Sawdust & Spangles: Stories & Secrets of the Circus

by W. C. Coup

TEACHING A HORSE THE TWO-STEP

In teaching a horse to dance, the master would strike the poor animal above the fetlock, and this would produce a painful swelling. The result was that in a very short time the motion of the stick, in time with the music, would cause the horse to raise its foot. Before the swollen limb was healed the performance was repeated so frequently that the animal did not need the incentives of fear and pain to cause him to keep step with the music.

Jumping the rope is taught in nearly the same manner, a chain being attached to two long sticks swinging back and forth, striking the horse just below the knee. As a man was stationed on each side of him, the poor horse had no way of retreat, and was compelled to jump in order to escape the blow from the swinging bar. A horse is taught to roll an object or to push open a door in a very simple manner, and without cruelty. One man stands in front of the horse and another behind him, the three being stationed in a passageway too narrow for the horse to turn. After standing a bit in this way, the man behind the horse gently slaps him on the back and urges him forward. Instinctively the horse pushes against the man in front, and the latter quickly moves along. In this manner the horse soon learns that by pushing against an object in front of him it may readily be forced out of his way. An intelligent spectator can always tell by the attitude of a horse toward its master whether it has been ill treated. If fear seems to be the governing motive it may be depended upon that the horse has been harshly dealt with; on the other hand, the very nature of the trick performed by the animal goes far to indicate whether fear or intelligence has been the main factor in acquiring the accomplishment displayed. If you see an animal open a trunk or drawer and pick out some article for which it has been sent, you may know that this feat is the result of an appeal to the creature's intelligence and not to its fear, for no amount of punishment could ever teach a thing of this kind.

RING PERFORMERS TRAINED WITH A DERRICK

Ring horses are generally irritated when the rider first stands upon their backs. Probably the action of the foot pulls the short hair; but the irritation ceases in a short time. Riders are first trained to do their tricks on the ground. When complete masters of themselves on the ground they are put upon the back of a horse having an even gait and a reliable disposition. To the performer's belt, at the back, is attached a stout rope which runs to the end of a strong arm or beam running out from a post set in the center of the ring. This arm is swung around by a helper, who keeps the loose end of the rope in his hand in order to regulate the slack and prevent the young performer from having a heavy fall should he lose his footing. Again and again the rider is pulled up just in time to prevent him from falling under the hoofs of his horse. He is swung forward, dangling from the arm of the derrick, until he regains his balance and his footing upon the back of his horse.

To describe in detail how every feat and specialty is taught would require a volume, but on general principles it may be said that all tricks are first learned on the ground, or at a safe and minimum elevation. Then when the performer has attained absolute self-confidence and is wholly without fear he is allowed to swing higher, until he finally reaches the height required in the public performance.

CIRCUS PEOPLE A LONG-LIVED CLASS

In the old days it was the general custom for the circus proprietors to put their own children into the business, teaching them to do everything in the acrobatic line, from bare-back riding to trapeze and bar work and slack-rope and tight-rope walking. Many of them were also skilled musicians and could play several instruments in the band.

At the present day many persons not familiar with the inside life of the circus will no doubt be horrified to think that a man wealthy enough to own a big circus and menagerie would train his sons, and particularly his daughters, for the ring. Let me say on this score that I could name a long list of families in which this custom prevailed, and must say that the private and domestic life of these people was far above that of the average families in fashionable society. Almost invariably the members of each family were devoted to each other and were refined and intelligent. Many of the young women of these families married wealthy and cultured men, and retired from the circus business to become the mistresses of refined and happy homes. Many old showmen whose children were star performers carried accomplished teachers with them on the road, and the children were as well educated as if the entire time had been spent attending school.

Their training and work in the ring not only afforded them splendid physical exercise, but taught them patience, application, alertness, and many other valuable lessons which made their progress very rapid when it came to their lessons from books. It is a fact worthy of notice that the circus people are a long-lived race. I can name almost a score of famous performers who have attained an age of more than eighty years. This would tend to show that circus work is quite as healthy as any other. I may add that the charge so frequently brought against showmen, that the training of children for the circus ring is cruel, is not well founded.