Luke Wilson – Moisture Festival – April 2011

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I’m currently sat in a hotel lobby in a foreign country typing on a MacbookPro Retina, which Luke would have particularly have approved of. Not only for my superior choice of technology, but also the pretend rock star status of living on the road.

I went through periods of seeing Luke every day, almost every waking hour for a few months, to seeing him randomly once every few months. So it’s only recently that I’ve really come to appreciate that I’m never going to see the particularly skinny Englishman again. Until now it was possible that not running into Luke was an unfortunate side effect of busy calendars. But now, 2 years since his death, I think my brain has fully accepted that meeting Luke is not going to happen again.

Sadness asides, I thought it would be interesting to those who never knew Mr Wilson or his work to use this anniversary as an opportunity to analyse a little of his work and try and understand some of the detail and reasoning in his compositions.

I’ve been watching a version of Luke’s club routine (which he mentions in Repetition, posted on Circus Geeks), filmed by Alan Plotkin. In Alan’s words, “This was the last time I filmed Luke Wilson. It was at Moisture Festival 2011 at the Vashon Island venue. I challenged him before the performance to go drop free and he nailed it.”

Unfortunately I never got to see this version live so I am almost certainly missing detail which video cannot convey. I did however see two versions of Luke’s older club routines live and Luke shared a couple of different older versions on video with me.

You can watch Luke talk briefly about his Moisture festival here:

The Moisture Festival version is my favourite of his club routines and in my opinion the most interesting and developed. It gives a clear definition of Luke’s artistic choices and yet leaves a couple of unanswered questions.

Act breakdown

Luke stood sideways on stage looking across stage- not at the audience. He is holding 5 clubs- two clubs in his left hand, visible to the audience.
0:28 Routine starts
Places 5 clubs one at a time precisely on stage in a line, using his hands and feet. Reminiscent on Sergei Ignatov. http://juggling.tv/160
0:41 Hands in pocket, takes a moment to collect the image.
0:44 Foot lingers, almost flirtatiously around the first club
0:49 Hands out of pockets in stylised way.
1st Club kicked up. Manipulation thumb roll sequence
0:53 2nd club kicked up
0:57 3rd club kicked up – juggle walks forward and turning
1:00 Stand still – leaning into juggle run
1:04 4th club kicked up – 4 in doubles, classic fountain. Walks forward – odd feet – reaching for the remaining club
1:15 5th club kicked up
1:21 Triple into scissor catch in squat. Looks at audience.
1:26 Club down – fake drop – foot catch into 4 club routine: multiplex
4 club fast triples
4 club singles
53 iIn triple singles – turing backwards in a circle
Switch to synchronous – splits
1:59 High throw into multiplex bend back
2:02 Freeze with odd catch. Look at audience. Manipulation turn
2:10 Careful placement of balance – finger – cross armed set 3
2:14 Clubs with a balance – left-handed start – 3 chin rolls – drop into 4 – 53 chin roll turing
2:26 collect
2:27 Pass club around body getting lower until on the foot.
2:31 Kick club causing it to roll on floor
2:34 Odd jump – pick up other club
2:35 Slow hand – look at remaining club – turn walk to it with purpose
2:43 5th club in kick up position – look at it
2:44 Kick up into multiplex pattern
2:57 Scissor catch look at audience – club still rocking gently
3:01 Stand up
3:05 Turn and throw 2 clubs away*
3:09 Almost a new person – new routine
3:13 Odd feet and club movements – puppet like – repeating patterns
Odd patterns, placements and wrist traps – odd starts and stops
linking moves, half turns
3:52 Chin roll combinations
3:57 Chin roll reverse cascade
4:01 Balance
4:06 Multi placements
4:09 Helicopter kick up – backcross combination – flat front 44strange1
4:15 Stylish 2 on a 342
4:20 Wilson 52242 wrong-end
4:22 Squat again – fast juggle – doubles with music
4:25 Fast doubles
4:27 Flats turning
4:33 High throw – Ignatov – slapbacks – half turns
4:45 Catch all 3 in right – squat – look at audience
4:52 Fake hard throw of one club
4:54 Slow 1 club slide – lego – puppetry movement style
5:05 Point
5:09 Helicopter wrist trap kick up – Luke signature
5:44 Ends kick up sequence
5:47 Contortion cascade
5:50 Under arm trap – problem and solution
5:57 Leg catch freeze – build up tension
6:04 Triplex kick up
6:07 1 up Pirouette
6:09 Throw clubs behind him
6:14 Bow
6:24 Exit stage

Luke starts the routine standing still on stage, not looking at the audience – an interesting choice. It isn’t till a few seconds in that he looks at the audience, allowing them to take in his appearance and identity. Before that first look Luke is almost secondary to the props, the oddity in his moment and choices are clear but we don’t know how he feels about it.

