David Mason: Healing Power of Social Circus
Host Anna Robb sits down with David Mason, founder of the Mobile Mini Circus for Children (MMCC), a bold and joyful social circus initiative transforming the lives of young people in some of the world’s most challenging environments. From the streets of post-Taliban Kabul to Rohingya refugee camps and beyond, David has spent over two decades building a global network of youth-led circus teams—offering trauma-affected children not just laughter, but leadership, healing, and hope.
In this preview, Anna and David explore the origins of MMCC, the pedagogy behind physical joy, and the revolutionary idea that circus can be a vehicle for education, resilience, and deep emotional repair. From makeshift juggling acts to large-scale community transformation, they discuss how play, movement, and mutual trust can rebuild the very foundations of childhood.
Enjoy this moving glimpse into their conversation—and don’t forget to join us next week for the full episode.
What inspired you to found the Mobile Mini Circus for Children in Afghanistan in 2002?
After the fall of the Taliban and the events of September 11, 2001, David Mason saw a window of opportunity in a war-torn country desperate for hope. Though he had no background in circus or social circus, he instinctively felt that what Afghan children needed most wasn’t just food or medicine—it was joy. He believed laughter, fun, and play were essential healing tools for children who had endured the trauma of war. As he described, “You can’t heal a body in coma with normal medicine. You need electroshock. Circus was that shock—loud, funny, musical, physical. It woke the kids up.”
How did David, with no circus background, get MMCC off the ground?
David started by trying to collaborate with major NGOs like UNICEF and Save the Children—but quickly realized that bureaucracy wouldn’t support his unconventional idea. So he went directly to Kabul, where he began working with a local center for street-working children. He juggled with just three balls, built stilts from scratch (with many mistakes), and crafted shows combining performance with life skills education. These shows addressed everything from handwashing and landmine awareness to peace education and COVID-19 hygiene. Despite a shoestring start, his instinctual and creative approach grew into a powerful model of engagement through laughter and embodiment.
How has MMCC’s structure evolved over the years—and how is it sustaining and scaling today?
MMCC has undergone three major eras:
Era One: Adult performers ran mobile workshops and performances province by province, often without even knowing the term “social circus.”
Era Two: MMCC established local centers using converted shipping containers called fontainers. Over 400 children practiced weekly, performing for local schools while a mobile team continued traveling.
Era Three (Today): Due to the Taliban’s return, MMCC now trains youth leaders directly in their communities. These teams—nearly 40 in Afghanistan, plus others in Bangladesh (including three in Rohingya camps) and Ethiopia—receive mentorship, equipment, and pedagogy training. They operate semi-independently, running regular activities with minimal infrastructure but strong community ownership. “They learn from us,” David says, “but often go further than we imagined.”
What are the biggest challenges MMCC faces—and what does David wish more institutions understood?
David’s greatest frustration is convincing institutions, especially those rooted in Western education models, that circus isn’t just entertainment—it’s deeply educational and therapeutic. Traditional systems prioritize cognitive learning in classrooms. But for traumatized children, the body is often the only safe space. As David explains, “When you’re juggling, there’s no space for trauma. You must be present, breathing, focused. That’s healing.”
He argues that the educational impact of physical art—especially social circus—is profound. Building human pyramids, for example, teaches empathy, tolerance, humility, and cooperation. These embodied lessons often reach deeper than any classroom lecture. Convincing the “academic establishment” of this has remained a consistent challenge.
How can people get involved—and what’s the most rewarding part of David’s journey so far?
David says support is welcome in many forms. Volunteers (performers, fundraisers, mentors) are needed. Donations of equipment—costumes, props, even musical instruments—are valuable, though the biggest need is for focal points in different regions to collect and transport these items. MMCC also welcomes partnerships with schools or camps that want to host local social circus teams.
The most fulfilling part for David is witnessing the growth of the network. He is continually inspired by how the local teams evolve beyond what they were taught. “Sometimes I see their photos and videos and realize they’re better than what we trained them for. They’ve taken it to the next level.”
Main Image: Courtesy of MMCC Global Facebook
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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