Jessie Rose: A Life Full of ideas
INTRODUCTION
I first remember coming across Jessie in my early days of discovering circus.
We are a very similar age, and at the time I was deep in that phase of searching the internet, trying to find people, places and little clues that could help me make sense of this circus career I had suddenly envisioned for myself.
Somewhere along the way, I found Hoop La La, Jessie’s hula hoop trio, on Britain’s Got Talent.
And honestly, I got goosebumps.
You could just see how much they loved it. They were skilled, funny, full of character, and they didn’t take themselves too seriously either, which I think made me love it even more. It felt joyful, theatrical and completely alive.
At that point, I wanted nothing more than to follow this new path I had stumbled across at a festival in Ireland more than ten years ago. I didn’t fully know what that path looked like yet, or where it would take me, but seeing artists like Jessie made it feel real. Like there were people out there actually building these colourful, unusual, wildly creative lives.
And I wanted in.
Since then, Jessie has built a career spanning hula hoops, aerial, teaching, directing, motherhood, festivals, theatre, wild ideas, silly shenanigans and a whole lot of resilience.
In this conversation, Jessie talks about her early days in circus, Hoop La La, making a creative life work, motherhood, inspiration, longevity, and what it means to keep following your creative ideas, even the strange ones that don’t always make the cut.
HOW IT ALL BEGAN
Jessie: I was definitely a theatre kid, although not sporty at all! My little sister was always drawn into elaborate shows I was making in the living room (which I often made her audition for, despite the lack of other applicants!). In my school yearbook at 16, I wrote that I would join the circus as something of a joke, but it turned out to be rather prophetic.
After school I did two years at a dance college, before going on to a six-month summer training course with a travelling circus called ACA (Academy of Circus Arts). There we lived in a large container truck divided into 6 rooms, and built up the little circus tent in a new place every week, learning circus skills during the day and on weekends performing in the show alongside our teachers. It was very hard work, but I had ‘caught the circus bug’, and after giving it a one month try, I dropped out of my place studying classical music at Cambridge to study circus further at the National Centre of Circus Arts (then called Circus Space).
(Photos taken at ACA and Zippos in 2005. Photo on trapeze credit: Daily Express)
Jess: When you were first getting into it, did it feel like a clear path for you, or did it unfold more naturally over time?
Jessie: I was always pretty focused (or maybe delusional haha) on making circus my main career, and didn’t really consider other options. I think my parents have always been so supportive of me following my mad and ambitious ideas, that I fully believed it was possible to make this crazy circus path a career. “Smiling in tights” was what we used to call the job! I was never the most talented, but I really believed I could do it anyway, so pushed for every job as hard as I could. Of course there were lots of bumps along the way, and plenty of times where I barely made enough money to live on, but I remained convinced that this was exactly what I wanted to do and I should keep on going. Hula hooping was very close to my heart from the very beginning of Circus Space (first introduced to me by my wonderful friend and colleague Tiina Tuomisto), so I think I knew I would keep performing that, but I often considered giving up aerial acrobatics. However, whenever I thought about that, I ended up joining up with an awesome aerial partner who convinced me to keep going (thanks Lisa Truscott and Enriko Davidovs!) and here I am, after 20 years still performing in the air!
(Photo Credits: Mona Lisa)
FINDING YOUR WAY
Jess: Was circus always the main thing for you, or were there other jobs and side paths alongside it while everything was taking shape? In my first few years getting into circus, I was doing little hair jobs in people’s homes just to get by, so I’m always really curious about what that part looked like for other people too.
Jessie:
Like many students, I waitressed through circus school and a bit afterwards while I built my contacts. The year after I graduated, I was lucky enough to have a good experience on Britain’s Got Talent with Hoop La La... which got us a lot of jobs, so I was able to go into circus full time very quickly. However, I have often taught circus alongside performing, whether to adult hobbyists, children, or aspiring professionals. Teaching has offered me some semblance of stability, but it has also been a massive boost to my circus career in other ways – the challenge of bringing new tricks, techniques and ideas to my students has kept me on my toes, and teaching children in Berlin has forced me to improve my spoken German. So many people I have taught have inspired me through what they achieve and overcome. Plus many former students have become great friends!
(Photo Credits: Marco Muscara)
Whenever gigs were not plentiful, I have also taken on sewing jobs making circus costumes... and these days I direct circus shows, produce an aerial festival, and write short stories for magazines around shows. I think so many circus artists are incredible at developing truly diverse portfolio careers that support their performing. And although sometimes I lament that the industry is so often unstable and badly paid so as to require this, it does force us all to be very adaptable and rounded!
Jess: When you look back now, what do you think helped you build a life in circus that actually felt sustainable, but still felt like your own way of doing things?
