Travis-Louise was a part of the National Centre for Circus Arts CAT programme from 2018 – 2021. They joined through one of the regional partner schools, the Circus House CIC in Manchester. After graduating from the scheme they enrolled on BA(Hons) Course at the National Centre for Circus Arts and have continued to develop a career in the world of contemporary circus.
How did you discover the CAT programme?
My Youth Circus Space in Manchester (called The Circus House CIC) is one of the external branches of the Circus CAT program, they introduced to the scheme and put my application forward.
What had been your experience of dance before the CAT?
Limited, I had done Colour Guard which is a competitive dance and object manipulation event inspired by american marching band and majorettes for 2 years.
I had also trained and competed in display martial art (Shotokan karate) for 6 years.
Reflecting back now, what has the CAT taught you?
The CAT program was my first real introduction to working in shows and ensembles. It gave me the opportunity to be part of productions, and one of the most impactful experiences was performing in Sorry We Missed You with Nearly There Yet. That show felt like my first taste of a high-production circus performance and opened my eyes to the creative potential of circus theatre. Beyond performance, CAT taught me how to socialize with other artists and collaborate in creating work. It also instilled a sense of discipline and structure in my training. I learned how to organize my own schedule—balancing classes, independent training, conditioning, and stretching—all while working towards long-term goals. That ability to plan and commit to a process has shaped how I approach my career today.
Where did you go after CAT – what has been your career trajectory?
Directly after CAT, I enrolled into the degree program at the National Center for Circus Arts and graduated BA(Hons) 1st Class in 2024. Since then I’ve worked with primarily with the Juggling company (Gandini) as well as sustaining a freelance career with work ranging from Cabaret, Public Walkabout, Artist Videos and a commissioned piece.
What are any of your future aspirations and where do you see yourself in the next 5 years?
As part of my five-year plan, I aim to complete a three-year course in circus arts at Stockholm University of the Arts. Since they audition every two years, this could happen either this year or in two years’ time. Alongside my studies—or as an alternative if I don’t enroll immediately—I plan to continue working with Gandini Juggling, one of the most reputable juggling companies in the world. I have already been
working with them for a year and have integrated into the company as an associate juggler, so I see this collaboration growing in the coming years.
Beyond performance, I want to develop my own creative voice as a director and mentor within circus. Within the next five years, I hope to secure a successful Developing Your Creative Practice (DYCP) grant, which would allow me to create and direct work with other circus artists. I also want to contribute to the UK circus industry by generating work opportunities and offering mentorship—particularly to Black artists aspiring to build a career in circus. Creating more space for underrepresented voices and helping shape the future of contemporary circus is something I’m deeply passionate about, and I see that becoming a bigger part of my work in the years to come.
What advice would you give to a young person who is interested in the CAT?
First of all, I’d say that CAT is a fantastic program, regardless of whether you’re certain about pursuing a career in circus. It’s an incredible opportunity for anyone interested in the performing arts—whether that’s circus, dance, theatre, or something else entirely. The resources and support provided by CAT are highly adaptable, and I personally found a lot of flexibility in shaping my own practice. I ultimately chose circus, but that wasn’t always the plan, and CAT gave me the space to explore before committing to a path.
When applying, the most important thing is to show enthusiasm and be authentically yourself. It’s not about proving you’re the best; it’s about demonstrating your passion, curiosity, and willingness to grow. The CAT program, like most audition spaces, values people who bring their true selves into the room. If you’re genuinely excited about learning and developing as an artist, that’s what will stand out.
Once you’re on the program, take full advantage of the resources available. CAT provides a budget that can be used for training, workshops, equipment, and even events like the European Juggling Convention, which I was able to attend in 2019 thanks to my CAT funding. If there’s something that supports your artistic or physical development—even therapy, if you’re going through a rough time—it’s worth bringing it into the conversation and seeing if it can be covered.
If you don’t get in the first time, don’t be discouraged. I had to apply twice before I was accepted, and many of my friends also auditioned multiple times before getting in. Persistence is key, and if it’s something you really want, it’s worth trying again.
Finally, cherish the people you meet on CAT. Some of my closest friends today were part of my CAT cohort, and if you do go into circus, you’ll likely continue working with them throughout your career. The community you build during this time is invaluable, and the support and inspiration you gain from your peers will stay with you long after the program ends.
What impact has the financial support of a Department for Education Grant had on your development?
Receiving financial support through the CAT bursary allowed me to train far more hours than I would have otherwise been able to. It also gave me the opportunity to attend intensives with UK circus
companies, which was invaluable to my development as an artist. Beyond that, whenever I needed additional resources to support my training, CAT was there to provide what it could, ensuring I had the best possible foundation to grow.
We are celebrating 20 years of CAT – what difference do you think the scheme has made to the UK circus landscape?
In terms of the UK circus landscape, the CAT scheme has played a significant role in developing emerging circus artists and feeding them into higher education and professional opportunities. At the National Centre for Circus Arts (NCCA), where I trained, a large number of students came through the CAT program, highlighting its impact on shaping the next generation of circus performers.
Many CAT graduates have gone on to study at some of the best circus schools in the world. For example, one of my cohort members continued their training at Codarts, one of the top circus schools in the Netherlands and Europe. As for myself, I’ve worked professionally with established companies like Gandini Juggling and Upswing, and I’m considering further training at Stockholm University of the Arts, another leading institution for contemporary circus.
The CAT scheme has also provided a direct pathway into professional work. Graduates I know have gone on to perform with companies such as Ockham’s Razor, and one of my former CAT peers, after graduating from NCCA in 2023, immediately secured a cruise ship contract. Another CAT graduate from my class is now touring with both a contemporary dance company and a contemporary circus company, Kook Ensemble, showing the range of opportunities available to those who come through the scheme.
More broadly, CAT has helped establish a high technical and creative standard for young circus artists. Being part of the program requires a strong commitment to training, and the skills and networks gained during that time often serve as a stamp of quality within the industry. CAT graduates not only develop strong foundations in their discipline but also gain access to a national network of circus schools, companies, and creative spaces.
Without CAT, my access to circus would have been largely limited to Manchester. Instead, I was able to train and connect with artists and organizations across the UK, including in Nottingham, Birmingham, Sheffield, Brighton, and London. The scheme has been instrumental in linking regional circus communities, making training and career pathways more accessible to young artists nationwide.