careers after they could no longer perform.

There’s mention on your website about making the circus world “a professional reality”. Does the old, romantic notion of running away to join the circus still exist? Absolutely. We have a 50/50 outcome with our graduates. Some of them prefer to go and work for a performing company. But quite a lot also set up their own companies. Quite a lot of well known troupes that you see around, like Splash Test Dummies, are actually our graduates. We also have non-accredited programs. I have adults on waiting lists to do aerial training courses; circus is the new gym.

Compared to other performances, what is unique about circus work? It’s the different elements included in one act and the fact that you depend on other people. An aerial artist doesn’t exist per se without the rigger who counterweights them and lifts them up and down. There’s also the amazing ability to combine being a high-level athlete with an understanding of the artistic side and the miracle of suspense, and of course risk, as you sit there in the front row and think, “Please don’t fall.”

What’s your favourite form of entertainment? Circus is something fairly new for me. I grew up studying visual arts. I was exposed from the age of 10 to ballet and music so I enjoy all forms of arts – although I’m not a huge fan of Broadway musicals.

What was the circus like in Romania, where you grew up? I remember both Romanian and Russian circuses – very typical animal circuses, with flying trapezes, horses and lions, aerialists, clowns and hand-stand artists.

Is there a specific circus culture in Australia? There is, and I think there’s a bit of a shift happening. Traditional circus used to be a combination of a bit of clowning around, a bit of daredevil, and there was a certain flavour here, a bit of cheekiness. There’s another generation of circus artists coming through where the message is equally if not more important. It’s not just about having a beautiful act with some beautiful music. There’s a bit more meaning.

Does everybody like the circus? I don’t know anybody who doesn’t. I’m yet to meet a person who says, “No, not really my cup of tea.”