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Ringleader and originator of Muse, Brooklyna€™s premier circus school and event facility, New York native Angela Buccinni and her partner from Israel, Yoni Kallai, have pursued this sensation into profession.A  Muse is one of several 21st century Brooklyn staples of creative conductivity that was expelled from Domino Sugar Factorya€™s parking garage, former home of Glasslands, 285 Kent, and Death by Audio to name a few, as a result of sabotage by Vice Magazine.
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I was set on the path to do ballet and modern; I went to a conservatory program where I leaned more towards choreography, then college, then wound up in New York and was auditioning for a good 2 years. Then I auditioned for Elizabeth Strebs Company ,and they embraced me and brought me into their internship program and I got to train there and did a little bit of flying trapeze. That became home and I very much so try to model the feeling I had there in the beginning as what I want here, because it was the first time in New York that I felt that someone gave me a damn hug. I ended up quitting my job and working only there even though it was only a fraction of the money, but it just felt right and from there I built skills and started booking jobs where theya€™d say a€?we need a dancer whoa€™s not afraid to do these things and wea€™ll train them.a€? They gifted me the confidence in those skills, and once I started getting up in the air and learning these things I was like a€?Oh, Ia€™m not going back, not going back down, ever, never going back!a€? Now ita€™s still a big part of my career. A: I used to get really scared or nervous before going on stage, but at the same time I couldna€™t wait til the next. It was a nice opportunity to have this experience with people in a different way because I didna€™t talk a lot as a kid so it was a way for me to communicate that felt very natural or right to me; it scared me but it was good for me.
A  Y: I did some performances with my brother who was a big actor but it was never my world. I was in university and I got myself an engineering degree but I didna€™t want to sit in front of a computer all day and type. Between university and coming to NY I was working in construction, so ita€™s kinda strange. I got into this whole thing because I like the practice just in the connection with people, it lends itself to performing and I do it but ita€™s not my main motivation. Ita€™s all about play and a lot of fun and then there are those moments when you have a reality check of your mortality. In order to manifest the current space, a 7,000 square foot warehouse with enormous ceilings and legroom conveniently located near the resting place of Harry Houdini, a deviation from logical control over circumstance was required, submitting to the currents of creation in motion and allowing the tides of destiny to construct their ultimate dream.
A friend of mine wanted dance lessons in private so she helped me set up a dance floor, and then all of the sudden my brother gave me a few lights and a soundboard, and we ended up producing shows. We would have like 100 people coming out to my backyard- it was maybe 30 feet long- it was tight, we had people sitting up on the stage and on the deck. We realized there was definitely a need for space, a need for that comfort zone, and a need for that artistic family, so thata€™s how this whole thing kind of began. This space opened just this last April, we were in another location- this is a crazy story- I dona€™t know how much you want of ita€¦ All of it- go crazy.
A: So the backyard in Bushwick- there was a freak tornado in 2010 that hit brooklyn and it hit the house next door and uprooted a tree and dumped it onto our yard. At that point I didna€™t know what I should do; the studio was closed and I had an opportunity to go on tour so I took it. While touring, Angela launched a Kickstarter to reopen the backyard space as a full blown tent.
The canvas enclosure style was first employed by troupes trailing alongside the westward journey the original pioneers of the American dream were carving towards the new frontier and beyond. But if the nostalgia of nomadic ventures was the intention, she was about to get more than she bargained for. Upon returning to Brooklyn, Angela received a disturbing wake up call from a double homicide next door with one of the people shot going down in her backyard. Confronted with another reality check, she realized that the situation was too unstable to continue bringing people in.
There were 4 of us living in the house at the time, so we packed up our bags, loaded up the truck, and moved into a vacant warehouse in Williamsburg. There was a sink and 2 toilets; no shower, no kitchen, no rooms, so the 4 of us lived in the main body of the warehouse as we built up a living space.

We built up everything from scratch, and then we had a home and started the studio in the living room, this is 2011, when the business was officially registered. The tornado ripped it up for a reason it was like a€?ok youa€™re done you have to go to this warehouse do this thing and that will build up the community even morea€? and now ita€™s this thing. Enter the next antagonist in the form of Vice Magazine, whoa€™s imperialistic conquest left them hovering in limbo once more.
We got swiped out- we were actually supposed to have a few months left on our lease but they started construction and bits of our ceiling started falling in and there were sparks coming over so we had to wrap up business and get out early.
