Jo Rosenthal discovers Circus of Life, a three-day art festival that gathers St. Louis’ communities, histories, and creative forces under one circus tent.
St. Louis, Missouri, has long stood at the crossroads of history as a city shaped by commerce, art, and contradiction. Originally Osage land, then a key outpost in the fur trade and later the “Gateway to the West,” it also held the deep and disturbing imprint of slavery, entering the Union as a slave state and serving as the backdrop for the Dred Scott case. St. Louis carried forward this legacy of racial division through segregation well into the twentieth century, and today — amid revitalised neighbourhoods and a flourishing arts scene along with its incredibly well-preserved architecture — the city continues to reckon with its layered past.
Its creative spirit rises from its historic buildings, neon signs, and its people who keep moving forward. But still, the past must always be preserved, because without it, we would not know how to make things better for the future. That’s where Counterpublic entered the scene. Brought together by Laura Raicovich and ringleaders Kenneth Bailey, Galen Gritts, Jeanne van Heeswijk, and Nontsikelelo Mutiti, it sparked a new dialogue through a free three-day festival located in The Big Top circus.
Circus of Life came to fruition through many conversations with the community about the changes they wanted to see and what they would like to give back. The festival was launched in 2021 to “unite artists, thinkers, and advocates” at the tail end of the pandemic, a moment when some St. Louisans felt the city had lost part of itself as many moved to the suburbs, while others believed it was finally beginning to come into its own. Over the course of three days, performances took place both inside and outside The Big Top, a venue known for hosting outstanding shows, most notably the circus itself. Artists such as Bread and Puppet Theater, Roxane Gay, and Marc Bamuthi Joseph were among the many who brought the festival to life. Throughout the weekend, The Big Top pulsed with the same energy that the acrobats and jugglers bring on a regular basis.
Locals, artists, and visitors mingled beneath the striped tent, sharing food, stories, and performance from morning until night. The city’s history was never far from the surface, each act and conversation seeming to gesture toward the past while imagining new ways of belonging and creating together. Art can exist anywhere, and sometimes leaving your bubble reminds you why you love it in the first place. Circus of Life offered a glimpse of what community can look like when creativity replaces cynicism and connection becomes the main attraction.
The weekend, similar to the circus, was performed in five acts; on Friday evening, festivalgoers wandered among booths and performances. Bread and Puppet Theater launched the event and left showgoers speechless, driving in on a school bus from their farm in Vermont and not leaving until everyone was stuffed with the most delicious sourdough and garlic butter. The theatre troupe spent the last few days teaching volunteers from around the area their lines so that everyone felt involved, while their telling of political history through handmade cardboard puppets drew laughter and reflection in equal measure. The night ended with what felt like a group hug.
Saturday expanded the momentum as the circus grounds welcomed Rashida Bumbray’s dance, fused ritual and rhythm, and left the audience in awe when Roxane Gay joined artist Chloë Bass in an intimate discussion. A poignant talk by journalist Nermeen Shaikh and a musical performance hosted by artist Larry Krone brought the crowd together once more, closing the day with a sense of shared purpose and collective joy as everyone sang the word “love” in unison while men in Hawaiian shirts harmonised. Meanwhile, the snack tent was always full of people enjoying baby blue cotton candy and perfectly roasted hot dogs.
On Sunday, the conversation had its final bow as the ringleaders came together in unison. The end provided a joyful conclusion that made everyone feel like they had made a new friend for life, not unlike how a child feels upon leaving the circus — stuffed full of cotton candy and doe-eyed with the feeling that anything is possible when you act on a dream.