Jessie: I think it helped that I always enjoyed making and performing commercial work, and feel passionate about making art that was also entertainment. So taking corporate jobs and contracts never felt like a terrible compromise – it was a chance to perform an act that I created lovingly with a lot of joy, and bring it to an audience while making a living. That said, the more ’arty’ or contemporary circus projects I have done (that either lost money or were publicly funded) definitely fuelled my love of circus and re-filled my cup, and so were a central part of keeping my love and enthusiasm for being a circus artist alive. I think it’s really about creating a balance that makes you happy. Equally, having supportive friends, family and colleagues to travel the journey with, as well as being happy to live on a low salary, make this career sustainable, enjoyable and authentic.
(Photo Credits: On the big screen at a cricket match performance that never paid me! )
CREATING YOUR OWN WORLDS
Jess: You’ve been part of so many beautiful projects over the years. What do you enjoy most about building your own creative world, whether that’s through a show, a collaboration, or a concept of your own?
Jessie:
I love the possibility as a circus artist, to be able to fully realise your dream – from conception, to design, development and performance. For instance: if I wake up tomorrow with a dream, an idea that I simply HAVE to make happen, I can do it! I can cut the music, make the costume, choreograph the act, make the promotional material, put in the training and rehearsal hours, and bam, I can put it out into the world! This doesn’t mean it will always be successful, or even good, but I love that I can follow my own creative spirit and crazy ideas in this way and see where they take me. There have been plenty of stupid, rejected and abandoned ideas along the way (a quick change act coming out of an enormous egg… aerial numbers featuring highly impractical wigs etc…) but at least I get to try them out!
What I also love about creating new worlds is collaboration. Many of my working relationships have been with some of my best friends, and I can honestly say that about half the time in training or rehearsals has been full of silly shenanigans and belly laughs and wild brainstorming together over coffee or wine. Whatever the outcome, those processes are the ones that stay with me and make me smile.
Jess: I’d love to hear a bit about projects like Hoop La La and the different worlds you’ve created through your work. What first sparked the idea to get Hoop La La up and running, and where did the name come from? It’s such a cool, iconic name.
Jessie:
Hoop La La was born after watching Mean Girls. I’m not joking. Me and Craig watched the scene with the sexy santa dance, and immediately knew it had to be a trio hula hoop act, and that we would perform it at the following year’s circus warehouse Christmas cabaret. Only one problem: we did not know how to hula hoop. So we begged Tiina to teach us all her hula hoop tricks and over the year built up the skills and the act, and spent late nights sewing santa costumes (with rip off skirts!) and fulfilled our wildest ambition! Ha! The combination of the three of us with comedy, choreography and trio hula hoop tricks worked so well that we just continued making new numbers and performing, and somehow Britain’s Got Talent found out about us and asked us to audition.
(Photo credit: Santa’s Ho Ho Ho’s by Mat Hennen.)
The name Hoop La La was actually thought up by our lovely circus school IT teacher. We had a different (embarrassing and unfortunately unintentionally rather X-rated….!) name, but as soon as Chris suggested “Hoop La La” we realised that was the one, and immediately bought the domain name.
Jess: When a new idea comes to you, what usually arrives first: the feeling, the visual world, the character, the music, or something else entirely?
Jessie:
Actually, inspiration arrives in lots of different ways. Sometimes I will literally wake up from a dream with an idea of a show or act fully formed, and wake up my poor partner to tell him the whole thing in great detail before I forget it. Other times, I hear a song I like and spend a while just visualising in my head what an act to that would feel like, before breaking it down second by second and plotting out what moves will work. And sometimes it’s a concept like: what would it look like to do a neck-to-neck spin with a huge bridal train/tutu/dress? And then I have to build the act around it – maybe the character was about to get married but at the last minute ran away to be a wild aerialist.
(Photo Credit - Cirque Bijou Harbourside Festival, Santa’s Ho Ho Ho’s by Mat Hennen)
THE PRACTICAL SIDE OF A CREATIVE LIFE
Jess: I’m always really curious about the bits people don’t see, because there’s so much behind the scenes that goes into making this kind of life work. What has that looked like for you over the years?
Jessie:
Making a freelance life in this way is very diverse and very busy. I am always in the middle of some project at various different stages. Either at the beginning which involves costume design/make, music editing and training. The promotion stage which is a lot of web design, social media promo, photo and video editing, and emailing agents/bookers and clients. Or the logistics stage where you have to manage prop/costume maintenance, travel bookings, organising childcare, and increasingly, injury rehab and body recovery. I always work evenings and weekends as well as during the daytime hours where my daughter is in childcare, not to mention the actual shows! Sometimes I do long for the ease of a job you can leave at the end of a shift and not think about anymore, but equally, I know I’m lucky to do this and I don’t think I could handle anything different!
