#he is definitely an aerialist/acrobat | Explore Tumblr Posts and Blogs

allsassnoclass · 3 years

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19 & 57 for the 100 ways to say i love you prompt list? whichever pairing you vibe with for it 😊 -💙

okay roll with me here blue heart but let me give you some context for this. michael and luke are part of a youth circus. michael is an acrobat. luke is an aerialist. this is part of a larger universe that has not been written yet but this prompt said muke and i've been thinking too much about youth circuses lately. there is not a festival for world circus day yet but if there was. whoo boy. it sure would be something.

muke: “Can I hold your hand?” and " There is enough room for both of us.”

The circus festival is huge.

Logically Michael knew that it would be, since it's the first World Circus Day festival and over 100 circus groups signed up, but it's still shocking to get to the festival space and see all of the people and tents. They've been here for three days already and performed five times, but it's still boggling his mind.

Luke seems equally mystified but a lot more excited, so when he invites Michael to go exploring with him after their morning hand balance routine he accepts eagerly. They've changed out of costume but haven't wiped off their makeup yet, but Luke is bouncing on his toes and already chattering excitedly about all of the other performances and booths they could hit, so Michael decides to forgo the makeup wipes. Besides, Luke looks good in glitter, even if circus makeup is ridiculous and big. Everyone else here is wearing it, so they're not going to stick out or anything.

At least, Michael won't. Luke draws eyes naturally, especially when he's in the air. He's the only aerialist that makes Michael want to stop being so scared of heights.

There are dozens of other performances happening simultaneously around the grounds, but Luke bypasses the offers of maps and a program and dives into the crowd instead. Michael almost loses him immediately in the press of other people, and when he pushes through the bodies and finds Luke again Michael immediately snatches for his hand. Luke startles, but doesn't pull his hand away, and Michael's stomach swoops like it did the first time he truly gained height on the Russian swing.

"Can I hold your hand?" he asks. "It's too crowded. I don't want to get separated."

"Oh," Luke says, face still flushed like it was right after they finished performing. "Yeah, good idea."

He readjusts their grip, threading their fingers together, then tugs Michael forward again.

They find another performance soon enough, some contortionists from Sweden on a platform twisting around each other. They watch for a few minutes, but Luke is still bitter that he's not flexible enough to be a contortionist so they move on quickly. A sword swallower is next, which they watch for longer and with equal parts fascination and disgust. Danger acts like that aren't taught at their school, and Michael wants to look away but can't find it in himself to.

"How does he do that?" he asks. He's not sure if he wants to know.

Luke shrugs. His face is doing something weird, a grimace mixed with curiosity, and they clap enthusiastically when the performer finishes but don't stick around to see what he does next.

Luke takes his hand before they move on. Michael doesn't let himself read into it, because it's still crowded and Michael really doesn't want to get separated.

There's a Capezio tent, so Luke makes them stop because his are wearing out and he wants to see how much variety is here rather than at their local dance store. Michael actually should see about ordering another pair before the fall session starts, but his don't have any holes in them yet so it should be fine. His teeterboard shoes still work and that's all that really matters to him, anyway.

Luke is delighted by the fact that they have more colors than tan, white, and black, but there's not much to see when they're not going to buy anything and they quickly move on.

There's a booth selling cotton candy. Michael immediately buys some and offers Luke a bite. He takes some of the fluff and pops it in his mouth, then complains about how his fingers are sticky from just one touch. For a split second Michael considers doing something ridiculous and gross like offer to lick the sugar off his fingers, but he catches himself and tries not to turn a noticeable shade of red. Thankfully, Luke is already scouting out their next stop.

The next stop happens to be one of the larger tents on the grounds. Luke grabs Michael's hand again and beelines for it, stopping short outside and checking his phone for the time, then the schedule for when the next act will be.

"Come on, we're just in time!" he says, pulling Michael into the tent. He wants to ask what they're just in time for, but the two straps hanging from the ceiling give him a pretty good idea. At least it's not high wire. Michael's heart still hasn't recovered from watching Ashton do that without a net, even though he knows that he had a harness.

"I think I see some spots over there," Luke says, pulling him along again. They pass by other audience members to get to one of the benches near the middle. The woman near the end scoots over a little when she sees them coming and Luke beams.

"Come on, there's enough room for both of us," he says, plopping down. He may be right, but barely. If Michael wants to fully fit on the bench, he has to sit pressed fully against Luke from shoulder to knee.

Luke also hasn't let go of his hand yet, which Michael definitely is still not reading into. Nope. No reading happening here. In fact, Michael is illiterate.

Luke squeezes his hand excitedly when the audience lights dim and the stage lights come up, a voice announcing the performers and country of origin in French, English, and what's probably Russian, given that that's where the performers are from. Luke watches with rapt attention as two men enter the ring, then the music begins and they start their routine, full of lifts, tricks, and impressive displays of strength. If Harry and Louis had been a bit stronger, Michael thinks that the duo straps routine from last year's summer show probably would've looked a little like this. It's impressive, but what's more impressive is the way the stage slight still shimmer off of Luke's makeup and the delighted laugh he gives when the performers do something he hadn't predicted. He's completely reeled in, smile wide and eyes lighting up like fireworks with each trick. Watching his reaction is almost better than watching the performance itself, although Michael would never tell him that. Luke gets offended every time Michael reminds him that aerial acts aren't for everyone.

"Did you see that?" Luke asks excitedly, leaning closer with his eyes fixed on the arena. He glances at Michael and stops when their faces are about an inch away.

"What?" Michael asks.

Luke's smile shifts into something softer.

"I think they're getting to the finale," he says instead of actually replying. "You should pay attention."

He turns his gaze back to the performers, hand flexing in Michael's grip. Michael looks back at the ring where the performers are holding each other up in the air. He still finds himself in tune with Luke's reactions more than the performance, noticing every sharp intake of breath and relaxed exhale when a trick lands.

When the performance ends, Luke finally detaches their hands to clap. Michael tries not to mourn the loss.

"Do you want to keep watching these guys?" Luke asks, leaning close to be heard over the cheering. "I think they have a few more routines, but acrobats from the Chinese State Circus are going to perform at the East Tent soon. I only really wanted to see the straps routine, anyway."

"Do you have the whole festival memorized?" Michael asks.

"Just the things I thought you'd want to see," Luke says. "Also, Lena is here, so Ashton wants all of us to see her German wheel routine and say hi, so we're going to do that in the afternoon."

"Oh," Michael says, still stuck on the fact that Luke specifically looked up the things he thought Michael would like.

"Come on," Luke says, nudging him towards the entrance. "Let's go see the Chinese State Circus."

Once they get outside, Luke takes his hand again.

They pass by a trapeze set up on the way to the East Tent, and Michael's stomach swoops when he looks up and sees the performers so high above them. Luke just continues pulling them forward, though, and Michael thinks that his feelings about heights are no match for the acrobatics his stomach does when Luke glances back and smiles at him.

#my writing #muke #circus school au #the circus school au has an insane amount of research put into it #a ridiculous amount. i have never researched so much. some info was found in slightly questionable ways #anyway. small detail you may have missed: the performer announcmenet is given in french because the world circus org originates in monaco #*world circus federation #so if they ever did a festival for world circus day i assume it would take place there and their national language is french #the actual story for this au is a larry fic i just have not written it yet despite having been brainstorming since 2019 #anyway here i am posting something for the first time in what feels like five years! huzzah i guess!#blue heart anon #blue heart i hope you like this i hope you don't mind my very specific au that caters only to me

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kyoonqs · 3 years

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iluso amor ; third part.

↬ summary: Cora has always considered herself elusive, easy to bore and adventurous to the last fiber of her body. One day for no apparent reason, she appears in front of the manager of a globetrotting circus passing through the city where she is temporarily staying to fill her life with magic. Baekhyun, as serious as he is handsome, has no intention of playing a role other than on the main canvas of the circus. He decides to separate Cora from her life of fantasies created by her travels and sets out to show her reality as raw and cruel as he knows it. Or so he believes.

Will time run out too quickly before love and passion devour him and he decides to risk everything for a love that lasts… Forever?

↬ pairing: baekhyun x cora fem!reader.

↬ circus!au ; illusionist!baek x hitchhiker!oc ; strangers to lovers au!

↬ genre: fluff ; romance ; angst ; drama.

↬ length: 9.2 k words.

↬ tag list: @changshapatrol @spacebyuns @fluffyhunnie @soos-goddess @hoho-cham @shadoukiti @sunbyun21 @mangobaek @suhotly @pororodks @bbhbae @blahblahblah-boo @leewalberg @byunsbobobu @endzii23 @taeilpathic

If you’d like to be tagged for future chapters, please let me know!

↬ masterlist.

When Cora left the trailer in that afternoon, she bumped into a young woman with shiny golden skin, dark hair, and a very pretty, contagious rectangular smile. She recognized her as Talia, she was a member of the group that performed acrobatic skills using various elements from ribbons to hoops and balls. From the moment she saw her, Cora could read how transparent she was and dared to say that she was surely the sweetest young woman in the whole circus.

The girl introduced herself and without losing her smile she brushed her hair behind her shoulders. Cora returned the greeting with a cordial smile of her own, as she caught sight of another woman approaching. The woman, dressed in black baggy pants and an oversized shirt came up and introduced herself as Ramona. Cora instantly recognized her as one of the women who had entered the arena on the back of one of the horses. Her casual clothes made Cora feel overdressed. She'd wanted to look good on her first day at the box office; for this she had put on an ivory silk blouse with black leggings instead of the jeans and the outlet shirt that Baekhyun had insisted on buying her in a shop window they had passed before settling in Fraga.