The juggling begins with Luke kicking up into a 3 club cascade, he turns in a circle allowing the audience to take in this first and most classic pattern. From then on there are only a few classic juggling patterns which have been chosen for specific reasons. Most of the act consists of juggling created by the performer, something which used to be a rarity in juggling.

The first compliment (freeze) allows the audience in, before we have seen a window into his world, a taste of skill and things to come but that eye contact allows us to catch up and take Luke in. The freeze itself is an interesting position, in a sitting squat, far from a unusual ballet-influenced circus poses.

The section where Luke is continually moving and adjusting his legs, arms and clubs are a slight (but only slight) exaggeration of his OCD tendencies. Going for a coffee with Luke could be fun; moving the cutlery or various napkins off-centre would result in him subtly readjusting till everything was back to being in its rightful place, square and proper.

Watching Luke warm up every night for several months was also a chance to see how much he enjoyed systems which would be carried out pace for pace, throw for throw every night. Luke enjoyed his discipline. These puppet-esque movements sit very well with his energy on stage and yet are surprising and unusual, far from the normal movement qualities jugglers traditionally use.

The precision of placing the club into a balance on Luke’s head, is something that is common in many of his routines. Moments of careful precision that Luke was so excellent at, the weight and gravitas he gives the prop and the detail of the pinky finger out – reminiscent of a delicate tea cup which Luke was so fond of and makes for an important moment, heavily contrasting with some of the fast and complex juggling that has preceded it.

Luke runs his own version of a classic 423 kick-up using wrist traps to catch the kicked-up club (Luke help popularise wrist traps in club juggling, taken from another juggling prop – the devil stick. Luke invented many variations with wrist traps, now commonplace in contemporary juggling). This pattern is run for 33 rounds and lasts over half a minute. It’s an unusual choice of trick to run for so long.
Luke has chosen a unique trick to him, subtle in detail. It would be easy to miss the wrist trap if it were ran for only one or two rounds and it’s not a particularly difficult trick in a single repetition. As the pattern plays out the tension builds, we see Luke begin to struggle from the shear repetition and final relief when he breaks out of the loop. Repeating the pattern for so long allows the audience to take in and possibly understand the juggling and gives effective dramatic build in the act.

Luke also particularly enjoyed kick-up tricks which may also explain why he chose to repeat his 423 variation. He finishes the routine with a triplex kick-up, a trick Luke loved and is covered extensively in this video tutorial we made together in 2009.

The pirouette is the final full stop for the juggling, enforced by the dropping of the clubs**. The holding of breath as the audience begins to show it’s appreciation and the exhale of relief helps underscore how much concentration has gone into performing such a complex and well thought-out performance.

Luke was a talented magician and I can see it’s influence in the whole routine, particularly in his bow which was obviously thought out and practiced. The unbuttoning of his jacket and classic open hand position reminiscent to me of dove magician, Lance Burton as was Luke’s immaculately folded sleeves.

Luke left nothing to chance and thought out every detail of his work. Everything had been gone over with a fine comb, from the choice and variation of prop (Luke could probably have written a book on this subject) to his method of rolling up his selves.

Perhaps the biggest lesson for me to take from Luke’s work is to question every choice, be aware of every decision.  Do what you believe in.

I miss Luke.