Jess: What do you think has really helped you keep creating over the years? Whether that’s teaching, working with others, making your own projects, or just being open to different opportunities as they come along.
Jessie:
I think the variety of projects has always kept me going. I’m rarely stuck in one groove, with one act or show for a very long period, I always get to mix it up. A few months on a long contract roller skating, then a short tour of a creative show, then a few galas and corporate hula hooping jobs, then a period of teaching and staying close to home, then a month on tour… Its chaotic certainly, but I am never bored and I think that means that there is always space for creativity.
MOTHERHOOD AND THE CREATIVE MIND
Jess: I’d love to talk about motherhood too, because something I’ve really noticed in my own life is that since having my babies, I’ve actually felt even more creative. It’s like all these ideas started flowing in a new way, which I don’t think people talk about enough. Have you ever felt that too? Has becoming a mother opened up anything new in you creatively?
Jessie:
Oh my goodness yes! In one sense you are so much more focussed because your time is so much more limited and unpredictable (sudden family stomach bug anyone?!) On the other hand… I value myself and my principles more and I think that allows me to make work thats important to me more of a priority. Also in a broader sense, I just want my child’s life to be so full of creativity and beauty and fun, and that inspires me to approach my art with that in mind, and not get sucked into the grind.
Jess: I’m always really interested in how artist mothers find their own way of making it all work, because it can look so different for everyone. What has that looked like in your world?
Jessie:
Well three main things: cheap childcare (thanks Germany), supportive and equal partner (thanks Ben!), and wonderfully helpful grandparents (that fly over to help when both me and my partner are gigging and away from home). Without those, I honestly don’t know if it would be possible to keep my artistic life afloat, and I am aware of what a huge privilege those things are.
Life can be super busy and complicated, and planning a weekend of gigs with two artistic parents can feel like a carefully strategised military operation! My daughter Autumn has been coming to gigs, sleeping in backstages and playing in the corner during sound checks since she was tiny, and I hope as she gets older we can continue to include her in our work lives as much as possible, and that it will enrich her. I also feel strongly that performance workplaces and employers need to normalise this and support it where possible, because otherwise its so easy for mothers to feel pushed out of work because doing antisocial work hours with children is not possible, or frowned upon. So even if it is difficult to ‘bring the baby to the show’ sometimes its worth it as a feminist statement!
(Photo credit: Still from an art video I made while pregnant about circus, pregnancy and infertility called “I Will Glow, Right?”)
A LIFE FULL OF IDEAS
Jess: Does your brain ever feel like it just won’t switch off? I feel like there are always so many ideas, plans, work things, family things, and little creative sparks flying around that it can start to feel like overload. Lately I’ve been journaling more just to get things out of my head and onto paper before I forget them. Is that something you relate to, and do you have any little ways of managing all of that?
Jessie:
Oh man yes, I completely relate! You just described my brain haha! At the risk of sounding like that stereotypical embarrassing artist – I did do The Artist’s Way and found writing the “morning pages” helped... When all the thoughts and ideas really won’t give me rest and I feel overwhelmed (not necessarily in a negative way, but just in a ‘too much information’ way), I am trying to implement a bit of nature time – short walks in nature and time to be in a green space. On tour me and my aerial partner usually try and get at least a short ‘mental health walk’ in a park before diving into the dark of the theatre and it genuinely helps! Also watching zombie movies in the bath – my favourite way to switch off.
EVOLVING AS AN ARTIST
Jess: I’m really interested in how we change over time as women and artists, because I feel that in myself a lot too. Has your relationship to performing shifted over the years, and how do you see yourself evolving creatively from here?
Jessie:
I had a sudden revelation the other day as I was performing my hula hoop act, that it actually empowered me. Being on stage doing my thing felt strong and comfortable and replenishing and not just like I was running off adrenalin. I think I always had a bit of that, but now that I’m older and have been doing it for 20 years I could really appreciate it. However I am starting to feel that I don’t need it as much as I used to. I am also happy to see other artists achieving their success, and supporting them on their journey instead. And I dream of taking my creativity into writing books eventually.
My circus partner Enriko always jokes that I have an alter-ego called Sharony – a highly-strung, over-controlling crazy show-off character, that appears at times of high stress! She has always been with me on stage, but I hope to have a little more control over her as time goes on haha!
People always ask ‘how long can you keep doing that anyway?’ and the answer is… I don’t know! But I want to find out. I don’t want to be stopped by some kind of outside judgement about a certain age that women should stop being on stage, or an idea that your body will just suddenly become incapable of great exertion at one point – both of those expectations are bullshit. I hope to keep evolving my performance style and skills as long as it makes me happy, and if anything, I’ve gotten stronger as I’ve aged, and after childbirth, which I never expected.
Jess: And finally, velvet or stripes?
Jessie:
Hmmmm. Velvet. Gotta love the Drama!
