Aerial Mirror Artist

Posted by: on February 19, 2020

What is a Mirror Artist?

THE wow factor for your next event! These artists perform in mirrored costumes specially created for circus artists and aerialists. They are perfect as greeters, atmospheric performers, or as dedicated acts. Designed to be noticed, these costumed artists are the perfect centerpiece for any event.


What does a mirror artist need to perform?

These artists require a clean, dry performance area that is free of hazards. They can rig to existing rig points, or ImaginAerial can supply a freestanding aerial rig or lollipop lyra.



    • This act works beautifully as a greeter, main act, or atmospheric performance
    • These performers are appropriate for all audiences
    • Sets are 10-15 minutes long, with at least 15 minutes between sets. Acts are 5-6 minutes.
    • Artists can rig to existing rig points, or ImaginAerial can supply a freestanding aerial rig or lollipop lyra.


What do mirror artists look like?

Lollipop Lyra

Posted by: on February 11, 2020

What is a Lollipop Lyra?

THE wow factor for your next event! This apparatus is freestanding, and an easy addition to any party. It can go anywhere! A wide variety of dressing is available, from light-up to holiday. Ask us about how it can fit perfectly into your event.


What does a lollipop lyra artist need to perform?

These artists require a level floor or stage, and at least 13 feet of ceiling clearance. The floor base requires around 5×5 feet.


    • This act works best as ambient or atmospheric
    • These performers are appropriate for all audiences
    • Sets are 10-15 minutes long, with at least 15 minutes between sets.
    • There are multiple costumes and themes to choose from.
    • There are two pole heights to choose from: regular and extended. The extended pole requires at least 18 feet of ceiling height for set up, and requires additional floor space for stabilizers.


What do lollipop lyra artists look like?

(click the photo to expand)


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Cyr Wheel

Posted by: on February 3, 2020

What is Cyr Wheel?

The Cyr Wheel, also known as Rou Cyr or Mono-wheel, is an apparatus consisting of one large metal ring.  The artist grasps the rim of the wheel and performs breathtaking gyroscopic rolls, spins, and  acrobatic moves. This act can be performed on a regular aluminum or LED enhanced cyr.

What does a Cyr Wheel artist need to perform?

  • This act requires at least 20’x20’ of floor space (absolute min. 16’x16’ – with a more limited performance)
  • This act requires at least 9 feet of unobstructed ceiling height.
  • The performance surface must be unobstructed, flat, level, and hard.
  • The performance surface must be smooth. Some less-than-smooth surfaces (for example some outdoor venues) can be accommodated, only for non-LED performances, though the surface will need to be approved in advance. A good test for what qualifies as smooth vs. abrasive is if you fall down on your knees, will it scrape off skin?
  • The performance surface must be clean and dry for the safety of the artist. This must be true at the time of the Cyr Wheel performance, not just at the beginning of the show/event, so if preceding acts leave debris or moisture on the surface it must be removed prior to Cyr Wheel for safety reasons. Fog machines will often leave a slippery residue and/or condensation on the floor that is not noticeable for normal walking or dancing, but is particularly dangerous for Cyr Wheel.
  • For LED cyr, an assistant will be needed to do simple operation of the laptop/software that controls the wheel’s lights. This is exceedingly simple – don’t worry!


    • Cyr is best performed as a dedicated act, but also works well as a featured atmospheric element.
    • Particular attention must be paid to the floor or performance surface for this act (see above).
    • This act is appropriate for all audiences.
    • There are multiple costumes and music choices for this act.
    • This act is available as a metal cyr, or LED enhanced for an additional fee.


What does Cyr Wheel Look Like?


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Stilt Artists

Posted by: on January 31, 2020

What are Stilt Artists?

Pure fun! Whether you’re looking for an elegant greeter or a quirky walk around character, stilts are a unique and surprising addition to any event.


What does a stilt artist need to perform?

These artists require a clean floor or stage, at least 15 feet of ceiling clearance, and a table or small platform to sit on while attaching and removing stilts.


    • stilts work best as walk-around atmosphere or greeters
    • these performers are appropriate for all audiences
    • Stilts sets are 10-15 minutes long, with at least 15 minutes between sets.
    • There are multiple costumes and themes to choose from.


What do stilt artists look like?