“Cora is Baekhyun's girlfriend, she joined us in Monzón.” Said Talia, who seemed increasingly happy with the news.

“I already heard the news. How lucky you are. Man doesn’t have a single particle of waste in his body.” Ramona replied.

Cora opened her mouth to tell them that she was just showing up for work, that she was definitely not his girlfriend but she snapped it shut when Ramona interrupted her with: “Algeria is going to have a fit when she gets back.”

“Actually... I applied for this job because of the vacancy, I didn't know Baekhyun before and I don't think he's interested in me either.” Cora felt embarrassed. She didn't want these girls to get a bad impression of either her or Baekhyun in the first conversation.

“Vacancy? The positions were filled by the time flyers were posted and besides we only needed male performers. Are you sure he has no interest in you?” Talia looked in bewilderment to Ramona, who only shrugged her shoulders with an apology that she had to leave.

Cora was going to investigate a little more, considering the girl's words had given her a lot to think about but she was in a hurry to get to the box office in time.

“I guess I’d better go. It was nice meeting you.” She waved goodbye and headed toward the locker trailer, mentally correcting herself that the place was to be called “The Red Wagon” shortly before. Baekhyun had told her the circus lockers were always called that, no matter the color.

Despite its name, the locker was pale in color. Dotted with a handful of colored stars, it showcased a hanging blackboard with prices according to age and number of family members.

In contrast to the cheerful exterior, the interior was dull and cluttered. A battered steel desk sat in front of a small sofa piled high with stacks of newspapers. There were mismatched chairs, an old filing cabinet, and a radio. Baekhyun was sitting behind the desk, with a calculator in one hand and a clipboard in the other. A single glance at his stormy face told Cora that Baekhyun hadn't had a good day so far.

Baekhyun stood up and gestured for her to follow him, leading her to the window at the side of the trailer to explain the procedure in a soft voice. It was very simple and Cora learned it immediately.

“I'll check every penny and make sure you don't lose sight of the fundraiser for a minute. The circus is on the brink of ruin, we cannot afford to lose money.”

“Of course I won't. I’m not stupid.” She held her breath, feeling that he would deny it, but Baekhyun concentrated on unlocking the hinge on the window. He accompanied her while she dispatched the first clients to make sure she was doing it right, and when he saw that she had no problems, he announced he was leaving.

“Are you going to the caravan?” she asked.

“I'll go when I have to get dressed. Why?”

“I left it somewhat scrambled.” She had to get back to the trailer before he saw the mess. When she started cleaning, she should have saved the cabinets for last, but wanting to scrub thoroughly, she had emptied the shelves to clean them first. The cabinets were clean now, but she hadn't had the time to put everything back and as a result, there wasn't a single surface in the trailer that wasn't occupied by something: clothing, tools, or an alarming pile of whips.

“I swear I’ll pick up everything as soon as I finish here, don’t worry if things are out of place.” Cora said hastily.

Baekhyun simply nodded, leaving her alone.

The next few hours passed without incident. Cora liked chatting with people looking to buy tickets and many of the circus employees made excuses to stop by and satisfy their curiosity about her –she guessed they were curious after the information Talia had given her, that they had all assumed she was there for other reasons, very dissociated from work–.

She recognized some of the men tending the stalls: clowns and several members of a group that performed equestrian numbers. She couldn’t shake the feeling that some of the girls were hiding their jealousy over the rumor floating around that she had managed to “catch” Byun Baekhyun. She appreciated the covert gesture. It gave her a glimmer of hope. Maybe things would work out after all.

Only after the second performance had begun was Cora able to leave the box office to watch Baekhyun perform. She hoped that watching the show again would dilute the shock she'd experienced the night before but she found his performance even more impressive. Where had he learned to do these things?

It wasn’t until the performance ended that Cora recalled the re-ordering she had yet to take care of back at the caravan. She rushed back to the living accommodations and was preparing to open the door when Talia called out to her.

“Come on Cora, I want to show you something.” She closed the trailer door quickly, before Talia could see the mess inside. The young woman took her arm and led her through the line of caravans. To the left she could see the emcee talking to Baekhyun as the workers stacked bleachers.

They rounded the last caravan, and Cora gasped in surprise to see many of the performers, still in performance clothing, around a folding table with a rectangular cake on top. Laia, the girl she had met before, was near the cake, along with Ramona, Fionn –if she remembered her name correctly– and her group of aerialists, various clowns and many other employees she had encountered.

Grinning widely, the emcee pushed Baekhyun forward and Talia raised her hands like a conductor. “Attention everyone, let’s all welcome Cora!” She was speechless. These people hardly knew her but here they were, extending a friendly hand to her. After spending months away from her family –not to complain of the wonderful travels– she took pleasure in the intimacy of this moment. At this impromptu gathering of future friends, she felt as if her family were welcoming her at the airport, with bright smiles and cheeks numb with happiness. Cora weighed the tears that were beginning to form in her eyes.

“Thank you. The cake looks delicious. I bet everyone wants a slice.” Cora glanced at Baekhyun, who had a lopsided smile on his face, surely trying to hide it. Even if they had only spent the last 24 hours together, she was beginning to grow familiar with his expressions.

Cheeks burning –somewhat embarrassed– Cora walked up to the folding table, grabbed a knife, and began to slice the cake into neat squares. Someone ordered one of the men to turn the radio dial to a happy station. After all, what was a celebration without dance?

When Cora had distributed the last of her cake, she watched as a tall boy with dark hair and round, shiny eyes like coins approached Talia. He looked hesitant but still held out his hand and she took it kindly. Guiding her to the center of an improvised dance floor, he then took her by the hips. Both of them mirrored a smile that could only have one explanation and Cora imagined how nice it would be nice to have company like that. In that moment, she thought of how Baekhyun had stroked her cheek the night before and turned to look for him, feeling disappointed when she found no sign of him.

For the next several hours, while the circus was being dismantled for the next town, Cora set about putting everything back into the cabinets. She was filled with a sense of despair that left her hardly able to stand upright but she kept working nonetheless.

The leggings she was wearing were completely dirty and the blouse was sticking to her skin but she didn't care. The little impromptu party and cake had been a small blessing to her but the fact that Baekhyun left the place sooner than she would have thought possible gave her the impression that all the hope she was gathering would only bring her a headache in the future. And she hoped it was just like that.

When Baekhyun entered the caravan shortly after midnight it still looked as messy as when Cora had first arrived. In the morning he’d found out that the circus was supposed to pay more taxes than expected. Afterwards he’d found out his boss would be back soon and with it the idea of receiving more tasks than he already had didn’t sit well and finally... he hadn't been able to get Cora out of his head. And it frightened him to such an extent that he had transformed the unfamiliar feeling into anger.

Although Cora had cleaned and organized the cupboards, she hadn't had the time or energy to do anything else. He rested his hands on his hips and examined the dirty furniture, the dusty tabletop, and the remnants of the cake the artists had insisted she take.

“I thought you were going to clean this up but I see that it’s still just as dirty.”

“The closets are clean. And I washed everything in the sink.” She said through clenched teeth, indifferently.

“Who cares about closets? Don't you know how to do anything right? You don't know anything about real life, do you, Cora? You're here for work, not to get thrown from one place to another for free. From now on, try to think of others, not just yourself.”

Cora's eyes stung as she tried not to cry. Without thinking, she picked up the cake with one hand and tossed it at him. He spread his hands automatically to stop her from throwing it at him, but it wasn't fast enough. The cake hit him on the shoulder and fell apart into a thousand pieces. She watched as the mess, bits of cake and icing flew everywhere. A sticky white substance splattered on Baekhyun's hair, eyebrows, and even eyelashes. Chunks of chocolate that had stuck to his jaw fell onto the shoulder of his shirt. Cora's nonchalance disappeared when she saw him turn red. He was going to kill her. He tried to wipe his eyes as he moved toward her. Cora got out of his way and, taking advantage of Baekhyun's temporary blindness, ran out the door.

She looked around frantically, searching for a safe place to hide. The circus had been dismantled. The smaller tents were closed and most of the trucks had left. She tripped over a bush and ended up taking refuge in a narrow space between two vans. Her heart beat hard against her ribs. What had she done? Had she completely lost her sanity? What if the emcee's introduction wasn't just about a lack of rationality and psychological logic? Could it be that the man's attractiveness had robbed her of her sanity so much that her heart already belonged to him? Was she going to go crazy because of love?

She hated arguing, irrespective of the person and the reason they might have, Cora had never been one to lose her temper so easily. She knew how to listen carefully. She thought before giving an answer and only if it suited her did she open her mouth. But at that moment she had acted with her heart.

Cora hugged herself, repeating that she was a fool for having too white a heart, for allowing herself to give so many opportunities to people who had rejected her in the first instance, and above all for believing that she had the ability to make a difference in their lives.

She winced at the sound of a man's voice and slid deeper into the shadows, crashing into something solid and human. An alarm went off in her head. She turned around, unable to bear it any longer. Turning, she found a warm fortress behind her and knew she had found a sanctuary. Then she felt something rough under her cheek. The events, the fear, the exhaustion and all the –distressing– changes in her life over the past two days overwhelmed her and she burst into tears.

Baekhyun's hand was surprisingly soft as he took her chin, forcing her to face him. Cora looked up at him. Still stained with cake and icing sugar, he looked fierce and magnificent. She realized that she feared Baekhyun in another way, one that she did not fully understand, she only knew that it was something that went beyond physical threat. It was more than that. Somehow she felt that he could damage her soul.

