Craig Quat: Social Circus and Functional Juggling
In this episode, we explore the world of social circus and functional juggling with Craig Quat, a visionary innovator who is redefining the art of juggling. Craig reveals how juggling extends beyond mere entertainment, serving as a transformative tool for therapy, education, and social inclusion.
Craig and his team are leading a series of five online events dedicated to the latest developments in inclusive circus practice. Organized in collaboration with six circus schools from Belgium, Greece, Hungary, Italy, Poland, and Spain, these events are open to participants worldwide and are completely free to attend! Each session will feature expert presenters and guest speakers, offering valuable insights and fostering a dynamic networking space for professionals to connect and grow.
Check out this sneak peek, and don’t miss the full-length podcast episode next week!
What is Social Circus, and how did Craig get involved in it?
Social circus is the most recent transformation of circus, shifting its focus from entertainment to intervention and empowerment. It is applied globally in various ways, helping individuals from underserved or disadvantaged backgrounds by providing them with tools for personal development.
I grew up in a social circus program that combined chess and juggling as a form of enrichment and intervention. Initially, I used juggling recreationally, but in my early twenties, it became a self-treatment tool for depression. Through my experiences, I realized that juggling could be made accessible for everyone, leading to transformative benefits worldwide.
I consider myself a “second-generation” social circus artist because I grew up within this movement, unlike most practitioners who discovered it as adults. This perspective shaped my understanding of how circus can be a powerful tool for social change.
How does social circus function as an intervention, and what are its real-world applications?
Social circus is used as an intervention tool across different regions, tailored to meet the specific needs of communities. For instance, in the U.S., programs like Prescott Circus in Oakland and Circus Harmony in St. Louis use circus arts to bridge gaps between diverse racial and socioeconomic groups.
In South America, social circus helps individuals in challenging situations by instilling a growth mindset. When kids initially say, “I can’t do this,” they are guided through a structured process of learning and overcoming obstacles. Eventually, they stop saying “I can’t” and start asking, “How do I do it?” This shift is crucial in empowering individuals and teaching them resilience.
Another application is functional juggling, where juggling is adapted to develop motor control and cognitive skills. For example, I’ve used juggling techniques in job training centers for individuals with Down syndrome to help them develop the motor skills needed for tasks like handling coins or cups in a workplace setting.
How did Craig’s personal experiences shape his work, and what inspired him to make juggling more inclusive?
My childhood was difficult, and I depended heavily on public school systems and external programs for support. Juggling and chess helped me overcome challenges, especially after being diagnosed with non-neurotypical conditions. Learning these skills rewired my brain, shifting me from feeling impaired to having an advantage.
In my late teens, I started volunteering at juvenile detention centers, teaching chess to incarcerated youth. Later, juggling became my main passion, especially when I struggled with severe depression. I discovered that juggling provided me with a peaceful space, a form of meditation that helped me regain control over my emotions.
As I began working with diverse groups, including people with disabilities, I saw the need to rethink traditional juggling. Many individuals couldn’t physically perform standard juggling actions, so I started designing new props and methods to make juggling accessible. This led to the development of “functional juggling,” which allows anyone, regardless of physical or cognitive ability, to experience the benefits of juggling.
What are functional juggling props, and how do they change the perception of juggling?
Functional juggling expands the definition of juggling beyond just throwing and catching. The goal is to create relationships with movement and rhythm rather than focusing on specific physical actions.
One of my flagship props is the juggle board, a table with rolling lanes that allow two people to exchange objects in rhythmic patterns. This tool is particularly effective for nonverbal communication, making it invaluable for working with individuals with autism. Many parents of autistic children have told me that playing on the juggle board allowed them to connect with their child in ways they never had before.
Other functional juggling tools include adapted juggling balls, rolling objects, and even unconventional props like car tires or marbles. These props allow individuals to experience juggling in a way that suits their physical and cognitive abilities, making it an inclusive activity for all.
My book, Functional Juggling, which is available for free online, explores this concept in depth, breaking down how juggling can be understood as a universal, inclusive practice.
What challenges has Craig faced in trying to redefine juggling, and how has he navigated them?
Initially, I naively thought that the juggling and circus community would embrace my ideas wholeheartedly. However, I encountered resistance, especially from elite jugglers and traditionalists who saw juggling as an exclusive skill rather than an accessible tool.
Some members of the professional circus world were upset that I was making my work open-source, as they believed in ownership and exclusivity. But my philosophy is different—I want to create transformation, not profit. I believe that innovation should be shared freely to benefit as many people as possible.
In Europe, I faced resistance in established juggling hubs like France and Germany, where traditionalists were hesitant to change their views. Instead, I found more openness in places like Spain, Italy, and Eastern Europe, where circus practitioners were eager to embrace innovation.
Culturally, I feel most at home in South America, where people are more willing to challenge systemic structures and embrace community-driven change. My work there has been deeply fulfilling because I don’t have to justify my approach—they understand and support it instinctively.
Key Takeaways:
- Social Circus as Empowerment
Transforms juggling from entertainment to a tool for confidence and resilience. Craig’s background in chess and juggling shaped his inclusive approach. - Juggling as Therapy & Learning
Enhances motor skills, cognitive function, and nonverbal communication. Encourages a shift from “I can’t” to “How do I?” - Innovating for Accessibility
Redefines juggling to be inclusive of all abilities. Juggle board aids autism therapy and interactive play. - Overcoming Resistance
Traditionalists resisted, but Spain, Italy, and South America embraced his ideas. - Future Goals
Advocates for diversity and representation in juggling. Seeks sustainability while mentoring global communities.
Featured Image: Courtesy of Craig QuatKat Landry is a stage and production manager whose international live entertainment career has taken her to nearly 60 countries around the world. She has experience in theatre, circus, theme parks, cruise ships, concerts, conferences, award shows, and global events. Some of her favorite projects include: managing Celebrity Cruises’ partnership with the American Ballet Theatre, producing major headline talent concerts for the World Expo in Dubai, and touring as a stage manager with Cirque du Soleil’s Alegría in North America, Asia, and Europe. Kat is passionate about leadership and cross-cultural collaboration, which are frequent topics on the StageLync Podcast. Kat is a certified Project Management Professional and a proud graduate of the Carnegie Mellon University School of Drama.
Editor's Note: At StageLync, an international platform for the performing arts, we celebrate the diversity of our writers' backgrounds. We recognize and support their choice to use either American or British English in their articles, respecting their individual preferences and origins. This policy allows us to embrace a wide range of linguistic expressions, enriching our content and reflecting the global nature of our community.
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