Mounted masculinity – imperial identity in the equestrian acts of Frank Fillis’s circus in South Africa, c. 1882–1910

Bibliographic Data

ID21721920
AuthorsMia Uys (0000-0001-9495-4232, Stellenbosch University, corresponding author), Swart (0000-0002-4608-2182, Stellenbosch University)
Year2026
Volume46
Issue1
Pages77-97
Publication date2026-01-02
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueStudies in Theatre and Performance (JOURNAL)
Journal identifiersISSN: 1468-2761 • E-ISSN: 2040-0616
PublisherInforma UK Limited (PUBLISHER • GB)
DOI10.1080/14682761.2025.2552587
OpenAlexW4414216988
LanguageEN
References cited33

This article analyses equestrian performances in South Africa in Frank Fillis’s Circus between 1882 and 1910. We show how he was influenced by an array of popular acts, such as war re-enactments and hunting spectacles, where horses provided both elements of authenticity and idealized empire through the romantic spectacle of the military. However, we argue that the ‘imperial’ battled the ideographic, as uniquely South African tropes were added to appeal to the local audiences. We further contend that a specific style of equestrian act was developed around the gender of the rider, which served to buttress – rather than trouble – the gendered status quo. Finally, we analyze Fillis’s use of ‘wild horses’, especially zebras, whom he deployed to showcase his ability to tame their ‘wildness’ – mirroring the vaunted imperial civilizing mission. Overall, we explore the distinct and shifting role horses played in Fillis’ circus ring – a transcultural arena of animal capital

Masculinity · Narrative · Performance art · Spatial and Cultural Studies · Sport and Mega-Event Impacts · Sports, Gender, and Society

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