Living & Working as an Independent Circus Artist: A Business of Relationships

10/25/2026 | Heidi Kirchofer
thrivemovementstudio@gmail.com

Category: circus, thrive movement studio, performance, lifestyle, movement, health, fitness, wellness

Being an independent circus artist is about much more than performing. You are also a business owner, marketer, salesperson, production manager, and client-relations specialist.

Over the years, I've learned that building a sustainable circus career comes down to three things: relationships, professionalism, and knowing your value.

What Does “Independent” Mean?

An independent artist may work with multiple agents, companies, and direct clients, own their own business, and produce or coordinate their own work.

There is no one “circus” to work for! The circus world is made up of companies, agents, festivals, venues, event planners, schools, libraries, and individual clients. That variety is one of the great things about being an independent artist—but it means you are responsible for building your own career.

Start by Building Relationships

Your network is one of your most valuable business assets.

If you're starting out, volunteer, assist, or apprentice with experienced performers and coaches. You'll gain experience, photos, references, and—most importantly—connections.

If you don't live near a large circus community, start locally. Libraries, festivals, community events, schools, and Parks & Recreation departments can all provide opportunities to build your experience and reputation.

And remember: your reputation is part of your product.

Be reliable. Communicate clearly. Show up prepared. Be easy to work with.

People remember that—and they hire people they trust.

Working with Agents

Agents can provide a lot of work, particularly when you're starting out. Some are small local agencies, while others represent artists for large-scale national or international events.

When you work through an agent, respect their client relationships. Don't hand out your business card to their client at an event or solicit their clients directly.

At the same time, an agent doesn't need to control your entire career. You can maintain your own clients and relationships while working with agencies.

Respect the relationship without giving away your independence.

You Don't Need a Huge Costume Wardrobe

When you're starting out, a few versatile costumes can go a long way. Think about colors and pieces that can work for different events:

• Red: holidays, Fourth of July, classic circus
• Gold or sparkle: circus, Mardi Gras, galas, corporate events
• White: winter and more neutral events

Accessories can completely change a costume - belts, jewelry, headpieces, rhinestones, even scraps of fabric for your hair or at the tops of your stilt pants can give you multiple looks.
And if you can sew, that's a huge advantage. Don't underestimate sparkle. You're entertainment. You should look more special than the guests.

Marketing Is Part of the Job

Marketing takes time. A lot of time.

Use your local network, social media, booking platforms, and direct outreach. Platforms such as GigSalad and The Bash can be useful sources of work when you have strong photos, video, and a clear description of what you offer.

Create a saved response for common inquiries so you aren't rewriting the same email every time. Give your price early; that way you save time on events that don’t really have budgets.

You don't need to be the cheapest performer to get work. In fact, consistently undercutting other performers can hurt the entire local market and will greatly effect your relationships with other performers.

Have a Professional Home Base

You don't need a complicated website, but you do need somewhere professional for clients to go. Your website should clearly show:

• Who you are
• What you offer
• Photos and video
• How to contact you

A Google Business Profile and good reviews can also make a big difference.

Make it easy for someone to decide, “Yes, I want to hire this person.”

And after the event, follow up. Say thank you. Ask for a review. Ask whether they have photos they can share. A successful gig shouldn't end when you walk out the door.

Safety Starts Before You Book the Gig

This may be the most important part of working independently. Clients often don't understand what circus performance requires. They may not understand rigging, dynamic loads, ceiling height, floor space, or the amount of room required for equipment.

Never agree to an aerial rigging situation based only on a client's description. A qualified circus rigger should be involved unless you're using an appropriate freestanding rig. Ask questions. Request photos, video, measurements, or venue diagrams. For complicated aerial work, a site visit may be necessary.

You also need to communicate your other needs before the event—a changing area, appropriate access, space for equipment, breaks, and anything else required to work safely and professionally. You are responsible for knowing what you need to work safely.

Price the Whole Job—Not Just Your Performance

Pricing is one of the hardest parts of being an independent performer. The biggest mistake is thinking you're charging for the minutes you're physically performing. You're actually pricing the whole job.

Your quote may need to account for:

• Performance time
• Travel and parking
• Site visits
• Client and venue communication
• Costumes and equipment
• Setup and strike
• Rigging and riggers
• Rehearsal
• Administrative time
• Insurance
• Years of training and experience
• The physical risk and complexity of the work

A job that looks like $700 on paper may be worth considerably less once you account for everything it actually takes to deliver it. Talk to other performers and learn your local market. Don't assume that being the cheapest will get you more work.

And know your limits. If a client wants four 30-minute aerial sets or eight hours of stilt walking, you need to determine whether that is physically reasonable—and price it accordingly.

Contracts, Cancellations & Rain Dates

As your business grows, get comfortable with contracts. At minimum, make sure you have clear agreements about the date, time, location, services, payment, and cancellation policy.

Cancellation and rain-date policies can be complicated. There isn't one perfect answer. Decide what is fair to you while considering the type of event and the value of the client relationship.

For anything legally complicated, have an entertainment lawyer review your agreement.

Learn to Say No

Not every gig is a good gig.

Don't take work that:

• Isn't safe
• Doesn't pay enough to make sense
• Treats you poorly
• Requires unreasonable accommodations
• Conflicts with your values
• Could damage your reputation

Your time, skills, and body have value.

I have three criteria for taking a free gig:

1. It's REALLY fun. Like stilt walking for Beats Antique
2. It's genuinely good exposure. Most clients will tell you their event will give you exposure - that isn't always the case.
3. It's for a cause I care about.

Keep Track of the Business

Even a simple system for tracking expenses is essential. Keep records of equipment, costumes, insurance, website costs, advertising, mileage, training, studio time, and other business expenses. Remember that the money you receive from a gig isn't necessarily what you actually earned.

The Big Takeaways

Being an independent circus artist means being a business owner.

Relationships matter.
Your reputation matters.
Safety matters.
Your time has value.

Be professional. Communicate clearly. Price the whole job. Know your limits. Protect your relationships. Make it easy for people to hire you.

And remember: Your job starts long before you walk onstage.

This article is based on my experience as an independent circus artist and business owner. It is intended as general guidance and a starting point, not legal, tax, insurance, or rigging advice. Seek qualified professional advice for your specific situation.

Heidi Kirchofer
Matica Arts & Thrive Movement Studio

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