The COVID-19 pandemic resulted in the abrupt closure of circus schools, venues, and companies, introducing a myriad of novel stressors. Performers and students must now attempt to maintain their technical, physical, artistic, creative, and cognitive abilities without in-person support from their coaches and must manage the isolation from their training and performing spaces. For circus artists, the transposition of the work space to a home environment is not possible, which creates novel stressors that could lead to the exacerbation and escalation of mental health issues. The purpose of this study is to develop, implement and evaluate a holistic interventional program based on the socio-ecological model of resilience and operationalized through physical literacy. This will be a prospective longitudinal study with a retrospective comparison to data from a similar student cohort pre-pandemic. Interventions were designed using a population-specific, participant-based developmental model within a knowledge translation framework. The interventional program includes group webinars, small group information sessions, and one-on-one Zoom meetings, in addition to the distribution of electronic educational materials. The interventions will holistically provide psychological, physical, social, technical, artistic, and creative supports. Resources will be deployed throughout the closure period and through recovery, as transitions to return to training after prolonged hiatus will magnify known psychological and physical difficulties. Repeated, longitudinal assessment of students will be utilized to track changes over time at key transitions in the pandemic and school year and will be compared to a pre-pandemic school year. The framework for this program will be translatable to other performing arts and high-performance contexts. The program has implications for the mental health and overall wellbeing of artists and for cultural and economic recovery of the industry.

AIMS: The development of elite circus artists requires extensive technical and artistic training, as well as a commensurate level of physical preparation in readiness for a demanding professional career as a performance artist. While sport research has identified the importance of monitoring sleep and fatigue in athletes to optimize performance and to prevent illness and injury, not a single study of circus artists exists. This study provides a longitudinal examination of sleep and fatigue in elite circus student-artists. METHODS: 92 student-artists (60 male, 32 female) were analyzed at 4 strategic time points over a preparatory year. At each time point, sleep parameters (duration, quality and latency), ratings of perceived exertion (RPE), wakefulness, and fatigue were obtained using questionnaires. RESULTS: Student-artists attained an average nightly sleep of 8 hours, 27 minutes, exceeding the recommended durations for general populations and those self-reported in athletes. The majority of the artists also indicated acceptable sleep latency (87%) and quality (83%) scores. Sleep parameters remained consistent throughout the year despite significant variations in training load and fatigue. Sleep parameters were not substantial predictors of overall fatigue. Fatigue covaried with yearly variation in sessional training loads. CONCLUSIONS: Although improvement in sleep could be postulated as a means to mitigate fatigue, it is likely that strategies aimed at optimizing the loading profile and additional recovery techniques be a first line approach.

The purpose of this study was to perform a longitudinal assessment of body composition of circus student-artists in an elite 3-year college training program. Ninety-two student-artists participated (age = 20.39 ± 2.42 years; height = 170.01 ± 8.01 cm; mass = 66.48 ± 11.07 kg; 36% female and 64% male), representing 92% of the student population. Body composi- tion was assessed using multi-frequency bioelectrical impedance at four strategic time points throughout the training year to evaluate changes over the two semesters (September to December and January to April) and winter vacation (December to January). Workloads were subjectively assessed using ratings of perceived exer- tion (RPE). Averaged over the academic terms, fat mass was 11.5 ± 4.8%, muscle mass was 50.2 ± 3.4%, and body mass index was 22.9 ± 2.2. Males and females differed significantly across all absolute and relative body composition variables. Muscle mass increased (semester one, +1.0%, p < 0.001; semester two, +0.4%, p < 0.05) while fat mass decreased during each semester (semester one, -1.6%, p < 0.001; semester two, -0.6%, p < 0.05) co-varying with changes in RPE (semester one, +2.3, p < 0.05; semester two, +1.7, p < 0.05). During the winter vacation period, percent fat mass increased (males, +1.0%; females, +2.0%) and percent muscle mass decreased (males, -0.6%; females, -0.9%). Discipline-specific differences in body composition were also detected, and significant differences were observed between student-artists grouped by years in school. Over the training year, there was a positive adaptation for muscle and fat mass despite the negative adaptation experienced during the winter vacation period.

OBJECTIVE: The circus professionalization process entails extensive training to mitigate the high-risk demands which increase stress in artists. In high-risk professions, everyday hassles (challenges) contribute greatly to overall stress. To capture the impact of daily challenges on student-artists, the aim of the current study was to describe the magnitude and pattern of daily challenges as well as their relationships with perceived coping, anxiety, fatigue, and psychological distress. METHODS: Ninety-two students at École Nationale de Cirque (ENC), in Montreal, Canada, completed the Circus Daily Challenges Questionnaire (CDCQ) and scales assessing perceived coping, state anxiety, and fatigue at four time points over 1 school year. The Kessler 6 Non-Specific Psychological Distress Scale (K6) was implemented at one time point. RESULTS: Findings revealed significant fluctuations in challenge level and management of challenges throughout the school year, with schedule, technical development, artistic expression, physical preparation, and sleep reported as high during the two examination periods. The lowest challenge-level scores were achieved following the extended breaks in the annual calendar. Daily challenge positively correlated to state anxiety and fatigue, and negatively correlated with perceived coping. The student-artists reported higher prevalence of moderate psychological distress to general populations. CONCLUSION: Befitting the Stress Process Model, a strong interplay between variables was observed, and the life challenges assessment provides a basis for interventions based upon commonalities across the group, as well as individually tailored.