Case Study: Designing Together – Inclusive Circus Props Through Cross-Sector Collaboration (Belgium)¶

Written by Elga Pollet, Director of Circusatelier Woesh

Overview¶

This case study explores a multi-year, cross-sector collaboration between inclusive circus educators, university students, and community organizations in Belgium. The initiative was spearheaded by me, Elga Pollet, together with the dedicated team at Circusatelier Woesh, based in the West Flanders region.

With activities spanning Bruges, Oostende, Roeselare, and Kortrijk, Woesh has long been committed to blending artistic circus practices with a deep social mission. The project described here was developed as part of a larger initiative called Bushcraft, a long-term program dedicated to sustainable and inclusive circus development in Flanders and beyond.

In 2019, our team asked a central question: How can we transform short-term interventions into long-lasting, self-sustaining inclusive programs?

The result was a dual-track approach combining:

The creation of Customized Circus Assistant roles for people with disabilities
The collaborative design of inclusive circus props through academic partnerships

International collaborators such as Craig Quat, founder of Quat Props, joined us during this process—offering insight, mentorship, and validation that helped shape our work.

Track 1: Customized Circus Assistant Roles¶

In our workshops and outreach programs, we consistently include participants with physical and intellectual disabilities. While we saw meaningful moments arise from these encounters, we realized that short-term inclusion wasn’t enough.

We wanted to go further. So, we asked ourselves: Could people with disabilities also become facilitators and leaders within our programs?

To test this, we partnered with local networks such as VZW De Viersprong to create long-term assistant positions within our team. These assistants—adults with disabilities, elderly participants, and youth from vulnerable backgrounds—received ongoing training in:

Basic circus pedagogy
Facilitation strategies
Physical expression and sensory engagement

One of the most effective tools we used was the Juggle Board system. Its non-verbal interaction, rhythmic structure, and accessible entry point allowed assistants to co-lead from the very beginning.

With time, our assistants took on increasingly meaningful responsibilities:

Leading sessions in schools, care homes, and public spaces
Collaborating directly with lead facilitators and being supported by dedicated coaches
Learning symbolic communication systems or sign language to enhance accessibility

One of our assistant groups has now been active for more than five years, demonstrating the sustainability and depth of this model. Their presence has enriched our classes and brought new levels of empathy, diversity, and shared ownership into our pedagogy.

Track 2: Inclusive Prop Design Through Academic Collaboration¶

At the same time, we identified another major obstacle: most standard circus equipment is not designed with inclusion in mind. In response, we launched a design collaboration with HOWEST University of Applied Sciences, engaging students from the Product Design program in a multi-year effort to prototype new, accessible tools.

For three years, multidisciplinary student teams were invited to design new circus tools based on a set of criteria we co-created:

Ease of use (solo and group-based)
Sensory engagement
Visible learning curves
Emotional expression and flow
Replicability and adaptability

The students were challenged to move beyond conventional circus shapes and methods. With guidance from our team—and feedback from both educators and participants—they developed dozens of prototypes. Some used low-tech recycled materials; others explored 3D printing and interchangeable systems.

Notable creations included:

Sensory juggling towers
Rolling frames for large-group manipulation
Adapted flower sticks and flipper boards
Ring sticks and “juggle mill” tools
Modular toolkits that could shift functions depending on user needs

We were also fortunate to host Craig Quat as a visiting mentor. He observed presentation sessions, participated in user-testing, and helped students reflect on how to focus on ability and process, rather than only compensating for limitations.

Outcomes¶

The results of this collaboration have been both practical and cultural.

Practically, the project:

Produced over 15 inclusive circus prototypes
Created 10+ long-term assistant roles for people with disabilities
Enabled successful testing of new tools in real community contexts

Culturally, the project:

Built bridges between art, therapy, and design
Offered students and staff firsthand experiences of accessibility
Sparked interdisciplinary conversations that continue to evolve
Strengthened our organization’s internal capacity for inclusion

Perhaps most importantly, the project shifted how everyone involved—participants, designers, teachers—saw themselves. Not just as recipients or observers, but as co-creators of a shared vision for an inclusive future in circus.

Next Steps¶

Our work continues under a the banner: Woeshcraft—a platform for further development, reflection, and exchange. Our current priorities include:

Publishing “Adopt-a-Prop” open-source manuals for our designs
Building a feedback loop with other practitioners who adapt the tools
Deepening partnerships with rehabilitation and care organizations
Continuing to integrate assistants into our regular class programming

Conclusion¶

This project demonstrated that inclusion in circus requires both structural adaptation (props, roles) and organizational commitment. We confirmed that when participants are given real responsibility and tools that match their needs, they contribute in meaningful ways—often beyond expectations.

Through the dual approach of training Differently Abled Circus Assistants and developing accessible tools in partnership with HOWEST, we created new roles and new props that expand participation in concrete ways.

The results were transformative. We now have long-term assistants embedded in our programs, a catalogue of inclusive prototypes, and a growing network of partners who are rethinking what circus can look like.

This is a living process. We’re eager to connect with others who are imagining new ways for circus to include everyone—and we hope this work sparks new ideas and partnerships, because circus only becomes truly inclusive when we design it together.

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