(Photo Credit: Compering the Aerial Arts Festival Berlin Work In Progress night with Zinnia Nomura. Photo by Laurin Gutwin. )
AFTERTHOUGHT
It’s been a hot minute since I have picked up my hoops.
I even bought brand new tape from Hoopologie in an epic silver holographic, along with the Miracle Grip tape, which I had heard so many good things about. Apparently, it really does feel like a miracle.
I taped four hoops and still had another four to go, and I’m a little embarrassed to say that was about five months ago.
Eeeeeek.
But honestly, I’m okay about it.
And it’s one of the reasons I love doing these interviews. Even though my priorities have changed, children, renovations, writing these interviews and managing my business, I know I will get back to it at some stage.
In the meantime, I absolutely love hearing the stories of these incredibly unique lives. Lives that are constantly being thrown curveballs, but still keep moving, creating and pushing themselves. Literally no-limit human beings, all because of the pure love of it.
Because let’s be honest, you probably wouldn’t choose this path for the money alone. You really wouldn’t. But the abundance, the love, the belly laughs, and the passion that Jessie talks about, that is the real abundance in life.
Even though I’m not with her in person, I can feel the passion radiating out of her words.
To find something that makes your heart sing, that makes you jump out of bed in the morning to tell your partner or a friend about the ideas that have been circling your brain all night, literally nothing can beat that feeling. To have a purpose in life and to get out there and pursue it, no money could replace that.
And of course, we value our work. Of course, we want to put a price on it that truly reflects what goes into it. But we also know how easy it is to go above and beyond, and forget to account for all the other faffy add-ons. The late-night hula hoop taping, the panic last-minute sewing, the emailing, the finding childcare, the rolling on a hard tennis ball or doing rotator cuff exercises before bed.
The list goes on.
Jessie literally says she works seven days a week, and I believe her.
What stood out to me most is Jessie’s unwillingness to let rejection hold her back. Like she says, it is an option for her to try something. And honestly, what’s worse? Not trying something and always thinking, “what if?”, or unapologetically getting up there and following that beaming light within?
I also love what Jessie says about inspiration. I notice this comes up a lot when I interview artists. Inspiration doesn’t just come from the most obvious places. Hoop La La was born through watching the iconic movie Mean Girls, which I just love.
I have noticed this within myself too. Even while spending time with my toddler, we could be watching a kids’ movie together or reading a book, and suddenly something will just come to me. A colour, a pattern, a little idea. Then I have to quickly grab my notebook and write it down before it disappears.
I think when we open ourselves up to the possibility of finding inspiration anywhere, even under a rock, then it becomes limitless.
I really resonate with Jessie on wanting to keep her child’s life full of creativity, beauty and fun. I think what I love most about being a mother in this creative lifestyle is bringing my kids along the journey with me. Obviously, there are times I need quiet time and I really need to focus, but for work trips, like my trip to China, I got to do it as a family.
My kids came with me to the fabric markets, to meet Renjie, my seamstress who makes all of our Bubble Bum clothing, and to the resort where we gig in the festive season. I really try to include them wherever possible.
Even at the gym, I used to bring them when they were small and just let them sleep in the car seat in the corner while I got a quick workout in. I definitely got looks. Someone once said to me, “The music is a bit loud,” but I just ignored the comment and kept going.
Baby was out cold…
Jessie is reassuring in the longevity of circus too, and in not letting outside judgement dictate her future within it. Honestly, it is so refreshing to hear.
I have also gotten stronger after becoming a mother. I'm not sure why, but.. Maybe because I am basically carrying 12 to 15kg up the stairs, down the stairs, and then the extra mile when your toddler says, “Mommy, I’m tired.”
I have so many banked ideas that I know I will eventually cash in. Maybe in my 40s. Maybe in my 50s. Maybe even in my 60s.
But right now, like I said, I will take each year as it comes. I’ll focus on the things that mean the most, put them in order, and start from there.
This life is plentiful, and I have no doubt that I will accomplish all my desires within it.
Jessie is a living example and reminder that if you love something enough, you will do what it takes to keep it alive.
RESOURCES
The Artist’s Way by Julia Cameron
The creative recovery book Jessie mentions, known for the practice of “morning pages”, where you write freely first thing in the morning to clear your head and reconnect with your creativity.
Hoopologie
Where I bought my silver holographic hoop tape. They sell decorative and performance hoop tapes, including holographic options for taping hoops.
Miracle Grip Hoop Tape
The clear grip tape I mentioned in the afterthought, often used by hoopers for extra grip.
Hoop La La on Britain’s Got Talent
A little throwback to Jessie’s hula hoop trio, Hoop La La, who appeared on Britain’s Got Talent in 2008.
National Centre for Circus Arts
The London circus school Jessie refers to as Circus Space, where she went on to train after ACA.