Cora had reached the limits of her endurance. There had been too many changes, too many conflicts, and she didn't feel like fighting anymore.

“I suppose now you want to threaten me with something horrible.”

“Don't you think you deserve it? Only children throw things, not adults.”

“You’re right, of course.” She brushed her hair away from her face with a shaking hand.

“What is this about? Humiliation? I've had enough for tonight. Limits? I've had enough too. Pressure? No, that won’t work, I'm too numb to feel it” she paused, hesitating. “I'm afraid you'll have to resort to something else.”

As he looked at her, she seemed so unhappy that something went soft inside Baekhyun. He brought his lips to hers, brushing against them but then he remembered that he shouldn't, so he turned away again. The sugar that hadn’t been cleaned with his sleeve had mixed with the salty liquid of her tears.

He knew that Cora was afraid of him –he had made sure of it– and yet he still couldn't believe that she had had the courage to throw the cake at him. He felt her tremble under his hands. Cora had shown her claws tonight but her eyes showed only despair. Did she know that her face reflected every one of her feelings? He wondered how many things had happened. Who was responsible for making her want to flee each time.

As he watched her, he had to restrain the sudden urge to pick her up and carry her back to the trailer, where he would lay her on the bed and find the answers to all the questions he was beginning to ask. What would her hair look like down and spread out on the pillow? He wanted to see her naked on the wrinkled sheets, to see the paleness of her skin against his, he wanted to soak up her essence and feel her touch.

The day before, he had told himself that she wasn’t the type of woman he would sleep with, much less be in a relationship with, but he also knew it was a matter of time. He couldn't touch her until he was sure she understood how things would be between them. And by then, there was a good chance that Cora would grab her suitcase and run away.

He took her by the arm and led her to the trailer. For a moment, she resisted and then she followed resignedly.

“I'm really starting to hate you,” she said weakly, her words almost inaudible. Baekhyun was surprised to find those very words hurt him, especially when that was what he wanted from her. Cora wasn’t cut out for such a hard life and he had no desire to prolong this indefinitely. It was the best he could do.

“Maybe it's for the best.”

“I've never met anyone so cold and cynical.” “Cold, Baekhyun. You're so cold.” He'd heard a lot of women say that before her. Kindhearted women. Competent and intelligent women who had deserved more than a man whose feelings were long gone before meeting them. When he was young, he had thought that a family could heal that wounded and lonely part of him. But while seeking a lasting relationship, he had hurt those kind-hearted women and proved to himself that he had no feelings to love any of them, even if he had intended to.

They reached the caravan. He passed Cora at the door and stepped inside.

“I'm going to take a shower. I'll help you clean up when I get out.” She stopped him before he reached the bathroom.

“Couldn't you have been a little more pleasant… Or at least try to enjoy my welcome party for one more hour?”

“I am what I am. I’m not pretending. I never do that. Don't get romantic ideas about me. It would just be a waste of time. I have learned to live by my rules. I try to be as honest and as fair as possible. For this reason I overlooked the fact that you threw cake at me but don’t confuse justice with feelings.”

Baekhyun entered the bathroom and closed the door. Squeezing his eyelids shut, he tried to put the play of emotions he had seen crossing Cora's face out of his mind. He had seen it all: caution, innocence, hope, and love, the last one terrifying, the prospect that he might not be as bad as he seemed.

↬ author’s note: next chapters will start to get spicier, as always, hope you enjoy it! as you know, any feedback is welcome ♡ and again: thank you and i love you a lots, Oliv.

#baekhyun fluff #baekhyun angst #baekhyun smut #baekhyun x reader #baekhyun x oc #baekhyun x you #baekhyun fanfic #baekhyun fanfiction #baekhyun serie #baekhyun series #baekhyun au #baekhyun scenario #baekhyun scenarios #exo fanfic #exo fanfiction #exo au #baekhyun circus #exo circus #iluso amor

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cuddly-pastel-dragon · 5 years

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Silk Cage

Patton walked with a bounce in his step as soon as they got out of the car, it was his idea and he was definitely excited. Spending time with his family and going to a circus! Virgil wasn’t too sure about it, the circus was somewhat dangerous and not really his style. Logan was admittedly happy they were going to the circus sometimes they had interesting things and he supposed it was somewhat enjoyable. Roman was ecstatic! He always admired circus workers and especially loved acrobats. Everyone started to make their way toward the booth but something caught roman’s eye. A small glimmer. Amongst the other performers practising there were silks and hoops and all sorts of aerial apparatus. What really caught his eye was the man gracefully dancing on the silks, he was somewhat toned but rather slim with a peculiar hair colour. Roman watched carefully as the man danced and did an inverted belay. Roman was ripped from his daze and he looked towards Virgil who was dragging him back towards the ticket booth where the others were. He glanced back at the man and he swore they locked eyes. Those piercing eyes… Roman felt as though they bore right into his soul. Virgil rolled his eyes and snapped his fingers in front of roman, taking him out of his daze once again. Roman sighed and walked in with everyone. Patton glanced at Roman, “you okay, kiddo?” Roman flashed a toothing grin, “fantastic, padre! Just thinking is all!” Logan cocked an eyebrow, “that’s a first…” Roman gasped dramatically, Virgil snickered. Everything was usual once more.

Roman couldn’t focus on any of the acts, his mind continued to wander to the man on the silks. Patton gasped slightly, “Roman, isn’t that the guy you were staring at?” Roman looked up and there he was. He watched intently as the man first started on the ground. Roman decided to call him Mask, due to the mask he wore. Mask did tricks on the ground and a man walked up to mask and they danced before Mask pulled a red cloth from the man and he dropped to the ground. The same happened to another man before mask gracefully made his way up the silks, as ‘evil night together’ played, and started the aerial part of his routine. Never once did Roman take his eyes off Mask’s form. As mask blew a kiss into the audience Roman felt his heart do a flip and he wished that was just for him. And roman just stared at where Mask had been when he left. Now Roman’s mind was just going even more wild.

When they left Roman knew he had to meet that man. Roman quickly sped round to the side of the main tent, quickly making his way around the crowds and finding the aerial equipment. He looked around and saw Mask on the hoop. As Roman started to walk over Mask quickly got off the hoop and bolted. Roman followed as Virgil, Patton, and Logan tried to catch Roman and stop him from chasing the poor guy who was obviously trying to get away. Unfortunately for Mask, he bumped into his boss, who was not happy with him since he should have been practising. Roman quickly caught up and the boss turned to roman, “yes sir? Can I help you?”

Roman huffed a little, catching his breath, “ah, yes, I was trying to speak to your aerialist. I was wondering if I could get an autograph.”

The boss smiled kindly as if he wasn’t shouting and threatening the man stood next to him but a minute ago, “I’m sorry but he doesn’t give out autographs.”

Roman seemed a little disappointed, “ah, I was also going to inquire about the possibility of lessons?”

The boss held his chin and thought for a second, “maybe. It’ll cost about twenty dollars per session.” At this point, the others were stood by Roman. “And 10 extra for each person that tags along.” Mask looked rather uncomfortable with that idea but he was just ignored because everyone was either confused or excited or, in his boss’ case, just didn’t care for his opinion. Roman smiled at Mask, “when would you be free?”

The boss interrupted, “oh, he’s free whenever.” Mask sighed and looked away. Patton noticed and felt a bit concerned but Roman had already made a deal to meet with Mask every week on a Saturday. “Oh god, where are my manners, what’s your name?” Once again the boss interrupts, “we all just call him Snake.”

And before Patton could see if Snake was alright he was ushered back to the aerial equipment. Patton couldn’t help but feel suspicious of the oddly shaped bruises and marks that were just barely visible, he wanted to put it down to his aerial work but something didn’t sit right. Patton also noted that the poor man definitely needed to eat more, he may have been a bit toned but that still didn’t hide the fact he couldn’t have been eating properly. He’d maybe go with roman to those lessons and try to help him out. For now, though everyone got into the car and went home.

#ts deceit #deceit sanders #sympathetic deceit #tw: sympathetic Deciet #roman sanders #ts roman #roceit #patton sanders #ts patton #virgil sanders #ts virgil #logan sanders #ts logan #platonic lamp

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fireintheforest · 5 years

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Market happenings

A nudge to Saufinril’s shoulder made him stir in his bed, but his eyes remained closed. He fell back to sleep when a second nudge interrupted him, but he just made a sound from the back of his throat, and in no time he was sleeping back to unconsciousness…until the third nudge came. Saufinril repeated the noise he’d made before, though now he extended it and covered his head with the sheets.

“Oh for fuck’s sake.” A familiar voice said. Then it was all still and silent, quiet.

Until the fourth nudge.

“Mhrmm?” Saufinril asked, pushing the sheet down from his head and opening one lazy, emerald green eye. The figure in front of him said something earnestly, but even though he heard it, he couldn’t exactly comprehend well or retain what it was saying. Not even the silhouette in front of him rang a bell, though it wasn’t threatening either.

“Saufinril!”

Saufinril just blinked slowly.

“Oh come on!” he felt a fifth nudge, “Don’t fall back to sleep, you lazy bastard!” Saufinril’s eyes closed gently, “No-Saufinril!”

And in came the calm darkness, where all outside noises ceased to exist. Where the reality doesn’t matter as the descent to the realm or dreams commen-

A sixth nudge, this one harder than the others.

“Mmh!” Saufinril protested, now really starting to wake up.

“Come on! How quickly you jump to the arms of dreams, yet you run from mine. Hypocrite!”

Oh, it’s Muraz. Saufinril pushed himself to sit down, yawning while he did so, then rubbed his eyes with his palms.

