Résumé :
This work is focused on presenting the artistic and life trajectory of the circus artist Ramón Martin Ferroni, acrobatic cyclist and juggler, who performed during the decades of 1930 to 1980. In this research, several sources were found, produced and gathered, so it resulted in a documental corpus, aiming to bring visibility to Ramón Ferroni’s production and to his constitution as a circus artist. So, we tried to understand and present the life and art trajectory of Don Ramón, as he was artistically known, by taking himself as a reference to contextualize the circus and its arts in the period in which he performed, as well as its social dimension, based in socialization/formation/learning. The circus arts have been increasing as part of Physical Education, once it has historical and knowledge overlaps. However, its appropriation by Physical Education, nowadays, have not contemplated the circus backstage and its acting agents,
such as Ramón Ferroni. To bring visibility to the life and art trajectory of a circus artist is an iniciative to complement the Physical Education’s lack of attencion to the circus backstage. Don Ramón, besides his artistic excellence in acrobatic cyclism and antipodism – juggling with feet – acts, was responsible for an artistic production within the circus universe that goes beyond the simple execution of those performances and that ultimately results in the design and creation of his work apparatus, specially his acrobatic dismountable bycicle. Ramón, through the process of socialization/formation/learning, typical of the circus in the period in which he performed, represents a complete, full artist, accomplishing several functions, absorbing the many knowledges of the enchanting universe of circus.

Collection : Bibliothèque de l'École nationale de cirque