(click the photo to expand)


Contact ImaginAerial

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Dressing Rooms for Circus Performers: Luxury or Necessity?

Posted by: on November 20, 2019

We’re often asked whether artists *really* need a dressing room. There’s a bathroom down the hall, and they can store their stuff under the DJ’s booth, right? …… Right?

Well, it’s a little more complicated than that.

What Actually Happens in the Dressing Room?

Dressing! Cirque-style costumes often consist of complicated layers, unusual closures, specialty fabrics, etc. Having a dressing room offers us a clean space to put on multiple pieces, and ensure that everything is secured where it ought to be.

Make-up! Stage makeup involves LOTS of little brushes, pots of paint and glitter, lashes, hair and head pieces, etc. A good dressing room should have at least one mirror for performers to put their best face forward.

Warming up! As you can imagine, cirque acts aren’t the kind of thing you can just “bust out”. A good warm-up usually takes about 30 minutes. Many acts also use this time to review bits they’ve recently changed, or parts of their acts that are very difficult. If the venue doesn’t have another space suitable for a warm-up, performers will often use their dressing room.

Connecting! Duo and group acts have a unique relationship. Connecting before a show through a shared warm-up, pre-show rehearsal, etc. is essential for the artists to work in sync.

Storage! Performers have a lot of bags – rigging, costumes, props, personal, etc. Please believe me that it gets REALLY AWKWARD to have performers in street clothes digging their belongings out from underneath the DJ stage in full view of your guests!

Common Questions

“Seriously – why can’t you just change in the bathroom?” Aside from the ick factor (bathroom floors can be yucky to stand on barefoot), cirque costumes can be complicated to get into! A sleeve dipped in toilet water, or the leg of a costume being dragged through tinkle sprinkles as you try to get into it is pretty far from optimal. Then there’s the putting on our makeup in full-view of guests (which really diminishes the “magic factor”), no place to store our things, and difficulty of doing a warm-up in there – you can see why this isn’t the best option!

“How much space do you really need?” Ideally, 5×5 feet per performer (and a private bathroom is always a plus). We realize this isn’t always possible, so let us know what you have and we’ll get creative to make it work!

“What should be provided in a dressing room?” Enough space to dress and warm-up (unless there is an alternative space available for warm-up), a table, a mirror, adequate lighting, heat or air conditioning, and bottled water (4 bottles per performer) or a water fountain/water cooler. The space should be private – no guests, service staff, or audience members should be walking though.

Why a Dressing Room Makes Events More Awesome

Perfectly done costumes and make-up look amazing, and really ramp up the WOW factor! Additionally, when performers have a good warm-up, acts are full-out and at their best – THIS is what you want! Designating space for your artists means that you get exactly what you envisioned: spectacular artists in gorgeous costumes doing incredible things. Dedicated rooms for dressing and preparing make a big difference! Dare to imagine, Laura

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Flower Power!

Posted by: on October 30, 2019

What is Flower Power?

Flower Power is a groovy, psychedelic circus experience! From Austin Powers level costumes to 60’s Mod, this theme is really far out. Break out the lava lamps, bead curtains, and fringy vests!


What Does Flower Power Look Like?

Here’s an example of a Flower Power event we did for Ray Catena Auto Group!


What Do Flower Power Artists Need to Perform?

  • We can include any ImaginAerial act in this theme! Especially fun are aerial hoop (lyra) and hula hoops.
  • Costumes range from brightly colored psychedelic prints to a classic 60’s Mod look.
  • Artists can perform acts while mingling with guests, on a stage or pedestal, or as part of a show.
  • Flower Power ground artists need a clean floor space, and about 5×5 feet of space on a stage, pedestal, or floor.
  • If UV blacklight is desired, the client will need to arrange for UV units through their lighting vendor.
  • If you have questions (and I’ll bet you do), zap us an email and we can talk you through it.
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Luminarium “Lite”!

Posted by: on August 30, 2018

Last weekend, we had the extraordinary pleasure of debuting the new PORTABLE version of our glow-tastic circus extravaganza, “Luminarium”! With a free-standing rig, small UV stage lights, and a whole lot of talent, this show can pop up just about anywhere. Have a look!

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Returning to Cirque du Floyd! Artist Guest Blog by Chris Delgado

Posted by: on July 12, 2018

Even as an artist, your work can sometimes feel like drudgery, and often you find yourself compromising your vision or feeling like a little cog in a big machine. When the exception comes, you take notice, and that exception is Cirque du Floyd in Floyd, VA.