**The dropping of the clubs really confused me. When studying on my degree Luke taught lessons examining at the nature of status and how we treating our props on stage adds to the communication of how much an audience should care about what we are doing (trying not to drop in the most part). 
Theories for Luke’s end throw include, it was as simple as a stylistic choice or that he got carried away after performing such a perfect routine. However both these reasons don’t fit well with me, they don’t take into account Lukes meticulous nature or his lessons on giving the props value.
For my money, the best guess comes from Jay Gilligan, he said that in one of the MRL laboratories Luke was exploring the idea of finding an ending that could not go on. Jay went onto say, “in one case his [Lukes] solution was to make an ending that was not only conceptual but also literal in the sense that he threw the clubs away from him, preventing any further contact and therefore erasing any doubt at all that he would continue.”
* At 3:05 into the act Luke turns and throws 2 clubs away. It looks slightly award and messy, if we understand the end drop then I cannot fathom this prop dump. My only attempt to grasp Luke’s choice here is that it’s a stylistic choice (or someone was supposed to take them from him?). I wish Luke was around now so I could quiz him about it.
Many thanks to Lauren Hendry,  Sean Gandini, Jon Udry and Jay Gilligan for their thoughts and feedback.

The Making of Beta Testing

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Why make a show?

Luke Wilson was a teacher, colleague, mentor and friend. He inspired me to set up Circus Geeks in March of 2011. Circus Geeks started out as a blog set up after a particularly late night conversation between myself and Luke. Although memories are fuzzy from the night’s events, the definition of juggling, art and how to make the perfect pizza were all discussed. As well as this, a mutual agreement was reached on the lack of information, ideas and connection circus artists manage to share with each other and the wider world. So I set up a WordPress blog, bought the URL and Circus Geeks was born.

At the time, I was performing my solo act in various venues around Europe and was getting a bit down about the idea of working in venues for long stretches away from home or venues in London which offered audiences that were more up for a night on the town rather than seeing a piece of circus.

I graduated with the act in 2008, so by 2012 I was no longer getting the same excitement I got when I first performed it. The solo with the silver cups and balls in Beta Testing was based on the feelings I had doing my graduation piece over and over again.
To be good at juggling (or anything) requires a massive amount of repetition. Typically this attitude of repetition has been continued into the artistic practices of some of the best jugglers of all time. Many have performed 7-10 minute numbers in cabarets, music halls, variete and circus. Their acts didn’t vary too much, perhaps a change of trick once in a while or a new costume but pretty much set pieces to be performed 100s of times, finding different audiences for each performance. Luke wrote an interesting essay on the subject of repetition which you can find on the Circus Geeks blog here: https://circusgeeks.co.uk/2011/09/04/repetition/

After reading Seth Godin I realised that I needed to make an active choice to constantly create new work, find people who were interested in my work and share it with them. Upon reflection I realise it’s what Gandini Juggling do so well (a company I have worked with intermittently since 2008 and has had massive influence on my juggling and views on art).

I knew that performing interesting, new circus work in the UK can be hard as audiences are not aware of what circus (perhaps ‘alternative circus’) can be. I’d always been obsessed by TED (in 2009 I had watched every TED talk there was) and wanted to give my own. I thought that making a show somewhere between a TED talk and a circus performance would be something I’d love to see and making it about juggling would help audiences in to a world very alien to them. It would be an interesting challenge.

I also knew I didn’t want to make a solo.

I met Matt and Jon in the early to mid 2000s at juggling conventions. We became friends and saw each other at juggling conventions. Matt graduated from at Circomedia and Jon studied as an electrician’s apprentice (we still get the occasional story from Jon about how he was electrocuted or how he ruined some poor clients kitchen by drilling holes in their ceiling by accident) but he dropped out, moved to London and made the shift to professional juggler. Matt went onto found his own circus company, PanGottic.

In October of 2012 I asked Matt and Jon if they were interested in Beta Testing, they were both up for it. Each has their own solo shows, so for the first version on Beta Testing we supplemented a small amount of new material by borrowing from their existing work.

We went on to be awarded the Propellor Prize in March 2013, which enabled us to make more material and a more cohesive show, which was premiered at the Roundhouse CircusFest in April 2014.