So they packed their bags again and moved into the current space, a drastic transformation from the trashed condition they found it in. From December to April 2015 they were in heavy construction with the help of volunteers and a few professionals. Almost everything was repurposed, including the acquisition of $120,000 of freshly laid wood that someone had changed their mind about last minute. The stage was donated, and the booths are from Galapagos who lost their space in Dumbo from getting bumped out. At the time we lost the old Muse a lot of spaces were closing and I do think ita€™s a crisis in NY right now, of artist spaces becoming fewer and far between and more so getting pushed further and further away, and I think it could get to the point where everything is driven so far out that you lose the point of being in NY. I think theya€™re going to start importing more and more art rather than actually having local stuff brewed here. She was living back in NY- we met again and she started asking if I wanted to move to NY and become her base. Thata€™s such a romantic way of thinking about it A: There was no romantic anything, we didna€™t date for a long time, everything was built on play, trust, and communication.
We became really good friends and that second time we met at the convention I didna€™t trust many people to be throwing me around, but I trusted him, I felt very safe with Yoni.
He was the one that would translate for me and make sure that I was always included in things. There were things at the convention I had my reservations about, I wanted to pursue acrobatics but I didna€™t have a partner. I found the world fascinating but wasna€™t sure if i was capable of it, but somehow together we were capable of a lot, so I asked him to come down here and work together. I was like- I really dona€™t know if we would book work, I have a studio, we can train, we can go to Montreal to get coaching- I have no clue how this will work, but youa€™re still welcome to come and he came. We worked together very closely and very intense training for 9 months and then after that 9 months he was committed to go back to Israel for a year.
I think wea€™re still very much so in hard times right now trying to get over that last transition and hump. Wea€™re still not financially stable and ita€™s really rocky, but then there are moments where I see someone whoa€™s worked really hard in classes achieve to the next level and their celebration and joy or I see some of the little kids saying things like a€?I can fly!a€? and you see through other peoplea€™s experiences.
Sometimes when there a show Ia€™m watching the audience so Ia€™m seeing them relive something that I went through, which is the reason that I got into this.
Y: I think for me performance- wise I like to make things funny, but I think I find more moments of joy working with people in a class and just meeting someone somewhere and doing something with them.
I had an experience a few months ago with a bunch of friends in Israel just next to a waterhole in the desert. This one woman was having a hard time, she wanted to go in the water but was afraid because it was cold. I naturally felt like I could support her and help her choose to go in and not be pushed in.
A  Yoni has been exploring his ability to encourage others to participate through a€?play-working sessionsa€? where he focuses on listening to students one on one and getting them to open up. A: In teaching too, together we notice a lot and one thing we love about sharing this with others is seeing peoplea€™s minds change about what theya€™re actually capable of. Even when Yoni and I first saw acrobatics, hand to hand specifically, it was something I felt for me was unattainable, I wasna€™t capable of it.
I admired it and was like a€?wow thata€™s really amazing, God I wish somedaya€¦a€? and then slowly you start to build these blocks and you understand ita€™s just a matter of time, training, and willingness to keep going. Their idea of circus is not a passive panoptic performance for the audience, but interactive play that encourages the entertained to partake in the entertaining. Y: Personally I like to not have that boundary and I like to pull people up from the audience to do simple acrobatic tricks to show people that they can do a lot more that they think. Often Ia€™ll take the smallest girl I can find and go into an inversion where all my weight is on her and they always hold it and theya€™re so surprised. A  A: For me ita€™s similar, Ia€™ve performed at Radio City before and off broadway, so I feel like Ia€™ve had a big spectrum of lots of different audiences and ita€™s more special when ita€™s very intimate and that fourth wall is gone.
I like to create shows where the boundary isna€™t there, so its ok for you to touch an audience member, ita€™s ok for you to go right up to them or hug them in the middle of your performance. If something is not completely or tightly constructed the performer has freedom to make choices and feel whata€™s actually happening. I think what we have in common is the connection with people, if we have a small show with 30 people, I can come close and look someone in the eye and make them feel something and get them to have an experience that they havena€™t had before. Ia€™ve noticed in acrobatic performances that there seems to be this incredible defiance of gravity. A: In my dreams as a kid I used to be able to jump and swim through the air and choose when I came down. I think that desirea€™s always there; I think we can all fly ita€™s just a matter of when gravity decides to kick in.
When theya€™re not challenging the laws of physics, the space is rented out to a myriad of amusing acts, including most recently The Acro-Cats, a rock band and acrobatic ensemble comprised of 5 cat performers. A: Yeah, we do coproduction type opportunities where if therea€™s a small company thata€™s not as established and wants to produce a show, we grant them rehearsal space and the ticket proceeds from the show go back to fund the space. Therea€™s a lot of dead hours that we want to try and give to as many artists as possible and in return they help us bring in an audience and keep the space going.
Therea€™s high competition for jobs that immediately sets up this territorial environment where you become very scared to show your material or teach someone else because all of the sudden theya€™re gonna take it or get that job. In other places theya€™re like that, really open with the knowledge they have and wanting to gift it. The more people we have using the space, loving the space, wanting to be a part of it, the better.

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