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Circus is increasingly being used as a developmental and remedial activity for children. However, it is in the paradoxical nature of circus that it operates in a way both mysterious and easily accessible. This thesis proposes that circus as education is more effective when both teacher and student have a better understanding of circus as an art form.

To explain this I first introduce six ‘elements’ of childhood, whose absence often seems to result in an incomplete personal maturity. I then conduct a wide exploration of both the real and the imagined circus, showing how these elements occur or are evoked there, and I establish a correspondence or ‘homology’ between the two entities – childhood and circus. The discoveries shed light on the aesthetic code of circus itself, leading to the conclusion that circus works as an artform because its essential composition recalls profound experiences of childhood.

I argue that contemporary Western childhood presents unexpected hazards, mostly involving passivity and over-protection. In other parts of the world, and in some Western populations, childhood has other problems, linked to deprivation, corruption and physical danger. In either case, a child involved in circus activities has a chance to make good some deficits, by experiencing constructive physical risk, aspiration, trust, fun, self-individuation and hard work. My hope is that this dissertation will contribute some strength to the case for well-designed programmes of circus activities for young people, in both formal and informal settings.

1.	Introduction: A Wilderness
1.1	Epigraphs, Quotations, Citations and Translations
1.2	The Shape of the Thesis
1.3	Voice
1.4	Theory
1.5	Literature Review

2.	The Challenges of Childhood
2.1	Monday's Child is Fair of Face
2.2	Tuesday’s Child is Full of Grace
2.3	Wednesday’s Child is Full of Woe
2.4	Thursday’s Child Has Far to Go
2.5	Friday’s Child is Loving and Giving
2.6	Saturday’s Child Works Hard For a Living
2.7	The Challenges of Childhood. Conclusion

3.	Representations Of Circus Introduction
3.1	Representations of Circus in Metaphor
3.2	Representations of Circus in the Media
3.3	Representations of Circus in Academic Discourse
3.4	Representations of Circus in Fiction
3.5	Representations of Circus in Poetry
3.6	Representations of Circus in Popular Songs
3.7	Representations of Circus in Juvenile Literature
3.8	The Relationship Between Circus and Theatre
3.9	Representations of Circus In Cinema
3.10	Artists’ Representations of Circus
3.11	Opposition to the Circus
3.12	Representations of Circus Conclusion

4.	Manifestations of Circus Introduction
4.1	History
4.2	Historical Circus Performers
4.3	Traditional Circus
4.4	Amateur Circus
4.5	New Circus
4.6	Circus Students
4.7	Circus in School
4.8	Social Circus
4.9	Community Circus
4.10	Circus in the Psyche
4.11	Manifestations of Circus Conclusion

5.	Six Elements Re-visited Introduction
5.1	Self-Invention, Self-Design and Individuation Revisited
5.2	Fun, Play, Laughter and Happiness Revisited
5.3	Risk and Adventure Revisited
5.4	Dreaming and Aspiration Revisited
5.5	Trust, Touch and Confidence Revisited
5.6	Hard Work, Application and Ingenuity Revisited
5.7	Summary

6.	Case Study. West Papua (formerly Irian Jaya)

7.	Conclusion

Appendix 3: 50 Works of Juvenile Circus Literature used in the Survey in sect. 3.7

Why Circus Works, Reg Bolton, PhD (Abstract)

Reg Bolton

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Why Circus Works, Reg Bolton, PhD (Abstract)
Reg Bolton