Beta Testing Inspiration

I like recommendations from sources I trust – almost everyone does.
Here is a list of stuff that have influenced the show and stuff we love:

TED talks
– All of Seth Godin’s TED talks – Arron quotes him in the solo scene where Arron is juggling and talking at the same time. – https://www.ted.com/speakers/seth_godin
– Jay Gilligan – https://www.youtube.com/watch?v=YB_sfnwbgvk
– James Randi – http://www.ted.com/talks/james_randi
– Rodney Mullen – https://www.youtube.com/watch?v=uEm-wjPkegE
– Richard Dawkins – https://www.youtube.com/watch?v=VxGMqKCcN6A

Juggling
– DROP – Luke Wilson
– Red/Blue – Luke Wilson -http://www.renegadesignlab.com/diversions/redblue.html
– Smashed – Gandini Juggling – http://smashedjuggling.com
– Water on Mars – Tony Pezzo X Patrik Elmnert X Wes Peden – https://www.youtube.com/watch?v=Ppgy_9yx5-w
– Flowerpot – Clockwork – http://juggling.tv/171
– Anatoli and Viktor – http://juggling.tv/121
– Anthony Gatto – http://anthonygatto.com
– Dieto – http://juggling.tv/633
– PeaPot – https://www.youtube.com/watch?v=4wO3Ua1lmrU
– The Qian Brothers – http://juggling.tv/1541
– Sean McKinney – http://www.seanmckinney.com
– Robin Gunney – http://juggling.tv/5023
– Kris Kremo – https://www.youtube.com/watch?v=wzkoZH1JKmo
– Ball Sticks – Guy Heathcote – http://juggling.tv/2042
– Pomp, Duck & Circumstance – Donald Grant – http://juggling.tv/1798
– Alexander Kiss – http://juggling.tv/343
– Bobby May – https://www.youtube.com/watch?v=U6ZUoqxWwMo
– Sam Veale – http://juggling.tv/906
– Steve Rawlings – http://juggling.tv/2504
– The Two Marks – http://juggling.tv/257
– Ty Tojo – http://www.tytojo.com
– Bob Bramson – http://juggling.tv/364
– Jay Gilligan – http://www.fourthshape.com
– Erik Aberg – http://erikaberg.com

Books
– The Lynchpin by Seth Godin
– The Tipping Point by Malcolm Gladwell.
– 4000 Years of Juggling – Volume I & II- Karl Heinz-Ziethen
– The Hitchhiker’s Guide to the Galaxy – Douglas Adams (Radio plays over books every time)
-Steal Like An Artist- Austin Kleon

Random
http://sethgodin.typepad.com/seths_blog/2011/01/two-truths-about-juggling.html
– Stewart Lee – http://www.stewartlee.co.uk
– Robin Ince – http://robinince.com
– Penn & Teller – https://circusgeeks.co.uk/2013/03/19/public-fan-letters-penn-teller/
– Steve Jobs – https://www.youtube.com/watch?v=D1R-jKKp3NA

Week by week break down: https://circusgeeks.co.uk/?s=beta+testing+-+creation+week

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The show

Scene break down

Endurance
The idea of Jon juggling as the audience arrived came from watching the DVD of Anthongy Gatto setting the world record for 7 ring juggling as an audience around him ate their dinner. Anthony juggled 7 rings for 15 minutes and 6 seconds finishing with a 5 ring pirouette.
In Beta Testing(BT) Jon juggled 5 balls for 5mins, which is hard to do under pressure. We did some training for it 6 months before the show and Jon was managing close to 20 minutes. It’s interesting to see how showmanship can be used or ignored to manipulate how an audience will react to a trick.

Keynote
The opening idea for the show comes from a piece I made about learning 5 ball back crosses. The piece grew from a performance I did at Jacksons Lane as part of a Lab:Time showcase in June 2012. Since then I’ve tweaked the slides and script but ultimately the key themes of the piece have remained the same, showing an audience the process a juggler goes through to learn a trick.

Jon’s Ring routine
Originally set out to remix and reference jugglers of the past with accompanied projected visuals but after initial testing we decided to scrap that aspect. Instead we have a really nice routine that helps lift the show after its initial text-heavy piece.

The Dreaded Question
This monologue comes directly from an early and popular post on the Circus Geeks blog. Steve Ralwlings helped us connect the scene with the lead in of the heckles, helping set up the tone for the piece.

The Lexicon
Again this scene started from a popular post on the blog, written by Erik Aberg. When we first showed it to an invited audience we received mixed reactions. But after scrapping some material, reworking and clarifying intentions with Steve we arrived at a scene which is very fun to perform and normally well received.  Our review from the Evening Standard says this scene alone is almost worth the ticket price.

Red/Blue
The idea of the colour change and playing on my colour blindness came after I was looking into colour theory and ways it could be used in juggling. I wish Luke could have seen me perform it.