Floyd is an amazing little town, and being a part of their previous festival was a personal high point for the entire year. Floyd feels like an oasis filled with creativity, color, laughter and love. Before the performance last year, I was able to spend some time enjoying the festival and town myself. Everyone was so welcoming; from the home brewed kombucha, to the delightfully delicious Floyd country store, to the massive kites that kids taught me to fly. The community was exceptionally warm and appreciative.

Now, we find ourselves back in the studio tweaking our glow extravaganza “Luminarium”, and it couldn’t feel better. Rehearsals are all about following the laughter. What feels good? What looks good? If it makes us laugh, it’s goin’ in the show! It’s so freeing to create a show that is as quirky and silly as we are.

We’re working with our usual crew of amazing artists, and this year’s show is a quirky spin on corporate culture – Luminarium Corp, where the circus is the everyday! During your first day interview, you may wind up sitting on your own head. The afternoon circle around the water cooler might just get up and roll away on it’s own. And at the end of the night, someone’s got to climb a 20 foot pole to turn out the lights. It is an office that is never next door, but in the fantasies of every dozing desk job daydreamer. To everyone reading, hope to see you in Floyd! Dare to imagine, Chris

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WHAT’S UP, GRRRRL? How (NOT) to Respond to a Casting Call

Posted by: on December 13, 2017

Ellie’s emails are always spot on!

SO! You’ve seen a casting notice on the F-books, a friend referred you to a company, or you’ve been using the Googles to find event companies near you. Great! Now for the all-important contact letter.

Now, while circus is a business, it’s not a particularly stuffy one – no need to write like you’re penning a missive to the Queen of England. That said, do keep in mind that this is your first impression – make it a good one! Try to avoid the following (all real, actual examples I’ve received from artists I don’t know personally and have never worked with):

The Overly Casual – “Hey! I’ve done a bit of trapeze, hit me up if you still need people!”

The Super Curt – “Available. $800.”

The Person Without Spellcheck Who Doesn’t Proofread – “Hi! I sae that you wetr casting forn an event, vall me pleas!”

The Person Who Can’t Be Bothered to Send Their Basic Info – “Hi! My website is”

Part 1 – How to Contact

If you’re responding to a casting call, pay close attention to the accompanying instructions. Did they ask you to email? Submit via web form? What information did they ask you to include? Follow their directions. Send things the way they want them sent, and include what they’d like you to include. It really is that simple. I know many casting folks who promptly hit DELETE on every single casting submission that didn’t follow the basic directions. They’re not asking you to make a 27 step croquembouche (unless they are, in which case give it a go)! It’s usually a short collection of info that you should have ready to go at a moments notice anyway. If you DON’T have it ready to go, take this opportunity to get your materials together.

If it’s a referral, see below. Make sure you’re sending to that person’s preferred business address, and avoid using social media to contact them if you can.

If you’re approaching a company, go to their website and see if there are special instructions for unsolicited talent submissions. Most companies will have instructions on how to get in touch with them about hiring, or at least a contact page.

If you know the person, no need to be weirdly formal, but do put on your professional hat and make sure you’re submitting all the requested info/materials.

Part 2 – How to Write a Letter

Even an email should be nice and professional when you’re first making contact with someone who may hire you. After initial contact, you can let them set the tone for how casual your communications will be from there on out (when in doubt, always err on the more formal side). Generally speaking, aim for professional but friendly, and try to let a little of your personality show.

Hello (insert name here)! – (SALUTATION)

I saw your casting notice on Facebook, and I wanted to toss my hat in the ring, so to speak, for your upcoming event on May 30th. – (INTRODUCTORY SENTENCE) ** If you were referred by someone, mention it here.

I have been performing on lyra for the past few years, and have both a 6 minute act and a number of ambient sets ready to go. I can also do sets on silks, hammocks, and ambient contortion. I’ve attached the requested demo link, photos, rates, and specs below.  I’m super comfortable with corporate events, and have quite the costume closet! (- QUALIFICATIONS, ATTACHMENTS, NITTY GRITTY) **Keep it short, sweet, & to the point.

