This research investigates whether, and how, students in a circus bachelor programme learned creativity during their studies, and how they use creativity in their profession. Twelve participants were interviewed, representing six different cohorts from the University of Dance and Circus (DOCH) in Stockholm, Sweden between 2008-2018 (now Stockholm University of the Arts). Constructivist grounded theory methodology (CGT) guided the analytical process of uncovering themes described by participants. Narrative vignettes were used to represent the experiences recounted by multiple participants influencing the apprenticeship of creativity and creative methods. Curriculum theory was used as a lens to understand the relationships between programmed content and the lived experiences which created the learning environment wherein these participants developed the knowledge to enter the circus field. With consideration of the individualized pressures of the realities of contemporary circus creation and performance, creativity is here theorized within a Western cultural perspective, where creative contributions are often seen through the lens of social innovation. Three themes emerged from the analysis. In “learning creativity,” participants describe learning an iterative method of the creative process with regard to the performance of their circus discipline. “Creative identity” collects definitions and beliefs about creativity. The “creative practices” theme includes participant descriptions of using the creative process in their profession to navigate challenges beyond disciplinary work, and when approaching problem identification and problem solving during the COVID pandemic. Together, these themes demonstrate that apprenticeship of domain-specific creative practices provides a methodological foundation for domain general creative approaches. I name this method of using domain-specific approaches to domain-general professional challenges in circus “applied circus creativity.” These findings have implications for circus education, and other arts programs, which aim to preparing professional artists

Why might a circus artist decide to use their circus practice as a research method? Why might a researcher choose circus practices to develop a new understanding of theoretical texts? Against which codes do artistic circus researchers rebel in order to pursue circus research through the practice of circus? What risks are encountered when circus arts become research, and research feeds circus practice? How, finally, does one come to be so inspired by circus practice, and by demanding questions, that one chooses to pursue artistic research with circus? Some answers to these questions can be found in the circus programs at Sweden’s Stockholm University of the Arts. More answers may be found with you, dear reader, if you also choose to embark upon this research path.

Our multifaceted society calls for engineers that are not only experts in their domain, but possess the flexibility to understand adjacent disciplines. The inclusion of the performing arts in engineering curricula has shown potential for cultivating creativity and equipping STEM students with problem-solving abilities. However, the literature offers limited examples of such integration in engineering courses. We present a unique learning experience involving engineering students from the Royal Institute of Technology (KTH) and circus students from Bachelor’s programme in Circus at Stockholm School of the Arts (SKH). Grounded in the concepts of docendo discimus, presentational dimension of circus and reflective thinking, our study aimed to: (1) explore engineering students’ acceptance of an unconventional collaboration with circus peers; and (2) assess the pedagogical value of this collaboration for the engineering students. We highlight challenges and potentialities of this collaboration, to inform educators interested in creative teaching approaches.