Gentlemen
Matt and Jon both had sequences and tricks with everyday objects so it was logical to tie them together. Chair juggling was something I’d wanted to try for a long time, so we spent a few interesting (and scary) days throwing furniture at each other.

Act Art
This scene changed little as I went through the creation of BT, so there’s not much to be said. The original act can be seen here: https://www.youtube.com/watch?v=EMTvvphbdVU

Ring Passing
Originally the idea was to explore drops, setting up the idea of apologising for each drop, as the drops went on the apologies would get grander and increasingly ridiculous.
But after various experiments we came to the version in BT, it’s more a window into a world that only jugglers normal see. The truth is myself and Jon can easily perform the trick, at first we didn’t have any script or set material but the more times we performed it the more things we found to improvise around. Setting a structure allows us to guarantee (some degree) the piece isn’t too flat but isn’t too strict so we can be sure the piece stays fresh for us and in turn the audience.

Chop Suey
Chop Suey came very late on in the creation period, only 10 days before we premiered. Steve Rawlings pushed us to create a scene that was a bit lighter than some of the other scenes and fill it with juggling. It was refreshing to be a bit silly on stage.

Fish
The original concept was looking at risk and consequence. If a high-wire artist falls off they die; if a juggler drops, it’s a bit akward. Even when juggling seemingly dangerous items like fire torches the consequence of something going wrong is usually a lot less than the perceived risk. We thought it would be interesting to make a real understandable consequence.
Throughout various showing we experienced with the amount of attempts, juggling balls, music and even size of fish. The optimum is the version on the video. On the last night of our premier run at the Roundhouse we had the salmon and rainbow trout cooked up for a celebratory feast!

Big Balls
We spent 2 weeks in La Breche in France working with Howie Bailey to develop the ‘big ball’ scene. It comes from various Lab:Time work I’ve done with Howie before, working with 3D mapping and projection. The juggling in the scene is not the most technical but the prop, lights and pressure of hitting cues make it a very hard scene to get right.

 

What next?
Circus Geeks are currently applying for funding from Arts Council England to support a tour of the show in small-scale and rural venues across the UK. Fingers crossed!

Supported by:

lottery_png_black1Jerwood Charitable Foundation Logo

101 Lessons

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101 Things I Learned in Film School ®‘ by Neil Landau & Matthew Frederick is a beautifully concise book which caught my eye when browsing the Tate Modern gift shop. I thought it would be nice exercise to go through the book and apply some of the lessons to circus. I’ve picked and adapted 39 lessons which I think could easily be applied to circus performance.

1) Start strong

Prompt intrigue

Suggest the central theme

Revel back story

2) Start late

Cut the first 30 seconds of a piece.

3) Show, don’t tell

4) Three stages of show making

Pre-production – meetings, fundraising, planning etc

Production – rehearsing

Post-production – selling the show etc

5) Audiences want to be as close to the action as possible.

6) Conceal the action.

Creates curiosity and intrigue

7) Story telling -> Beginning – Middle – End

  • Act 1 – Establish the problem
  • Act 2 – Complicate the problem
  • Act 3 – Solve the problem

Establish • Complicate • Solve

8) Practice the perfect pitch.

High concepts can be explained in one sentence.

9) A good title says what the show is.

10) Create memorable entrances.

11) Create a show on different scales.

12) Every scene must revel something new.

13) What can the human eye process?

14) Set rules early, clearly and simply.

15) If it can be acted why do it with circus?

16) Make the setting a character.

17) Define the relationship to the 4th wall.

18) Beware working with children & animals.

19) Have a plan but enjoy the detours.

20) Signs of novice circus.

It’s a dream, all black costumes, sequins, bare feet, m

Amely sound track,

21) Leave breathing room.

Both theatrically and practically.

22) Place figures in uncomfortable proximity.

23) Ensure everyone is making the same show.

24) Have some show stoppers.

Big tricks, tear jerkers, hilarious jokes etc.

25) Every show is drama, conflict and suspense.

26) Dig deeper.

Do fewer things better.

27) Good writing is good rewriting.

Write->leave->revisit->rewrite->repeate

28) When you receive a no write back thanks.

29) Different spaces, venues, audiences might be better for a different kind of show.