“What…is the need…?” he didn’t even know how he was asking this, he just pushed his messy hair back and looked at Muraz in front of him, “Morning.” He said in a sleepy voice.

“You look equal parts cute and handsome when you wake up.” Muraz said, “The sunlight of my life. What a fucking task it is to wake you up, by Y’ffre, doesn’t it ever bring you trouble? One day your house is gonna be set on fire by some jealous lover and you’ll sleep through it. Nobody will feel bad in your funeral because we all will know you slept through it and didn’t suffer. How did Lillandril do with you all those years? Did he had to fucking throw you from the mattress? Ice, maybe? Did it even work, or did it just set you into a hibernation mode?”

Saufinril was staring at him with a still somnolent face, blinked slow and only caught half of what the orsimer said. He sniffed and took the leather ribbon he had next to the bed and tied his hair up in a messy bun. “What do you want, Muraz?” he asked, passing a hand to tame the flyaways and covering his yawn with one hand.

“I gotta go down to the market to fetch some things. Thought it might work for you to leave the Den for a bit. If anyone asks, you’re the one carrying the things so it’s still bitch work for you. Can you even leave the Den while you’re under the rap?”

Saufinril thought for a second. He stretched his arms upwards, letting them crack at the joints here and there while his shirt rode up a bit, revealing a strip of his lower stomach that Muraz looked at for a second before turning back to Saufinril’s face.

“Mmmmhhhhh….” It was a noise of satisfaction at the stretch what came from Saufinril before he said, “One doesn’t recall him saying one couldn’t leave. Granted,” he lowered his arms again, making the shirt cover up his skin again, “the confinement is somewhat self-imposed. One doesn’t want to run into the Thalmor or that ginger pig again. Besides, with everything one has had to do here, one hasn’t had the chance to stroll outside.”

“Saufinril, you can’t lock yourself forever over one mistake you did. And ok, you’ve been busy but also! Remember I need a little mule to carry my shopping so…” Muraz tilted his head with a grin, “What do you say? I need help.”

“Muraz, you’re stronger than one.”

“Your compliments warm my heart, beloved, but I do need an extra pair of hands. Come on, we’ll be back soon. If you’re worried about the bosses,” he added in a low volume, “I’ll take the rap for you. You always do with me and it’s the least I could do. I promise. If Lillandril gets pissed, I’ll take full responsibility.”

“One must be dreaming, one has never heard you say that sentence in one’s life.”

“Shut up, I’m being nice. Well? What do you say?”

Saufinril sighed, then smiled at Muraz, “Let one take breakfast and get ready, then we can go.”

“Yess!” Muraz clapped his hands, “Alright, yes.” Saufinril pushed the sheets aside and stood up, then went down to the kitchen, followed closely by Muraz. Around an hour later, the Den’s door opened to let both Muraz and Saufinril out, with Saufinril carrying the bag where they’d put the things they’d acquire in.

“-fuck you need two hours to get ready for, anyways?” Muraz protested

“One did not take two hours in getting ready, Muraz.” Saufinril contradicted, “One took just enough to look good, get off one’s dick.”

“It took forever, Saufinril.”

“It didn’t, you’re just overdramatic.”

The bickering went on as they reached the market, at which point it lessened when they got distracted by the merchants, their goods and, more importantly, the knife jugglers in the center of the plaza with their music ensemble on the background of the antics. All of them Bosmer, the jugglers consisted of three males and two females, all moving as nimbly as if they were made of air. All movements closely coordinated, all choreography executed flawlessly, all looking like they were having fun and, as such, infecting their growing crowd with it. The drums marked the beat of the juggling and the acrobacies, which ranged from cartwheels between the fire balls being tossed by two of the Bosmer, to using each other as climbing pillars and extending the juggling higher up, while the flute added the melody of danger when the acrobats jumped from one of their partners to the other amongst knifes in the air, and the big, harp-like guitar of 21 chords made of leather and ivory accompanied the flute in an entrancing melody. Somewhere, a pair of bone castanets were being played to the tempo of the drums but it was impossible for Saufinril to see which of the musicians were the ones playing it.

The smallest girl of the group had just landed an aerial backflip from one of the Bosmer pillars and had managed to jump to the other pillar flawlessly (which already consisted of two Bosmer), earning a round of applause. Saufinril’s gaze wandered away from the acrobats back to the musicians to solve the mystery of the castanets when he saw someone on the public on the other side. It took him some seconds to recognize him as one of the Dunmer that had been frequenting the Den these past nights, it was the one with the neck scar. The one that always came with the other younger Dunmer with a Mohawk and a tattoo in his head, though this time he was in the company of a rather tall and muscular Imperial woman. Both were focused on the aerialists, with the Imperial woman being the most excited of the duo. Though his face didn’t share the thrill of the Imperial woman’s, he was nonetheless clapping with the audience and seemed interested in the number.

He’s particularly stoic. Then again, it’s not that bizarre for the Dunmer to be so standoffish, especially to strangers. It’s just their culture. This one, for instance, would give the first impression of being completely disinterested in the show despite paying attention to the gymnasts, evidenced in how his sharp, ruby red eyes followed their movements. His face was sharp, too. The ink black hair, which back in the Den that night had been let lose, was now tied up to show the undershave that had started to grow. Saufinril kept observing the Dunmer, absorbing every detail he couldn’t that night. That was a long scar. One line, clean edges, that was made by a blade aimed at the jugular. It was a miracle he’d escaped, with only a pebble gray scar on his aegean skin. He had a nice eye shape. Sharp, rather narrow, but there was something about those eyes that didn’t make him feel any hostility or alert. The shape of those eyes reminded him of the blades of grass or on the little vine leaves back in his grandparents’ house. That, along with the shade of red and the sense of serenity and air of confident arrogance, brought a feeling of something. Saufinril couldn’t exactly place a finger on what he was feeling, he just knew he felt it, vibrant and present and pleasant, in his stomach. It was an immediate effect. Similar, he guessed in silence, to what Ria had with his suitors. Or with anyone, really, that crossed his path. Some people are just magnetic, he concluded, looking back at the acrobats, that’s all.

As if to test his theory, he looked back at the Dunmer. He was listening to something that the rugged lady was telling him, complete with her moving her hands in enthusiast explanation. The Dunmer listened, gave a nod here and there, but otherwise remained silent. Yes, the pull was there. That’s how he could call it, a pull. Perhaps this Dunmer was also of the Serpent sign? Did all signs share a similar gift? Perhaps not exactly the same, but similar. Just like how he and his mother were both of the Mage sign but she excelled at Alchemy while Saufinril was proven adept at spells. He just knew that he felt a peaceful focus. Perhaps this was his gift? What an interesting one. And what a beautiful eye shape. At that moment, the Dunmer crossed his arms, observing the show, and Saufinril’s gaze went to his arms. Taut muscles defined them, coming to sight with the change in position. Now Saufinril could also see some scars around the Dunmer’s wrists and forearms. Probably obvious that he’d be in good shape if he was from the Thieves’ Guild, but somehow the thought that he’d be buff hadn’t crossed Saufinril’s mind when he’d guessed that at the Den the other night. He also now realized there were some tattoos on his arms, mostly on the upper part. And the pull was still there. Definitely probably someone from the Serpent sign too.

“That was great.” Muraz interrupted Saufinril’s train of thought, “Come on, let’s go. We still have some stuff to do.” Saufinril looked away from the Dunmer, realizing that the acrobats and musicians had ended their show and were collecting coin. He put some in the cup that one of the drummers passed, but when he looked up to search for the Dunmer again, he and his brawny companion were gone. And just like that, the pull lowered in intensity. Saufinril followed Muraz to one of the stores, where they left only after an hour (“You have no business calling one out for taking one’s time getting ready in the morning if it takes you an hour to pick a pattern.”) to go to the next one. And the next one. And the next one.

“Muraz, this is taking a considerable while and you said it wouldn’t be long.” Saufinril protested, following Muraz from yet another stand while carrying the bag Muraz had given him.

“Listen, I know. We just need some eyeliner and we’re done. Plus we haven’t lasted that long, don’t be impatient. I waited for you for an hour.”

“Can’t you be normal and make the eyeliner yourself like your mom does? One can teach you, it’s easy.”

“And waste ingredients over and over and over?”

“She doesn’t waste them ‘over and over and over’, plus they go back to the ground and all that.”

“It’s just that one stand over there and we’re going back to the Den. Relax! Lillandril won’t kill you for leaving for a couple hours.”

“You don’t know about that.” Saufinril muttered, following the orsimer, who replied, “Like Rialas would let him kill you! You’re a constant source of entertainment for him.”

The purchase was done fast, in a store near the end of the merchant part of the city, but much to Saufinril’s chagrin, something caught Muraz’s eye.

“Hey um…” he began, “do you mind waiting for me here one moment?”

“Where are you going?” Saufinril asked, puzzled

“Just, it won’t take long.” Saufinril followed Muraz’s gaze, only to see a curly brunette with honey eyes that he recognized instantly, “Ohhhh no. No. No. No, Muraz. You said she wouldn’t be an issue anymore!”

“And she hasn’t been!” Muraz said, turning back to him, “We just, suddenly stopped talking and that’s it.”

“Then all things ended, so what’s the need of you to go bother her? Look at her, she’s busy buying cheese! Just, let her be! Let’s go back to the Den, before Lillandril decides one has to clean the floors with one’s tongue.”

