Before discussing the evolution of the circus in Taiwan, a fundamental question often arises: "What, exactly, is circus?"

During our formative years, the term "Circus" (馬戲*) was rarely used. The industry typically referred to it as "Special Skills" (特技). Though Taiwan has professional circus schools, training was strictly compartmentalized: the focus until high school was on physical mastery, while intellectual and creative development were deferred. Creative work was often constrained by established aesthetic paradigms.

In retrospect, we understood why institutions favored the term "Acrobatics" (民俗技藝*): it originated from folk culture and served primarily as a craft for public entertainment. Only after initiating international exchanges did "Circus" enter our vocabulary, becoming the essential, shared language for our global peers.

Note:

• The literal translation of the Mandarin word for “circus” (馬戲) is "horse performance”.

• While "Folk Arts” (民俗技藝) is used as the departmental name in Mandarin, the school's official English translation is “Acrobatics”.

Catalyzing change: from isolation to platform

In 2016, we organized the inaugural "Taiwan Circus Platform" at Weiwuying, a pivotal moment that catalyzed the formation of Hsingho Co., Ltd. & HoooH. Our mission was to function not just for artistic creation, but as a production and curation entity.

Recognizing that artists were developing independently, we sought to forge a collective platform for international outreach. This successfully harnessed Taiwan’s dispersed circus energy. Subsequently, the number of professionals performing in streets and theaters began to proliferate. Creation groups blossomed, forcefully reminding the performing arts industry that the circus is a fertile ground for artistic creation, not merely a technical showcase.

Expanding horizons and the search for identity

Simultaneously, the public and government sectors strongly correlated circus with busking performance. The enthusiastic support for street performance, with high-profile artists boosting event attendance, created opportunities for us to curate Street Arts Festivals and Arts in Public Space programs.

Continuous overseas exchanges dramatically widened our perspective. We learned that skill practice didn't require a childhood start and often integrated with daily life. This sharply contrasted with the technical demonstration we knew, resembling an act of self-discovery and a deliberate effort to dismantle existing boundaries. Creators became consumed not just by technique, but by the deeper, persistent question: "Who am I"?

Following this realization, we continued as a production and curation team, collaborating with government agencies on festivals and interdisciplinary performance productions. Using circus as our core focus, we expanded its promotion across diverse sectors to illuminate the industry's untapped potential.

Challenges and the push for professionalization

Beginning in 2019, Taiwan's busker accreditation shifted to a registration-based application. While this increased participation, the drive to maximize tips led to content homogenization, creating a critical lack of artistic diversity.

In response, institutions like the Kaohsiung Weiwuying Circus Platform began introducing professional advanced training curricula to broaden creative horizons. New voices emerged, as graduates broke free from the inertia of skill-drilling, finding their unique perspectives. Creators began cross-pollinating ideas. Crucially, a growing number of Taiwanese artists studied and worked abroad, subsequently bringing their enriched experiences back home to drive change.

Policy headwinds and consolidation

In recent years, policy shifts have led to the cessation of certain circus and outdoor arts activities, cultural budgets have been reduced, and the Circus Platform has become a biennial event. Navigating this shifting policy landscape with stability remains a critical ongoing challenge for Taiwan.

We recognized that inadequate training facilities and a scarcity of exchange opportunities are fundamental issues. Therefore, in 2025, we secured a physical space to establish "合室 HHHub". Beyond training, the HHHub hosts regular exchange gatherings, inviting creators from different disciplines to share ideas and uncover new inspiration. Our continuous pursuit is characterized by constant questioning, unwavering independent thought, and operating outside rigid frameworks. After years of operating nomadically, we now aim to consolidate these strengths on a more secure foundation.

Historically, the Taiwanese audience's perception of circus was limited. Today, Taiwan can assert that significant progress has been made! The volume of artistic works applying for government subsidies has increased, and large-scale festivals relying on both public and private resources have grown. The journey forward is undeniable. Taiwan is actively striving to define its own distinct identity in the global landscape.

Hsingho Co., Ltd. (星合有限公司) | HoooH (合作社)

Hsingho Co., Ltd. (星合有限公司) and HoooH (合作社) embody the belief that “even faint starlight, when gathered, shines brilliantly.” As a professional production and curation team, they connect Taiwan with the global arts community, advancing contemporary circus and performing arts through innovative cross-disciplinary collaboration.