Please let me know if you need any more info or materials! I would love to be a part of this or future events. (- CLOSING SENTENCE)

Thank you for your time, (** a little thank you or a friendly sign off is always nice)



And there you have it! A timely, friendly, professional email can put you squarely in the line of casting, and pave the way for a future bookings and a great relationship. Dare to imagine, Laura


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Yes, It IS Your Business! Or *A* Business, Anyway!

Posted by: on December 5, 2017

One thing I see again and again in our circus community is a near fanatical refusal to see ourselves – our talent, our skills, our offerings – as a business. Is it any wonder, then, that we’re asked all the time to work for free? The sooner we get on board with the business side of what we do, the sooner folks begin taking our work seriously. Because, even though we love it, it is WORK. Am I right? I’m totally right.

Are YOU a Business?

If you are trading (or hoping to, anyway) your time and talents for money, you are a business. If that thought makes you want to barf, you can think of this in any number of ways – you are an artistic product, a creative (business) entity, a glittery money magnet; however you want to think of it, if you are a professional trading goods or services for money, you’re a business. So, riddle me this: why aren’t you treating yourself that way?

For many of us, it’s that we signed up to be artists, not business people.  LEGIT! Sadly, this changes nothing. You have two choices: 1 – run your own business, or 2) pay someone to do it for you (agent or manager). Many of us come down with a foot in both camps, which is also fine, so long as we’re working our hustle. But what does it MEAN to run a business?

The Basics

Whether you’re selling widgets or a lyra act, the mechanics are surprisingly similar.

  • Idea/Product/Talent – whatcha selling? Cube act? Handbalancing? Artsy stuff? Get clear on what you’re offering and who your audience/client/buyer is.
  • Maintain Basic Standards of Professionalism – your work should be professional level, and you should be able to supply everything you need to do your work (rigging, apparatus, costume, makeup, etc.).
  • Procedures & Operations – your rules and policies (yes, you have these as an individual), and how your business works. Do you require 50% to hold the date? Do you have a 3 week booking deadline? How do people work with you? Any and all policies and the *how to* of your business should be clearly written down. **Note: make it EASY for people to hire you.
  • Marketing & Promotion – how do you spread the word about your awesomeness? Are you being consistent?
  • Finances/Pricing – what do you charge? Don’t reinvent the wheel every time – flexibility is fine (HA!), but aim for the same ballpark. Make sure you’re factoring in your expenses, everything from insurance to gas and tolls, and PAYING YOURSELF. Got a total? You need to charge more than that. Also – get a good tax person.
  • Your Team – who keeps you fabulous? As circus artists, we often have: costumer, PT, tax lady, acupuncturist, massage therapist, apparatus supplier, graphic designer, etc. Keep ’em on speed dial!
  • Hustle/Entrepreneurial Spirit – your act ain’t gonna sell itself, m’dear! Refine your hustle every damned day. Return emails and phone calls PROMPTLY, let people know you’re out there, fine tune your professionalism, be the artist who creates solutions not problems, etc.

When You Meet Resistance

Many artists think it’s somehow traitorous to treat this industry like the business it is. If you’re one of them, I strongly suggest you get an agent, or get so damned good that people will put up with your crappy business practices.

If you just have no idea where to start, I’ll share with you a life-changing piece of advice: google that sh*t up. You are NOT the first person to ever ask a question. How much should aerial artists charge? Google it. Where to get a freestanding aerial rig? Google it. How to sew a spandex costume? Google it. After you’ve consulted the Google Oracle, get the Facebook groups to weigh in (search aerial arts, circus, etc – join those groups!).  Ask your peers. Ask your coaches. Subscribe to all the circus blogs (there are a lot of them). Call local circus schools. Don’t stop until you have an answer (or 20). It was suggested to me a few weeks ago that the younger generation doesn’t know how to google, to which I say bullsh*t. Don’t expect information to be spoon fed to you. Take charge of your education, your business, and your career, or you will never thrive in this industry.

**Note that FB  & public forum chats are with the community at large, so mind your P’s & Q’s – folks in this industry have a loooooong memory. Be polite, and try not to get yourself blacklisted before you get out of the gate.

Whether you’re a born entrepreneur, or someone for whom the very thought of sending out a newsletter makes your skin crawl, it’s all the same: love it or hate it, it’s a business. Treat it that way. Dare to imagine, Laura

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