“It’s just, we never got to actually say-there’s a lot I need to say-”

“Muraz,” Saufinril put his hands on the orsimer’s shoulders, almost begging by now, “sometimes you don’t need to say shit. Sometimes, silence by itself is an answer. If neither of you guys spoke to each other in months since one left for the Isles and came back, the message is loud and clear.”

“Well, but we did talk…”

Saufinril stared at Muraz. “Come again?”

“Yes, um…we saw each other, it was two weeks or so after you left and she asked me some things and I need to-you know, let her know. It was something private, something that got me thinking, and I do think that if I don’t say them right now, I never will have the chance and I’ll regret it for the rest of my life. Or hers, given that she’s Imperial.”

Saufinril stared at Muraz, then sighed and let him go, “By Y’ffre, you can be such an idiot. Fine. Go clear up whatever you need to clear with that-that trollop. One will be waiting here.”

Muraz blew him a kiss, walking backwards, “You are the sun of my life, the fire in my sky, the reason for my life!”

“One is also the whip on your ass, Muraz, telling you to hurry up so we can go!” Muraz then turned and left. The market was somewhat crowded, so Saufinril could see the wild black hair going after the curly brown one until a Bosmer with her water buffalos cut the line of sight. At that, Saufinril put the bag on the ground and stretched, wondering how mad Lillandril would be if they came back by nighttime, which was a sure time for them to come back if Muraz let the little hussie talk him into staying on the palm of her hand like she always did. Saufinril rolled his eyes. He’d be grateful he couldn’t fall for the opposite gender if only he hadn’t fallen with shitty specimens of his own in the past. Hopefully Lillandril would be in a good mood when they came back. Or hopefully, Muraz would remember to say it was his idea. He was going to smear honey on all his clothes if he didn’t or, more conveniently, ‘forgot’. Still, this was probably not an easy talk, so Saufinril understood when ten minutes had gone by and Muraz hadn’t returned. Fifteen even. By twenty, he was wondering what was going on. By thirty, Saufinril was peering around to see if he could catch a glimpse of the orsimer. When forty-five minutes had passed, the Altmer gave up and, grabbing the bag again, started to go back to the direction of the Den.

“Well, if it isn’t the knife-ear I was looking for!”

Saufinril stopped in his tracks, closing his eyes and exhaling. Great. Perfect. He turned around to face the ginger Imperial. Several scars adorned his face now, all red with scabs and still healing. One of those went across his nose, probably even a fracture from the way it crooked slightly to the right now, and another was horribly close to his eye. That one made Saufinril stare longer. A little more and he could’ve lost an eye. The Imperial immediately figured that was what Saufinril was looking at.

“You piece of shit elf.” He growled, stepping forward with his other six friends, who carefully circled around, “You gods-damned subspecies. You think this is funny, huh? Your little fucking artwork on my face? Look at it!”

Saufinril did. Scars that would stay there forever, scars that almost reached eyes, that went all the way to the side of the face and mingled with the freckles in the man’s visage, “Yeah, it connects the dots.” He mocked.

“Got a sense o’ humor, this one!” one of the men around him, the one with a simple wooden club, said

“Let’s see if he laughs when we give ‘im a drubbin’.” Another said, pulling out his knife. “Fuckin’ wedgie-ass twiggy!” another snapped. Saufinril looked around, seeing all of them with weapons here and there. “Let’s make him look normal, trim them ears.” Someone said. “Serah, I am so sorry”, he thought as he summoned spells on each hand.

#fourth era Sau #in which wow the Dunmer is a looker huh #in which Sau is the bag carrier #in which Muraz is Muraz #in which racial slurs to elves are thrown here and there #in which Sau is like 'wellp I tried I really did'#in which I listened to 'Focus' by Allie X like 5 times while writing this #in which I discovered a new musical instrument #which was v interesting and y'all should check it out #imperial #dunmer #altmer #orsimer #tes #tes rp #tesblr

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voltronbookshelf · 5 years

Note

hi sorry I was wondering if the circus au square was still available on the bingo and if so could you hit me with your headcanons for that? Thank you!!!

Yes it is and yes I can!

Thank you for the prompt!

For my @voltronbingo AU card, the prompt “Circus AU”…

I actually had two thoughts about this at first, “Greatest Showman AU” and “Generic Circus AU” (Also an ancient Rome AU because Original Circuses. I do plan to at least make character aesthetics for that one eventually. I’ll probably make aesthetics for this one tbh)

I’m going to talk about the Generic Circus AU because I have more concrete ideas for that one so far.

It’s a very small circus. Small but good. Very close knit community. Everyone fits multiple roles and fills in to help where needed.

Allura is the owner, and daughter of the former owner, of the circus. Also a tightrope walker because she is just that cool.

Coran is the ringmaster. Also in charge of costumes.

Shiro is the lion tamer. He is very protective of his lions. One of them, nicknamed Black, is a rescue from another circus where she was abused. She tolerates only Shiro and sometimes Keith.

Keith throws knives and does motorbike stunts. He and Shiro both do actually, its a double act and they enjoy stressing everyone else out with their recklessness. He also trains dogs and has a few that he does an act with. Kosmo is the largest and probably his favorite, though he’d never admit it. He is very protective of them all and will fight anyone who insults or threatens them.

The Holt Family are aerialists and acrobats. They also run most of the electrical engineering side of the circus (lights etc…)

They enjoy dragging people up into the sky and teaching them how to fly. Keith and Lance and Allura (and Shiro before he lost his arm) take to it with much aptitude and joy. Hunk a little less so but most down days you can usually find the majority of the circus hanging out in the Holt’s domain.

Lance and Hunk are clowns. Which means they run interference and also fill in for almost anyone else if needed.

Lance is also a contortionist and has a hula hoop act.

Hunk pretty much single-handedly keeps the circus running from a technical point of view and is the best assistant/backup to have for just about any act. He can also juggle just about anything you hand him, but he doesn’t consider that anything special. (he is wrong) He is the Best Base to have for any acrobatic act. Pidge and Matt fight over him sometimes.

Veronica manages their books for them.

I am definitely still taking prompts for my AU card. You can request headcanons, fic, or aesthetics, though I can’t promise I’ll always deliver in that medium if I get pulled really hard in another direction.

#voltronbingo #vldgen #circus au #Team Voltron #Rain Rambles #My Headcanons #Ask And It Shall Be Answered #glow--squid

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bonbonzbb · 7 years

Photo

Calvin Harris has a habit of making ubiquitous summer jams. But he really threw down the gauntlet earlier this year when he tweeted in February, after releasing "Slide": "All my songs in 2017 have been sonically designed to make you feel f****** incredible." He makes good on the promise today with a three-headed pop hydra with the seasonally forward-looking title "Heatstroke."

Pharrell and Ariana Grande both feature on the smooth funk-pop song that will almost definitely be heard on dance floors and in supermarket aisles alike this summer. But in the tradition of upcoming rappers guesting on mainstream pop songs (and maybe hurting their cred), Young Thug comes off like a natural. His introduction and verse are positively ebullient, his unique vocal styling bouncing off Calvin Harris' neon production like an aerialist acrobat.

#calvin harris #slide #heatstroke

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kansascityhappenings · 5 years

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California governor signs fur sale, circus animal bans

SACRAMENTO, Calif. — California will be the first state to ban the sale and manufacture of new fur products and the third to bar most animals from circus performances under a pair of bills signed Saturday by Gov. Gavin Newsom.

The fur law bars residents from selling or making clothing, shoes or handbags with fur starting in 2023.

Animal rights groups cheered the measure as a stand against inhumane practices. The proposal was vigorously opposed by the billion-dollar U.S. fur industry, and the Fur Information Council of America has already threatened to sue.

It follows Newsom’s signing of legislation that makes California the first state to outlaw fur trapping and follows bans on sales of fur in Los Angeles and San Francisco.

“California is a leader when it comes to animal welfare, and today that leadership includes banning the sale of fur,” Newsom said in a statement. “But we are doing more than that. We are making a statement to the world that beautiful wild animals like bears and tigers have no place on trapeze wires or jumping through flames.”

The fur ban doesn’t apply to used products or those used for religious or tribal purposes. And it excludes the sale of leather, dog and cat fur, cowhides, deer, sheep and goat skin and anything preserved through taxidermy.

It could mark a significant blow to the fur industry that makes products from animals including mink, chinchillas, rabbits and other animals. The U.S. retail fur industry brought in $1.5 billion in sales in 2014, the most recent data available from the Fur Information Council.

Fashion designers including Versace, Gucci and Giorgio Armani have stopped or say they plan to stop using fur.

Under the California law, there is a fine of up to $1,000 for multiple violations.

Animal rights groups have said animals may be subject to gassing, electrocution and other inhumane actions to obtain their fur.

The advocacy group Direct Action Everywhere said it’s working with activists to pass similar bills in cities nationwide, including Minneapolis and Portland, Oregon, and it’s optimistic California’s law will spur action elsewhere.

“Ordinary people want to see animals protected, not abused,” said Cassie King, an organizer with the Berkeley-based group. “Now governments are enshrining that in our laws.”

Opponents of the legislation have said it could create a black market and be a slippery slope to bans on other products.

The ban is part of a “radical vegan agenda using fur as the first step to other bans on what we wear and eat,” spokesman Keith Kaplan of the fur information council said in a prior statement. He further said fake fur is not a renewable or sustainable options.

Meanwhile, California joins New Jersey and Hawaii in banning most animals from circus performances.

The law exempts domesticated dogs, cats and horses and does not apply to rodeos.

Circuses have been declining in popularity for decades. The most well-known act, the Ringling Bros. and Barnum & Bailey Circus, closed in 2017 after 146 years of performances.

