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| CircusNEXT | |
|---|---|
| Name | CircusNEXT |
| Formation | 2013 |
| Type | Cultural fund / Award |
| Headquarters | Europe |
| Region served | International (primarily European) |
CircusNEXT CircusNEXT is a European support platform and prize established to identify, develop, and promote emerging contemporary circus companies and artists across Europe and beyond. It functions as a collaborative initiative bringing together national cultural institutions, festivals, foundations, and producers to fund productions, provide mentoring, and create touring opportunities. The initiative connects artistic creators with presenting venues, training institutions, and funding bodies to stimulate innovation within the contemporary circus field.
CircusNEXT was launched in 2013 through a coalition of European partners that included national touring agencies, festival organizers, and cultural foundations such as the Fondation BNP Paribas-type sponsors and major arts networks. Early partners comprised prominent European festivals and institutions modeled after entities like Festival d'Avignon, Edinburgh Festival Fringe, Münchner Kammerspiele, and touring agencies akin to TAZ - Theatre on Tour structures. Influential arts funders and promoters similar to Pro Helvetia, British Council, Institut Français, and Goethe-Institut informed its transnational framework. Over successive editions the platform expanded its membership, adding presenters and producers from countries represented in networks comparable to European Cultural Foundation, Culture Action Europe, and regional performing arts centers such as Sadler's Wells, Théâtre de la Ville, and La Villette.
The platform's stated mission centers on promoting innovation in contemporary circus arts by supporting emerging companies to develop new works, reach international audiences, and build sustainable careers. Its objectives mirror those of cross-border cultural programmes like Creative Europe and include fostering artistic excellence, encouraging co-productions between organizations reminiscent of Cirque Éloize and Vidigal, and strengthening professional pathways similar to Woolwich Contemporary Theatre-linked residencies. Emphasis has been placed on transverse goals such as enhancing touring infrastructures, knowledge exchange with institutions like National Theatre, and professional development comparable to artist-in-residence schemes at Centre National de la Danse.
Governance traditionally involved a consortium model bringing together artistic producers, festival directors, and national cultural agencies. The coordinating committee typically comprises representatives from partner organizations analogous to Arts Council England, Svenska Institutet, Fondation Roi Baudouin, and municipal presenters like Festival Internacional Cervantino. Operational management drew on executive staff experienced in producing large-scale events resembling duties at Biennale di Venezia or Venice Biennale satellite programs. Advisory boards and juries invited figures with profiles similar to curators from Tate Modern, directors from Cirque du Soleil, and pedagogues from institutions such as École de Cirque de Bruxelles.
Programmatic activity included a biennial prize awarding production grants, touring support, and tailored mentoring. Grants were comparable in intent to awards like Laurence Olivier Awards-linked commissions or residency stipends from Villa Médicis, enabling artists to produce new works with backing for scenography, music, and technical development. Complementary initiatives involved networking sessions resembling European Network of Cultural Centres events, workshops with directors from institutions like Hebbel am Ufer (HAU), and co-production facilitation with venues similar to Kulturbrauerei. Capacity-building modules targeted administrative skills, fundraising strategies akin to Arts Council grant writing practices, and international distribution supported through showcase opportunities at festivals comparable to Circa Festival and Cincinnati Circus Festival-style platforms.
Selection operated through an open call evaluated by an international jury composed of artistic directors, producers, critics, and festival curators. Jury members often had professional trajectories like directors from Sadler's Wells, curators from Kunstenfestivaldesarts, and programmers from touring circuits such as Nuits de Fourvière. Criteria emphasized originality, artistic ambition, feasibility of production, and touring potential, paralleling assessment rubrics used by organizations like Creative Scotland and panels at Jerwood Arts. Finalists received development plans co-created with mentors—profiles similar to Pina Bausch-trained choreographers and technical advisors from companies like Compagnie XY—and were matched with co-producers and presenters across participating partner networks.
Recipients included a range of emergent companies and projects that later gained visibility on international stages, collaborating with presenters akin to Sadler's Wells, Théâtre National de Chaillot, and festivals such as Festival d'Avignon. Awarded productions often entered touring circuits similar to BITEF and received critical attention in outlets comparable to The Guardian arts coverage and Le Monde cultural pages. Several alumni went on to secure co-productions with major contemporary circus companies like Cirque du Soleil-affiliated ensembles and received invitations to artist residencies at centers such as Centre Pompidou and MACBA.
The initiative has been recognized for strengthening transnational networks in contemporary circus, influencing programming choices at festivals modeled after Venice Biennale, Edinburgh Festival Fringe, and regional showcases like Biennale de la Danse. Critics and commentators from media outlets analogous to Le Figaro and The New York Times have noted its role in professionalizing emerging artists and expanding touring opportunities similar to those facilitated by European Festivals Association. Evaluations by cultural policy analysts with profiles like Council of Europe-affiliated researchers highlighted its contribution to sectoral sustainability, while presenters and producers cited improvements in co-production practices and audience development across partner institutions.
Category:Circus arts