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Esta pesquisa tem como proposta apresentar a trajetória do Circo Chiarini (1856 - 1897) em sua primeira temporada brasileira, de 1869 a 1872, e analisar o quanto a produção da linguagem circense no período estabeleceu os mais variados diálogos, relações, incorporações e trocas com a sociedade, ou seja, o quanto foi contemporânea a esse momento histórico tanto numa perspectiva temporal quanto relacional. Nesse sentido, por meio do cruzamento de variadas fontes, principalmente bibliográficas e jornalísticas, foi possível perceber a dimensão da complexa construção artística, empresarial, publicitária e arquitetônica encabeçada pelos circos na segunda metade do século XIX, e o quanto a arte circense foi protagonista do que estava acontecendo em termos artísticos, tecnológicos, culturais e políticos do Brasil oitocentista. [resumo do autor]

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.

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.

O objetivo deste artigo é apresentar as manifestações circenses na Educação Básica. O estudo realizou a pesquisa exploratória em múltiplas fontes bibliográficas e multimídias, tratadas via Análise Interpretativa. Os resultados evidenciam muitas manifestações circenses acontecendo na Educação Básica, realizadas por artistas, professores e arte-educadores. Apresentações artísticas profissionais, cursos, oficinas, palestras etc., aulas-passeio e projetos extracurriculares e complementares não se constituem saberes escolares, pois não se articulam com currículos. Contudo, os projetos pluri, inter e transdisciplinares, disciplinas curriculares de Circo e o ensino como temática, conteúdo e recurso didático em disciplinas tornam o Circo um saber escolar sujeito aos dispositivos da instituição e organização escolar. Em síntese, este estudo procura valorizar a diversidade de ações, projetos, atividades e sujeitos que buscam aproximar o Circo, sua arte e seus saberes da Educação Básica.

Recentemente, educadores físicos e artistas atuantes na escola vêm direcionando atenção para o potencial pedagógico do circo e evidenciando a aproximação entre educação corporal e a arte. Diante da amplitude das práticas circenses, contamos com as modalidades de malabarismo com distintos aparelhos, destacandose claves, bolas e aros. Fundamentadas na manipulação de objetos, essas práticas requerem atenção dos professores, visando o oferecimento de
um ensino envolvente, seguro e expressivo. Assim, o presente artigo discute elementos básicos para o ensino do malabarismo com caixas, procurando
fomentar essa prática entre os profissionais que se aventuram no ensino da arte circense e que buscam uma educação artístico-estética. Partindo de
referenciais teóricos, artísticos e de nossa práxis com pedagogia circense e malabarismo com caixas, acreditamos que essa modalidade possa compor o
repertório de profissionais da Educação Física e das Artes e almejamos com essa contribuição que o malabarismo com caixas se torne mais disseminado e
acessível.