In the cool, pre-dawn hours on a June night in 1918, a train engineer closed his cab window as he chugged toward Hammond, Indiana. He drifted to sleep, and his train bore down on the idle Hagenbeck-Wallace Circus Train. Soon after, the sleeping engineer's locomotive plowed into the circus train. In the subsequent wreckage and blaze, more than two hundred circus performers were injured and eighty-six were killed, most of whom were interred in a mass grave in the Showmen's Rest section of Chicago's Woodlawn Cemetery. Join local historian Richard Lytle as he recounts, in the fullest retelling to date, the details of this tragedy and its role in the overall evolution and demise of a unique entertainment industry.

Almost 7,000 fans eagerly packed into the Ringling Brothers big top on July 6, 1944. With a single careless act, an afternoon at the "Greatest Show on Earth" quickly became one of terror and tragedy as the paraffin-coated circus tent caught fire. Panicked crowds rushed for the few exits, but in minutes, the tent collapsed on those still struggling to escape below. A total of 168 lives were lost, many of them children, with many more injured and forever scarred by the events. Hartford and the surrounding communities reeled in the aftermath as investigators searched for the source of the fire and the responsible parties. Through firsthand accounts, interviews with survivors and a gripping collection of vintage photographs, author Michael Skidgell attempts to make sense of one of Hartford's worst tragedies.

During the last 300 years circus clowns have emerged as powerful cultural icons. This is the first semiotic analysis of the range of make-up and costumes through which the clowns' performing identities have been established and go on developing. It also examines what Bouissac terms 'micronarratives' - narrative meanings that clowns generate through their acts, dialogues and gestures. Putting a repertory of clown performances under the semiotic microscope leads to the conclusion that the performances are all interconnected and come from what might be termed a 'mythical matrix'. These micronarratives replicate in context-sensitive forms a master narrative whose general theme refers to the emergence of cultures and constraints that they place upon instinctual behaviour. From this vantage point, each performance can be considered as a ritual which re-enacts the primitive violence inherent in all cultures and the temporary resolutions which must be negotiated as the outcome. Why do these acts of transgression and re-integration then trigger laughter and wonder? What kind of mirror does this put up to society? In a masterful semiotic analysis, Bouissac delves into decades of research to answer these questions.

The first book to consider the career of P. T. Barnum from a cultural studies perspective.

Phineas Taylor Barnum lived from 1810 until 1891, and in the eighty-one years of his life he created show business as we know it. In E Pluribus Barnum, Bluford Adams investigates the influence Barnum had on American popular culture of the nineteenth century, and expands our understanding of the ways he continues to influence us today.

Beginning with a discussion of Barnum's early shows, Adams demonstrates the dynamic interplay between Barnum's increasingly "respectable" aspirations for his entertainments and his active cultivation of middle-class sensibilities in his audiences. In his discussion of the 1850-51 concert tour of the "Swedish Nightingale" Jenny Lind, Adams explores the role played by women's rights and class issues in Barnum's management of these concerts. Barnum's American Museum and the "moral dramas" presented in its theater are examined, as well as the later circuses.

Adams relates the rise of Barnum to the emergence of a new U.S. society, one riven by conflicts over slavery, feminism, immigration, and capitalism, and considers his career as a crucial moment in the on-going struggle over the politics of U.S. commercial entertainments.

Step right up for the most captivating read of the year . . . Filled with the sights and sounds of Victorian England, Circus of Wonders is the instant Sunday Times bestseller from Elizabeth Macneal, author of The Doll Factory. 'Intensely satisfying' - Stacey Halls, author of The Familiars England, 1866. When Jasper Jupiter's Circus of Wonders arrives in a coastal village, Nell soon catches the showman's eye. Shunned by her community because of the birthmarks speckling her skin, to Jasper she is a prize - she could be his very own leopard girl. But how to make her his? Soon Nell finds herself the star of Jasper's show. Suddenly she is famous. Crowds rush to watch her soar through the air. Figurines are cast in her image. Even Queen Victoria wants to see her perform. But is Nell free to live and love as she chooses? And when her fame begins to eclipse Jasper's own, could she be in danger? After all, the higher you fly, the steeper the fall . . . 'Filled with character and life' - The Times 'Utterly beguiling' - Daily Mail 'Brilliantly involving' - Daily Express 'Exhilarating' - Sunday Times, Books of the Year 'An immersive gem' - Red 'Joyous, frightening, heartbreaking' - Independent 'Deliciously vivid' - Woman & Home