30) Rhythm / Tempo

Larger pace created by the show / pace of scene or act

31) Don’t cast by looks.

32) Actions speak louder than words.

33) If you want to make circus, see circus.

34) Work in the trenches.

Take less than ideal gigs, learn around your subject / ultimate goal.

35) Let it go already.

Make->assess->move on->repeat

36) Play well with others.

37) Make it shorter.

38) Don’t over use cliches or coincidences.

39) “Perfection is achieved, not when there is nothing to add, but when there is nothing left to take away.” Antoine de Saint-Exupéry

Circus Hackathon

NOLA Hackathon 2011
NOLA Hackathon 2011 (Photo credit: Wikipedia)

I’ve been reading a bit about new ways technology is allowing people to collaborate, things like Google Drive, GitHub etc. It seems as usual circus has a bit of catching up to do!

In Wired a while ago I read an article about Hackathons and thought it would be great to see/take part/organise a circus equivalent. Hackathons are a chance for coders to meet up, work like crazy in small teams and produce a sketch version for a new service or product.

Earlier this year when I was in Montreal I spotted Impro Cirque, something quite close to my idea. Unfortunately I left before it took place but from video it looks pretty fun…

I’d love to see a more informal version done in the UK, perhaps no ‘public’ audience. No one gets paid- All it would need is some interested circus artists and some space (perhaps some pizza and beers at the end of it). Perhaps two days manic work and a fun showing at the end of it? Best team performance judged by a panel wins a years supply of Apple products (or not)?!

Just a thought….

Public Fan Letters | Penn & Teller

I’m currently reading ‘Steal Like An Artist’ by Austin Kleon which ties in to my interest in what seems to be a changing consensus on the origin and process of creativity, art and copyright law. One chapter mentions writing a public fan letter. Here’s one of mine…

I love Penn & Teller, they are not only my favourite magicians but also my favourite artists. I love their open and honest opinions on life and their approach to work. I love their backstory, how they went from street performing carnies to Las Vegas headliners. I enjoy their outspoken (well Penn’s out spoken) views on religion, politics and rational thinking. I try and watch as much of their work as I can, I’ve managed to see them perform live a few times and each time they have something new to offer.

A couple of years ago I performed at a magic convention in Vegas and was lucky enough to see and hear Teller deliver a presentation on Penn & Teller‘s artistic and technical approach to creating a new piece. It was one of the most interesting and inspiring things I’ve ever experienced.

Here’s a nice segment from Teller from a different piece he sometimes gives…

Each week I listen to Penns podcast and when the chance arises I read his books which bring me to tears of laughter. I love listening to Penn argue his point of view which is always phrased in such an informally precise way that it takes you by surprise.

Their careers have decades of success to them, with such a wide variety of material and outlets, from an appearance on the West Wing arguing the right of flag burning to creating a TV series about (and entitled) Bullshit. From directing Shakespeare plays to producing their own films. They seem to have a talent of producing well thought out opinion and conveying it in an original and thought provoking manner.

They are a massive inspiration to me and I can’t wait to see what’s next from them, you know it will be ace.

One of my favourite Penn & Teller pieces…

A note to myself.

Making stuff is scary. Shipping stuff is scary. Performing new stuff is terrifying.

It’s easy to forget that the first time you stepped out on stage you didn’t know what was going to happen or what it was going to feel like.

Artists in other industries can at least hide behind their creation, the film they produced, the sculpture they created, the music score they wrote or even the tangible product they designed. It still takes balls to deliver but it’s not quite as personal and raw. In a live performance medium you are the product, the end result and your actions are the art. You can’t hind behind the art, you are the art.

In circus it’s common that the performer is also the director/choreographer/administrator/publicist so the pressure on getting everything right is huge and very personal. You have to trust to your vision and actions before you have any idea if it’s going to work or if it’s any good. Self belief is the most important attribute to any artist and yet too much misspent ego can be a curse.

Every artist at some point feels the guilt of relying on tested ideas, not pushing oneself to deliver new work that has been dreamt up, written down and developed behind closed doors. Don’t feel the guilt, act upon it.

There’s a comfort in thinking, “I could have done that better than them”. There’s no comfort in stepping out and doing it, just reward.

Get on with making and sharing.