State officials say at least two circuses that include live animals were scheduled to perform in California this year. At least 18 circuses don’t use animals, including Cirque du Soleil.

At first, critics warned the proposal was too broad and would impact county fairs, wildlife rescues or rehabilitation organizations. In response, lawmakers narrowed the definition of circus to include “a performance before a live audience in which entertainment consisting of a variety of acts such as acrobats, aerialists, clowns, jugglers, or stunts is the primary attraction or principal business.”

The law includes penalties of up to $25,000 per day for each violation.

Democratic Sen. Ben Hueso authored the law, arguing that wild animals in circuses endure cruel training and near-constant confinement.

“We cannot allow this type of abuse to occur in California,” Hueso said, according to a legislative analysis of the proposal that eventually became law.

The Southwest California Legislative Council opposed the law, arguing it will prevent people from being able “to experience the thrill of a circus performance featuring beautiful, well cared for animals.”

Also Saturday, Newsom signed legislation aimed at helping protect horses from slaughter. The law requires public and private auction yard operators to post new signage, maintain sworn statements and post identifying information online starting Jan. 1.

It is key to ensuring California’s horse population isn’t illegally sent to slaughter, said the bill’s author, Democratic Assemblyman Todd Gloria of San Diego.

from FOX 4 Kansas City WDAF-TV | News, Weather, Sports https://fox4kc.com/2019/10/12/california-governor-signs-fur-sale-circus-animal-bans/

from Kansas City Happenings https://kansascityhappenings.wordpress.com/2019/10/12/california-governor-signs-fur-sale-circus-animal-bans/

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itsfinancethings · 5 years

Link

October 12, 2019 at 02:58PM

(SACRAMENTO, Calif.) — California will ban the sale and manufacture of new fur products and bar most animals from circus performances under a pair of bills signed Saturday by Gov. Gavin Newsom.

Under the first-in-the-nation fur law, residents will no longer be able to sell or make clothing, shoes or handbags made of fur starting in 2023. California is the third state to ban most animals from circus performances, joining New Jersey and Hawaii.

Animal rights groups cheered the fur ban as a stand against inhumane practices. The proposal was vigorously opposed by the billion-dollar U.S. fur industry, and the Fur Information Council of America has already threatened to sue.

It follows Newsom’s signing of legislation that makes California the first state to outlaw fur trapping, and follows bans on sales of fur in Los Angeles and San Francisco.

The new doesn’t apply to used fur products or fur used for religious or tribal purposes. And it excludes the sale of leather, dog and cat fur, cowhides, deer, sheep and goat skin and anything preserved through taxidermy.

Fashion designers including Versace, Gucci and Giorgio Armani have stopped or say they plan to stop using fur.

Under the new California law there is a fine of up to $1,000 for multiple violations.

“Given the overwhelming evidence of inhumane practices in the fur industry and the availability of so many different options for warm and fashionable fabrics, we will not continue to be complicit in unnecessary cruelty,” Democratic Assemblywoman Laura Friedman said when she introduced the bill.

Animal rights groups have said animals may be subject to gassing, electrocution and other inhumane actions to obtain their fur.

Opponents of the legislation have said it could create a black market and be a slippery slope to bans on other products.

The circus performance bill, meanwhile, exempts domesticated dogs, cats and horses and does not apply to rodeos.

Circuses have been declining in popularity for decades. The most well-known act, the Ringling Bros. and Barnum & Bailey Circus, closed in 2017 after 146 years of performances.

State officials say at least two circuses that include live animals were scheduled to perform in California this year. At least 18 circuses don’t use animals, including Cirque du Soleil.

The law includes penalties of up to $25,000 per day for each violation.

Democratic Sen. Ben Hueso authored the law, arguing that wild animals in circuses endure cruel training and near-constant confinement.

“We cannot allow this type of abuse to occur in California,” Hueso said, according to a legislative analysis of the proposal that eventually became law.

#IFTTT #Blogger

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river-bottom-nightmare · 4 years

Note

Question, what's your opinion on dicks build/height? Personally it always annoys me when you see him as either bulky or tall. But my knowledge of aerialists comes mostly second hand and from the three times I've met a circus family. Sorry I'm tired but this is something I've been wondering for a while... Also sorry for the ramble

Noooo no please thank you for the ramble bc I totally agree with all of it.

I always hate it when I see Dick portrayed as bulky, buff, muscular, and tall. It doesn’t fit with his fighting style and the way he trained at all, not to mention his genes.

Let’s state the facts here for a second. Canonically, Dick Grayson is 5′10″ (1.78 m) and 175 pounds (79 kg). He’s got noticeable muscle, and in many of his appearances, the muscles are mainly the kind that you can show off. He has been shown as being taller than Jason on some occasions, eye level with Bruce, and generally a pretty big guy.

None of that makes any sense.

To start off, John and Mary Grayson were acrobats. Aerialists, trapeze artists, and I think canonically Mary worked the silk. In the higher levels of acrobatic physical activity, having a shorter height will help you so much, especially when it comes to aerial. Remember that you’re up in the air for extended periods of time, usually holding yourself up with your own strength, and utilizing other muscles to pull yourself in and out of complex positions. It’s easier to manipulate your body through your own space when you have less body to manipulate. When looking at body levers, having a shorter height gives you more lever advantages. Weighing less also helps you with linear improvement. At very high levels, including the heights where John and Mary perform and Dick operates, being shorter makes strength and spinning moves easier and more fluid. Longer limbs look amazing in splits and other moves showcasing flexibility, but inverts, straddles, hip keys, and other strength and core based moves mean more body weight to haul around. Getting your legs straight up, getting your legs on the trapeze without swinging, etc. is harder with longer legs. bottom line: performers are usually short, and before the graysons died, john, mary, and dick were the best performers in the world.

(However, for all the tall people out there, that isn’t discouragement for getting into aerial! There are tons of beginner, intermediate, and advanced moves you can do without your height being too much of a hindrance. You will have to put in some extra work, but with time and dedication, you’ll be as incredible as the short people.)

That being said, there are some moves that you simply cannot do if you’re over a certain height. These are in the highest and hardest level of aerial acrobatics, but if we’re being honest, they’re the kind of stuff Dick does on a daily basis. There are moves in the comics that I’ve seen Dick do that are literally physically impossible for him to pull off with his height. And if John and Mary Grayson were truly the best acrobats in the world, they could not have been tall, and they would have passed on those short genes to Dick.

And yes, I’ve seen the arguments that you have to be a certain height/weight to be an effective fighter and martial artist. Combat does require a base level of weight training, but not as much as people seem to think. Muscles gained from aerial training aren’t the kind of muscles you get at the gym, or the kind we see Dick flaunting in the comics. Instead, you develop sort of a wiry strength, coiled underneath corded muscles that are long and lean, built for constant use, muscular endurance, and flexibility rather than figure shaping and muscular strength. Think of when you see a ballet dancer and they look in shape and maybe kinda strong but then you see them lift a whole person with ease: the muscles in your body are trained to lay flat to help with flexibility. So basically, Dick’s build would be almost catlike. If I could compare it to an animal, I’d say panther. Men with larger, sturdier builds can be aerialists, but they mainly tend to stick in the acro basing area, not flying.

That being said, Bruce’s training was extensive and rigorous, and definitely not the same as the training Dick would have gotten if he stayed with the circus. That would have boosted his height a little, because how you work out is really indicative of your body type.

So for my personal headcanon, I believe Dick is 5′6-5′7″ (167-170cm) and weighs about 140 pounds (63.5 kg). As for build, Dick isn’t exactly slim, but he’s lean and wiry. Most of his power is centered around his core (defined but not, like, a ridiculous comic book a six pack), and thighs (less overt muscle like jason but still muscular), not his upper body. His upper body is limber, nicely shaped but not overtly obvious like Bruce or Jason. and you also can’t forget that ass

#dick grayson #nightwing #dc #meta #dick grayson meta #nightwing meta #dc meta #river thinks too hard

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thewidowstanton · 7 years

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Lil Rice, Cyr wheel artist and singer, Alula Cyr

When your grandmother is the textile designer Pat Albeck, your mother is the ceramic manufacturer Emma Bridgewater and your aunt is the circus artist/owner Nell Gifford, it's possible you'll follow in one of their sets of footsteps. But Cyr wheel artist and singer Lil Rice started out by studying philosophy and theology at Glasgow University. She later trained at the National Centre of Circus Arts and, along with Fiona Thornhill and Jessica Ladley, won the NCCA Business Plan Award, which helped them launch Alula Cyr, the world’s first all-female Cyr wheel troupe.

Lil’s first performance was as an aerialist on the London Eye for Elizabeth Streb’s One Extraordinary Day during the 2012 Olympics, and she co-founded the events company Tangerino with her sister, Kitty. She also performs with musician Ollie Clark as Rice and Clark. Lil chats to Liz Arratoon for the last in our series of interviews with the Alula Ladies, before her appearance in their first full-length solo show, Hyena. They are presenting it together with Jacksons Lane – where they are associate artists – at the Spiegeltent on the Southbank in London during the Underbelly Festival. Hyena runs from 6-11 June 2017.

The Widow Stanton: What did you want to do after university? Lil Rice: I didn’t know, actually, I really didn’t know. I wanted to be a rock star, always, and my parents said: “For goodness’ sake go to university first and then you can choose what you want to do.” So I just did what I was good at at school, philosophy and theology… ethics was the thing I was most good at so I went and did that. I didn’t want to be a vicar.

A rock star; did you start singing professionally very young? I didn’t sing so much professionally but I sang in public all the time. Always, that was my main thing. Even when I was five, I’d sing at the piano with my dad after dinner.