Contemporary Clowning as Social Performance in Colombia brings to light the emergence of new kinds of clowning in everyday life in Colombia, focusing particularly on the pervasive presence of clowns in the urban landscape of Bogota. In doing so it brings a fresh and updated perspective on what clowning is as well as what it does in the 21st century. Featuring descriptions of more than 24 distinct clown performers, Barnaby King provides an engaging and lively account of the performative moment in which clowning transpires, analyzing the techniques and processes at work in producing what is commonly named as "clowning". In contrast with their North American and European counterparts, clowns in Latin America are seen every day in public settings, are popular cultural figures and sometimes claim to exercise real political influence. Drawing on five years of co-performative ethnography, the book argues that clown artists have thrived by adapting their craft to changing social and economic conditions, in some cases by allying themselves with authority and power, and in others by generating spaces for creativity and resistance in adverse circumstances. By applying performance theory to clowning in a specific cultural context this is the first work to propose an appropriate scholarly response to the diversity and ingenuity of clowning beyond Europe and North America.

It was during the Victorian era that the circus, whose origins lay in the fairground world, emerged as a commercialized entertainment that we would recognize today. This development was intricately tied to a widespread demand for circus acts by a broad range of classes. In The Circus and Victorian Society, Brenda Assael examines this interest in the circus as an artistic form within the context of a vibrant, and sometimes not so respectable, consumer market. In doing so, she provides not only the first scholarly history of the Victorian circus but also a new view of nineteenth-century popular culture, which has usually been seen as the preserve only of the working class.

The Victorian circus ring was a showcase for equestrian battle scenes, Chinese jugglers, clowns, female acrobats, and child performers. In addition to their wondrous qualities, unabashed displays of physical power, and sometimes subversive humor, however, Assael reveals how such acts were also rendered as grotesque, lewd, or dangerous.

The consuming public's desire to see the very kinds of displays that reformers wished to regulate put the circus establishment in a difficult position. Wishing to create a respectable reputation for itself while also functioning as a profitable business, the industry was engaged in a struggle that required the appeasement of both the regulator and the consumer. This conflict informs us not only of the complicated role that the circus played in Victorian society but also provides a unique view into a collective psyche fraught by contradiction and anxiety.

Explore the lives of over 150 of the top sideshow performers of by-gone days, as well as the history of the circus and sideshow. Take a look behind the scenes at the banner artists, gaff artists, photographers, and showmen who made the freak show as American as apple pie. The performers were born different-very different-yet they managed to create a life for themselves, find gainful employment, travel the world, marry, and have children. Some even managed to find true happiness. You will meet some very unique souls in extraordinary bodies. Look beyond their physical differences and delve into their interesting stories. See for yourself why being born different is not so bad, with the right attitude and a little luck!

In Truevine, Virginia, in 1899 everyone the Muse brothers knew was either a former slave, or a child or grandchild of slaves.

George and Willie Muse were just six and nine years old, but they worked the fields from dawn to dark. Until a white man offered them candy and stole them away to become circus freaks. For the next twenty-eight years, their distraught mother struggled to get them back. But were they really kidnapped? And how did their mother, a barely literate black woman in the segregated South, manage to bring them home? And why, after coming home, would they want to go back to the circus?

In Truevine, bestselling author Beth Macy reveals for the first time what really happened to the Muse brothers. It is an unforgettable story of cruelty and exploitation, but also of loyalty, determination and love.

Elephants, lions, tigers and leopards evoke fascination and awe, fear and excitement. This book analyzes trained acts in twentieth-century live circus and cinema, reveals how humans anthropomorphize animals with their emotions, and interrogates the notion that animals embody a phenomenology of emotions and feelings in culture.

Semiotics is long on theoretical, often obscure discourses, but short on applications that demonstrate with clarity the applicability of its methods. This book confronts a challenging object, the circus, and endeavors to describe its performances in ways that explain how circus acts produce meaning and cause a deep emotional involvement for their audiences. The approach is not top-down, such as would be a method that would dogmatically apply a particular theory to fully explain the phenomena in terms of this theory alone. Epistemologically, this book is an example of the bottom-up strategy, which consists of considering first the objects and heuristically calling upon methodological resources in a broad theoretical array to come to grips with the problems that are encountered. Any circus act is a complex event that has cognitive and emotional dimensions. It is also a part of a history and an institution, and cannot be abstracted from its cultural and sociological contexts. Thus the range of relevant theoretical and methodological approaches must include structural semiotics, biosemiotics, pragmatics, socio-semiotics, cultural anthropology, the cognitive sciences, the psychology and sociology of emotions, to name only the most important. But the ultimate focus of this book is to enable the readers to better understand the meaning of circus performances and to appreciate the skills and creativity of this traditional popular art, which constantly renews itself from generation to generation.