My first approach to the Maroma was in 2008. I was member of Otro Circo and  Circo Atayde Hnos invited us to a gathering with a group ofmaromeros that were taking part in the newly created Laboratorio de Acrobacia Indígena (an indigenous acrobacy laboratory inCumbre Tajín). Strong relations were built from there between the Zapotec maromeros from Santa Teresa, Veracruz and both Otro Circo and Circo Atayde Hnos. Before the end of the year, we were performing together in their patronal feast. By 2011, I was briefly a member of Transatlancirque, a cross-cultural project directed by Charlotte Pescayre[2], that combines European-school circus with indigenous Maroma.

A circus-kind of spectacle with a strong ritual component, Maroma’s mestizo origin finds its roots in pre-Columbian Mexico.[1] During the patronal feasts[3]of some rural villages, maromeros companies perform their shows. Indigenous and mestizos tight-rope walkers[4], aerealists and clowns compose these companies, including artists with different grades of professionalization that are usually also farmers. The style and elements of the show vary from one r...