Methodologies of the popular (editorial)

During this year when celebrations around the globe, but most particularly in the United Kingdom, are marking 250 years since the ‘birth’ of the modern circus,1 it is absolutely fitting that the first two articles in this issue bring to light new research on the early circus. Since the inaugural edition in 2010, this journal has published six full-length articles that have illuminated aspects of circus history as diverse as: the role of music in the circus; the songs and jokes performed by American circus clowns of the late-nineteenth century; the transatlantic transference of circus from the United Kingdom to the United States; the spread of circus through the Pacific region; the ghosting of early-nineteenth century hippodrama in contemporary theatrical shows featuring horse and human actors; and the resurgence and redefinition of circus arts in Buenos Aires during the post-dictatorship period.2 A shorter ‘Afterpiece’ I wrote for the journal in 2015 asked the question ‘where to next for circus studies?’ and with the recent global increase in academic conferences and symposia dedicated to research on the circus, as well as the welcome publication of the Routledge Circus Studies Reader in 2016,3 we can now confidently say that Circus Studies is an established field of academic enquiry and practice-informed research that draws together enquiries from diverse disciplinary perspectives and methodological bases. During this year when we celebrate 250 years of the modern circus, the editorial team of Popular Entertainment Studies are proud to have contributed to the growing knowledge base of Circus Studies since our first volume in 2010.