You come from rather a famous family, was there any other showbiz or singing in your background? Yes, my uncle worked for a country record label and my aunt, Nell, is a circus artist and runs her own circus, but no other singers.

Were you just born with this fantastic voice… Yeah. My mum’s got a lovely singing voice. She used to sing me to sleep and I’ve just always sung.

Anyone circussy knows of Nell Gifford. Is she why you swapped to circus? Well, I had quite a tricky time at university, actually. I didn’t enjoy it, I wasn’t myself, I behaved really badly and had some quite bad mental health problems. I left university and I couldn’t find anything to do that kept me sane. I wrote a letter to Nell just saying, ‘I’m a completely at the end of my rope, I don’t know what to do. I’ve done waitressing, I’ve done nannying, I’ve tried working in businesses, I hate it, can I just come and be your general slave. I’ll do anything. I just need to be physical’, and she said: “Yes.”

So that’s where it started. I was her PA, really, for six months and then she slowly put me more and more in the show. I was front of house, then I started dancing for the chorus. I had to do a lot of extra rehearsals for that. I was really cack-handed. Then I was singing in the chorus and I just kind of caught the bug. There was an amazing hand-balancer there, a fourth generation Belgian circus artist called Pat Bradford…

Oh Pat, he’s fantastic, I’ve interviewed him and Kate. He pushed me. Kate still does all the choreography for Giffords. They’ve been so supportive. They’re very, very strict with me. I send them anything I do and I always get a very nice paragraph and then: “But you need to work on your splits, this bit isn’t good enough…” They’re really very important to me, Pat and Kate.

Had you already got a certain level of fitness? Were you a sporty child? I was, I did athletics. I was in the first teams for everything at school and I loved sport but I was much too self-conscious to do dance or gymnastics or anything like that so I only played very aggressive team sports. [Laughs] That was my thing.

How did Nell inspire you? She was the biggest influence in my life before Alula. All the creativity at Giffords is Nell (pictured below). She went to Oxford and did English and she’s just got the most amazing mind. I remember this amazing conversation I had with her about how to make an act. The first thing she said was: “What colour is it?” It was so the opposite of: “What’s it about, what’s your character?” She was like: “What does it feel like? Is it heavy, is it light?” I want to think about circus in the same way she does. I looked after her children and they made me into a new person. I was depressed and miserable and didn’t know what I was doing and she let me into her life and showed me how it worked. It was amazing and saved my life. She saved my life.

Did you go to Giffords when you were little? Yes, I’ve been going there forever. I’ve worked there. My first job was sitting in the box office when I was 14 and selling tickets. We used to run around at the interval selling programmes. We were always allowed to dress up in a lion’s head or whatever was there. I loved it. Two of my best friends [the jugglers] Bibi and Bichu, I’ve known since I was 12. I came to it really late on but it’s funny cos it’s all really relevant. I speak to Bibi and Bichu about making their own show, Circus Abyssinia and I call Nell and ask for advice…

What made you choose Cyr? During the BTEC, which is mostly shared between Hackney Community College and the NCCA, we didn’t do a lot of circus. We did a lot of dance and theatre and we did two to three evenings a week of NCCA classes. I did a bit of acrobatics, a bit of aerial. And I also trained with Yam Doyev at Gravity in the evenings. She taught me some aerial, which is what I auditioned with for Streb’s One Extraordinary Day for the 2012 Olympics. A terrifying silks routine that I’d learnt.

How did you get chosen? One of the teachers on my BTEC, who obviously saw that I was quite bonkers and said yes to anything, told me they were looking for English dancers and suggested I audition. It was terrifying! That taught me mind over body, definitely. It’s scary and you just have to do it. I had very bad vertigo but Streb sorted that out. Climbing the ladder up to The London Eye at 2 in the morning, that was the moment I got over my vertigo because you can’t not. There’s someone in front of you, someone behind you and you just have to keep climbing for 15 minutes. Then they clip you on and it’s just go, go, go.

I was applying to do aerial on the NCCA degree course but while doing Streb I tore my shoulder doing the Human Fountain, the jumping in Trafalgar Square. When I auditioned I really wanted to do straps, but I went through the physio thing and they said: “It’s probably not a good idea to do aerial.” I saw Charlie Wheeller doing Cyr wheel and he kind of just taught me. I wanted to do something where I could sing. The school really wanted me do to do tight wire and I didn’t want to; not dynamic enough for me. It didn’t give me the adrenaline thing, so Charlie taught me a tiny bit of Cyr wheel and that’s was it. Nobody sings in it and I wanted to do something that nobody else does. That’s why I chose it. You use your whole body, there’s no particular stress on one joint…

How hard is to sing at the same time as performing? The only thing that’s difficult is choreographing the breathing. When you’re moving from an arched-out position to back in it’s hard to keep your voice even. It’s all about stomach control and because of doing Cyr wheel, my core is really strong, so as long as I’m tensed, I can sing.

Was there a move you found particularly hard? My nemesis really was back coin. It’s tough. In the beginning my nemesis was backflip but I just did it until I fell over and smashed my head. Then it was back coin because I started training variations of it, and that’s just scary. Fi was a gymnast and Jess is the same, very acrobatic. They know how their bodies move but I have to turn my head off and be like, ‘It’s going to go all the way round. It’s just going to happen’. For me it was that and upside-down things, just because I’m not used to that. Anything going forwards, anything fast, was fine.

Why did you decide to form Alula with the others? We were told right at the beginning that we weren’t all going to get through. Lots of people said to us: “It’s going to be very difficult. You’re not going to be able to get any work. You’re all coming out with the same discipline. You’re all going to fall out with each other. It’s going to be very competitive.” We suddenly just found that the more we were in class together, by the beginning of second year, training together, everything we needed we got from each other. We had amazing teachers but each of us gives each other, the love, or the tough love or the push that you need. We realised that it would be completely mad if we didn’t do it together. The school put us together just as an idea for a thing in Auch and we thought “Why would we ever do this on our own again?” It’s amazing performing together.

What can you tell us about Hyena? Basically when we came out of school we realised that not only were we three women who’d all learnt the same way, we’d also started exploring new ways of using the wheels; climbing on top of them, jumping in and out of them, like fusing them, putting them together and making weird structures, so technically that’s what we wanted the whole show to revolve around; cool new ways to use wheel, and also looking how to synchronise it in very tight spaces. Emotionally for us the show is about the pack but it’s also about the inner workings of a group and how you have tradition, you have ceremony, you have ways that you are as a group and things that you know about each other. And the way we learnt Cyr wheel and the structures that we make lend themselves perfectly to that. The way you put things together looks ceremonial, the way you take them apart, the things you do inside them that are a bit different are things that only our pack does.

Obviously it’s hard to make a circus show that isn’t just about the physical and just about you, so we’ve all read this book called Women Who Run with the Wolves, by Clarissa Pinkola Estés. That’s kind of our bible for this show because it’s all about empowering women and finding the best kind of wild version of you and how you let that be without stifling it or letting yourself go completely crazy and wild. So for us the show is very much about walking that very thin line between being the most true woman you can be, that allows you to be open and inclusive but be able to be you and be completely 100 per cent how you wanna be. This has been our baby for like two years really, so it’s really nerve-wracking. It’s like putting your baby out there and saying: “Please don’t hate it!” Because it’s so personal, it’s so us. There aren’t really characters in the show, it is us.

That’s always been so much a part of the charm of your show; that you’re all so natural and engaging and everyone just loves you. We were really interested when we went into creation and rehearsals – we worked with directors Rosamond Martin and Layla Rosa – in that thin line between playing yourself but also being able to shade that with a character, which is a version of you. It’s really hard in circus to maintain a character that isn’t you; there’s always a moment when you have to do something scary… dangerous, or you have to trust the person you’re with and if you’re having to clown or be something that not you, it slips. So to make the most virtuosic show that we could we couldn’t be characters, we had to be us.

Tell us a bit about Fi and Jess. I feel like I’ve known them forever. I need them, I don’t know how I’d do any of this without them. Jess is just the most kind and loving person, so non-judgemental and so supportive onstage, and Fi… I wouldn’t be half the Cyr wheeler I am without her. She makes me want to be better. It was her who said: “Ignore what everyone says about you having no background in this or that, you can do it.” And to have that from someone like Fi, who is easily the best acrobat I’ve ever met, that’s what really gave me the incentive to push myself, always, push. Because of those two I push myself and I don’t listen to anyone who says: “You started at 22, you’ll never be any good,” because I listen to the girls instead and it’s proved to be the opposite. I really owe it to them.

So many troupes now are all men with one woman, did you ever think you might throw in a man? We did! Very early on, we really wanted to make this show about two packs, a male pack and a female pack and looking at interaction that was the opposite of sexual. We wanted to find something that was more interesting than one tiny little girl being thrown around; she has no character or purpose other than being the ball that gets thrown around. We wanted to look at competition between the sexes that had nothing to do with sexual intrigue and we made really fun show that we did up in Liverpool with three boys from NCCA and oh, loved it!

We looked at the playfulness of two packs of animals or even male and female animals within one pack and how you interact if it’s nothing to do with sex. It was really fun but we couldn’t fund a show with six people in it first time round. Everyone said: “Wait, that will come.” Then we looked at getting three male musicians in and looking at a dynamic like that but it was the same thing, we literally couldn’t fund six people onstage. But we will.