5 things that suck about Circus Artist’s websites

Here are 5 (of many) things that suck about the average circus artist website…

  • Flash. It’s amazing that in 2012 there are still people posting links to new websites that have Flash embedded. Flash doesn’t work on any iOS devices (iPhone, iPad), is buggy and is unnecessary. If you really want spinning animations or even some tasteful crossfading photos then HTML-5 is where you need to head. Leave the Flash in the 90s!
  • Splash pages. No one wants to land on a page that is just a photo of you with ‘click here to enter’ (BOOM,BOOM!) written underneath. It’s pointless and ups the chances of someone giving up on you before they get to see what you’re really about.
  • Homepages. Circus is a visual, live medium. Obvious I know but clearly some of you need reminding of this because you don’t have a video on your homepage. Why not?! Having great images on your site is important but not as important as showing what you actually do! Embeding a YouTube or Vimeo video is super simple, if you don’t want their logos involved they pay for a Vimeo Pro or VideoPress account (personally I think it’s fine, people trust YouTube and therefore more likely to click play). Don’t make a potential booker have to search for your video, it should be one of the first things they come across.
  • Use of lingo. Your site is probably not aimed at people who understand circus lingo so avoid specialised words and phrases.
  • Ego (I’m learning this one the hard way). You don’t want ego on a site that is about you. Sounds odd but it’s true. Your design, layout, copy, video, blog and social media should be aimed at a particular type of customer. You need to address their worries and wants rather than use your site as a chance to show just how really great you are. That’s not to say you won’t show your strengths, it’s just you want to do it in a manner that connects and engages rather than shows off. It’s possibly the most important thing to learn in marketing and particularly important for artists who have to promote themselves. If your sites going to be effective at driving you business then you need to study this stuff and more!

iPad Q&As from Circus Artists

Recently a few people have asked me questions about iPads and Apps so I thought it might be useful to write something specifically for circus artists.

For the record I should state that (sadly) I’m not on the Apple payroll and that other (lesser) tablets are available… Yes ok this is basically an unpaid advert for Apple but hopefully someone will find it useful!

Why do I need an iPad?

You don’t. But do you need more than 1 pair of shoes? The iPad offers enough computing power and screen space to read, watch movies, create simple documents (like invoices) and answer e-mails. And yet it’s small, light and strong enough to alway have in your bag. Just watch some iPad adverts, I can’t sell as well as Apple can!

Will it replace a laptop?

It could. Last year I went on tour for 7 weeks and managed perfectly well without my laptop, thanks to my iPad. With the release of iPhoto and iMovie Apps along with iWork means you can probably do all your office work from an iPad. Having said that, if you’re into serious photoshopping or powerhouse video editing then you might want to hang onto your trusty laptop or desktop (remember them!?).

What Apps do I need?
  • Numbers – Get your spreadsheets done. Cashflow, practice grids and intelligent yet pointless looking graphs.
  • Pages – Like Word but better. Great for your invoices
  • iMovie – Edit simple videos. Add transitions and titles.
  • iPhoto – Crops and adjust your promo photos
  • Paper – The best (and free!) note book app. Beautiful and useful!
  • WordPress – Update your site/blog on the fly
  • Twitter – keep up to date with the Twittersphere.
  • Facebook – How else will your friends find out about how great your gig is going
  • Reminders – Don’t forget anything ever again (OK not true but it is useful)
  • Reeder – Catch up with all your favourite websites from one place
  • Zite – discover new content that your interested in
  • TED – Download some of the best talks in history in the comfort of your own home and save them for when there is no WiFi!
  • Dropbox – You know all about Dropbox already, this App just makes it nice on your iPad.
Which iPad model should I get?

Don’t get the iPad 1 as some of the more hardware intensive apps won’t run on it (iMovie). At the moment Apple are still selling the iPad2 and iPad3, ebay is also worth a look but is obviously more of a gamble. Don’t get the 16GB version, you will fill it up. 32GB would probably be enough but depends on how long you go away for and how many movies you want to take with you. The 3/4G models mean you can connect to the net almost anywhere but you will have to get a contract and pay if you use it abroad! A better option might be to add tethering to your current mobile contract (if you have a smart phone).

What extras do I need?

Case is a good idea, stylus optional.

Will an iPad make me better at one arm handstands?

Probably not, but then there are Apps that can teach you almost anything 😉