When we were doing a bit of corporate stuff and working in Europe we noticed in Finland… Sweden, there are really interesting shows. There’s a company called Sisters that completely reverses that idea of having tiny females and men throwing them around. All the men dress up like women and they really reverse the sexual stereotype and we just thought: “God, there’s not enough of this.” Even amazing companies like XY, they did that brilliant thing in the recent show It’s Not Yet Midnight of having an all female four-high but it’s sad that still feels token, and we really interested in making it the norm. It’s just what happens, there’s nothing to be remarked on that it’s a show of all females. We shouldn’t have to make a point about it but sadly we do.

You sing in the show, but what about you other singing career? Ollie and I have been playing together for three and a half years. We met when me and my sister were putting on a cabaret when I was in the first year at NCCA. We employed loads of people from our school and I needed a musician who could accompany me singing while Charlie and I did some Cyr wheel. We just never stopped working together since then. We went to America last year and did a two-and-a-half-week road trip and wrote a country and blues album, which we’ll be recording this summer. Ollie has done all the music for Hyena.

Does he play live onstage in the show? Unfortunately not. He’s in such demand he’s playing everywhere. Also we kind of agreed that we wouldn’t mix the two. We have to do our singing and then if he’s gonna work for circus stuff, he won’t be present onstage, because we just argued all the time, which we never do when we just write music.

What are your hopes for the company? We’ve set up Alula as a limited company now and I want it to be an entity that continues. We’ve talked a lot about turning it into a production company as well, which we’d really like, but really we want to make this show, tour it for however long it tours and then make another show and tour that. But ultimately we’d love to have a building where we could teach people and we’d like to be able to do outreach and basically inspire people. Especially for me I feel it’s really important to inspire young people who have no idea what to do and are always being told: “You’ve got to do accounting, or you’ve got do a vocational job,” and I’d really love to be able to give back something that circus has given me. Obviously we’d like it to be a business that can sustain us and I’d definitely like to be able to step aside in four years’ time and direct shows for Alula, have a family and children and then come back to it.

What has been your career highlight so far? Oh, that’s a really good question… … Some of the highlights have been so bizarre. Underbelly is the most exciting thing, but also probably doing Canvas just recently with the girls was emotionally one of the hardest things we’d ever had to do. Fi was injured; it had taken us a long, long time to get the show together and we kept being knocked down. We did a short section of the show, with Fi in a boot, and having reconfigured everything five minutes before we’d had to go onstage. We’d had to give away our hour-long slot, which we’d invited hundreds of people to.

It was really nerve-wracking, and I fell over onstage, not particularly badly, but enough that I was just sitting on the stage finishing the song thinking, ‘Ive just got to get this out’. And Fi hobbled over to me with her boot and picked up my wheel and gave it to me and Jess, who was supposed to do a bit of wheel, just gave me the stage so I could do my thing. It was exactly what the show’s about, exactly what I love about our company and I feel like that’s the highlight. It was solidarity and female love onstage and it was amazing. I don’t think anyone else would have noticed it but honestly, it’s the reason I work with them.

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Lil appears with Alula Cyr in Hyena at the Spiegeltent at the Southbank in London from 6-11 June 2017 during the Underbelly Festival.

For Hyena tickets click here

Picture credits: Lil’s headshot: Roger Robson; Hyena outdoor pics: Craig Dagostino; Nell Gifford: Giffords Circus; Streb: BBC News

Twitter: @AlulaCyr @UnderbellyLtd @southbankcentre @jacksons_lane

Follow @TheWidowStanton on Twitter

To read our interviews with Fiona Thornhill and Jessica Ladley, click the links

#lil rice #Alula Cyr #Fiona Thornhill #jessica ladley #cyr wheel #hyena #underbelly festival #interview #NCCA #jacksons lane #circus artist #giffords circus #nell gifford

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thewidowstanton · 7 years

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Saara Ahola, aerialist and hand-to-hand flyer, Cirkus Cirkör

Saara Ahola grew up in Tampere, Finland. When she was six she joined the city's Sorin Sirkus youth circus, which became her second home. Having turned professional in her early 20s, she has worked with Sirkus Aikamoinen in Finland, Riksteatern (The Swedish National Touring Theatre), Circa, in its show Crossroads at Berlin's Chamäleon Theatre, and spent four months performing in a show on the cruise ship MS Europa 2.

Saara is currently a member of Cirkus Cirkör, and will appear in its show Limits, which runs at London's Southbank Centre from 13-16 August 2017. The Widow's Nordic correspondent, Adrian Arratoon, chats to her in the run-up to the opening.

The Widow Stanton: How did you become involved in circus? Saara Ahola: That was thanks to my parents. There was a youth circus, Sorin Sirkus, in my home town, Tampere, and they were asking people to join. My father was a good friend of one of the people who had started the circus, so my big sister and I joined. I was about six years old. The people who started Sorin have a background in gymnastics and had studied in clowning and Commedia dell'Arte in Copenhagen. They felt we needed more of a culture of circus in Finland. When they started it was a really a small group of people training together, then due to their hard work it grew every year and now it's a big circus.

Is you sister a circus artist, too? Not anymore; she went into the science world instead. She's the brains of the family. When did you decide to become a professional circus artist? I think you kind of dream big when you're a kid. You're so naïve and you think, 'I will be a circus artist for sure’. I think I was really sure it was what I wanted to do when I was 19 or 20. I decided I was going to really train hard – or harder – and apply for jobs. What sort of aerial work do you do? I started by climbing rope. I was practising vertical rope acrobatics, and lately I've been trying other aerial props; in Limits, I'm performing on trapeze.

And you also do hand-to-hand with Peter Åborg? How long have you been working together? For four years.

And how did you come to work with him? Well, we're married… [laughs]. Ah, that's how! Ha ha. If you don't get work together you often end up on the other side of the world so you never see each other. But if you work together then you can tour together. So we decided to start working on some skills to be able to apply for jobs together. Is he Finnish or Swedish? He's from Sweden. So what happens when Finland play Sweden in ice hockey? Ha ha, well, Finland win so it's no problem! [Laughs]

What was it like working with Circa? For me it was a really different type of experience. The way they work, they are excellent when it comes to group skills, they have a… library of tricks, I'd say. They have endless knowledge of what kind of acrobatics you can do as a group. This was really great for us and we both enjoyed being with the company. They are all really great artists and an excellent company; real sweethearts.

Did working with them push you in a direction you might not have gone in? Yeah, definitely, I mean, I already had done a lot of group work due to many years of being in Sorin Sirkus, but they had a different way of building acrobatic scenes. They start by improvisation and doing a lot of really nice exercises, and the material comes through that. The improvisation was a new way of working for me. How fast we got results was surprising too. I was really happy, we got the show locked down in a really short time. They work so hard… Oh, so hard, and they create so much beautiful material. And even when the shows are running they constantly keep building the library of tricks, and they train together a lot. We had a long run with a lot of shows at the Chamäleon, but we still kept warming up together and had a good group feeling. Yeah, it was great. I imagine it was completely different when you were working on a cruise ship? Yeah. We were doing aerial and hand-to-hand then. That was a different type of concept; it was a mix of singers and dancers and circus artists. So everyone was doing different things in the shows. The ship went to, I think, more than 30 countries, through Asia and Arabian countries, India, Sri Lanka then to Tunisia and back to Europe. Where's home for you now? We live in Stockholm, since that's where Cirkus Cirkör is based. They have their training hall there, so the training possibilities in Stockholm are the best for us at the moment.

How did you become involved with Cirkör? Well, we moved to Stockholm and Peter was working with them already; he was doing another show called Undermän. The circus community is really friendly and open; you train in their hall and you get to know everyone; it's a small community so you get to know everyone quite quickly.

Hang on, Undermän was the show where the men are all upset because they haven't got girlfriends and now one's got married? Yeah! [Laughs] That's the happiest story I've ever heard; congratulations! Is Limits the first show you've done with Cirkör? We did a show called Borders, that was the first of the trilogy. Limits is the second and then there's a third part called Movements. Limits is about crossing the limits on the map or in ourselves, in our heads. For me it's about thinking about my own limitations and how I can overcome those and go outside my comfort zone to get stronger and better in circus skills and as an artist. I'm doing aerial and hand-to-hand in the show, and since there are only five of us in Limits, we are all on stage most of the time. We are all manipulating the rigging system and moving the stage. We are all very involved in talking and singing and bringing the story forward.

Have you performed in London before? No, this will be my first time. I'm excited to perform in the theatre. It's always interesting to bring this show with a strong story to new countries and see how the people react to it.

What's been the highlight of your career so far? That's a difficult question. I think there are many highlights but a lot of the best memories have come from this tour, for sure. We just came from New York; we had a fantastic experience there. The shows went so well and the audience loved it; we got great reviews. That was definitely one of the highlights. Also, I have to say Borders, the previous show, was one of my best experiences. It was beautiful, a really big show – great!

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Saara appears in the UK premiere of Cirkus Cirkör's Limits from 13-16 August 2017 at London’s Royal Festival Hall. The show is part of Nordic Matters, Southbank Centre's year-long exploration of Nordic arts and culture.

Photo credits: Christina Simpson; Mats Bäcker

Cirkus Cirkör’s website

Saara on Instagram

Twitter: @CirkusCirkor; @SorinSirkus; @SouthbankCentre

Follow @TheWidowStanton on Twitter

Read more interviews with hand-to-hand flyers: Olivia Quayle from Joli Vyan; Lolita Costet from Cirque Le Roux; and Barely Methodical Troupe’s Beren D’Amico

#circus #saara ahola #hand-to-hand #aerialist #sweden #stockholm #circus cirkör #circa #southbank centre #london #interview #limits #borders #cirkus cirkör

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