Toward a Committed Cirque

Toward a Committed Cirque
CITIZENSHIP REVIEW 2 0 0 6
2006
– an Eventful Year
THE YEAR 2006 WAS A VERY FULL ONE FOR CIRQUE DU SOLEIL. IN JANUARY, WE LAUNCHED
OUR FIRST TOURING ARENA SHOW, DELIRIUM. THE “PERFORMANCE EVENT,” DIRECTED BY
MICHEL LEMIEUX AND VICTOR PILON, PLAYED IN 61 NORTH AMERICAN CITIES OVER THE COURSE
OF THE YEAR, TO A TOTAL AUDIENCE OF OVER 800,000.
Another highlight in 2006 was the opening of a new Cirque du Soleil ® resident show in Las Vegas —
certainly one of the most ambitious projects the organization has undertaken to date. The show LOVETM,
a product of Cirque du Soleil founder Guy Laliberté’s friendship with the late George Harrison, weds
the audacity of Cirque du Soleil with the rebellion and fire of the best loved rock group of all time:
The Beatles. Working in the Abbey Road studios from original tracks, Sir George Martin and his son
Giles Martin created a totally unique soundscape for the show, directed by Dominic Champagne.
At the end of the year, audiences bade farewell to the Cirque touring production that (at least so far) has
had the longest career under the big top. The show SaltimbancoTM, which premiered in Montreal in 1992,
gave its final performance in Rio de Janeiro on December 10, 2006.
Cirque underwent some major organizational changes in 2006, including the appointment of former
President and Chief Operating Officer Daniel Lamarre as President and Chief Executive Officer. This
reorganization allows Cirque founder Guy Laliberté to devote more time and energy to guiding the
creative processes behind new Cirque du Soleil projects.
As a responsible citizen, Cirque du Soleil has chosen to take clear, meaningful action. This goes
beyond simple philanthropy: first and foremost, it’s a matter of ensuring that the organization’s
values are reflected in all of its business and management decisions. A sense of good citizenship
is part of the Cirque du Soleil “genetic make-up,” embodied in a process of sharing and inspiration
that appeals to all organizations and people in the community to stand forth as fully committed
members of society.
Social responsibility, then, is an essential aspect of our desire to help build a better world. This has
always been an important concern at Cirque du Soleil. We make no claim to be a perfectly responsible
organization. Still, Cirque has developed internal mechanisms to guide all of its divisions in seeking
and implementing more socially responsible business and management practices.
Moreover, Cirque du Soleil plays an active role in associations that seek to give new impetus to corporate
social responsibility and community relations. In 2002, we joined Business for Social Responsibility
(BSR), an organization which represents many multinationals and most of North America’s major
companies. Since 2004, we have also been a member of Business in the Community (BITC), to which
most large businesses in the United Kingdom belong.
While the organization’s citizenship review for 2005 was primarily devoted to our relations with the
community and our environmental initiatives, we have decided to broaden the scope of the 2006 review,
in the interest of transparency. Sections have therefore been added to address the environment in which
Cirque du Soleil employees work, as well as the organization’s relations with its partners and suppliers.
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Work Environment
WITH A WORK FORCE ALREADY NUMBERING OVER 3,000, INCLUDING NEARLY 900 ARTISTS,
CIRQUE DU SOLEIL CONTINUES TO GROW.
People from over 40 countries work together within the organization, in the special spirit of intense
cooperation demanded by the show creation and performance process, and a touring lifestyle spanning
five continents — all in 25 different languages. With such extreme diversity right at its very heart, it
is vitally important for the organization to welcome and value the differences between people and
communities. And because creation is the essence of Cirque’s mission, values around our citizenship
role are equally diverse. The work environment has a great impact on employees’ quality of life, family
lives and health. For some years now, a set of original measures have been in place at Cirque du Soleil
to establish an open, safe, creative and friendly work environment for its employees.
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An open, safe environment:
management with an employee focus
CIRQUE STRIVES TO PROVIDE ITS EMPLOYEES WITH A SAFE ENVIRONMENT WHERE COMMUNICATION HAS
PRIDE OF PLACE.
Health and Safety: The Right Way,
Every Time
The creations and innovations
that emerge from Cirque du Soleil
push existing boundaries. A number of risk factors are inherent in
the organization’s activities: the
difficulty level of certain artists’
performances, intense stress due
to the nature of the industry, and
the fact that some tasks involve
heights, chemicals and heavy equipment. To address
these, the organization has developed a number of safety
innovations for the entertainment field, and for aerial
acts in particular.
Cirque du Soleil intends to set the health and safety
standard for the entertainment industry. To meet this
goal, the organization has pledged to make health and
safety central in its management, creative practices,
and all of its operations, in an attempt to develop a
prevention oriented culture.
Here are our objectives:
• To enable our employees and artists to continue
creating and performing in a safe, stimulating
environment that is constantly evolving.
• To identify, harmonize and share best practices
with regard to health and safety, in compliance
with applicable legislation.
• To mobilize all employees and artists so that they
understand their role and do their part in maintaining
a safe environment.
• To give each person the necessary tools and knowledge
to make health and safety a priority at all times.
• To offer training activities, delivered by seasoned
professionals, to allow these principles to be put
into practice.
A set of highly useful internal communication tools
have been created, using both electronic and print
media. Each division of the organization is invited to
contribute to these tools, which means employees also
have a voice. These communication tools ensure that
everyone is informed on exactly what’s happening at
Cirque du Soleil, before the general public gets the
news. This reflects the organization’s great concern
for transparency towards its employees.
In 2006
A hotline was set up to President and Chief
Executive Officer Daniel Lamarre: employees
can ask him questions by e-mail and read
his answers in an electronic bulletin available
to all employees.
Employees Have Their Say
Cirque du Soleil owes its current strength and renown
largely to its employees, artists and artisans, so it is
important that they continue to have a voice within
the organization.
In 2006
Employees holding similar positions
(researchers, event organizers) in different
divisions were encouraged to form practice
communities in which they could talk about
their methods and approaches, to promote
sharing of best practices.
The employees involved in these initiatives
took them over, making these practice
communities into unofficial mechanisms
with a true life of their own.
Several groups of employees, randomly
chosen from the organization at large, were
invited to participate in a review of performance evaluation processes by attending
focus groups.
Tools for Better Communication
Cirque du Soleil operates in many countries simultaneously, and its operations take various forms: business
offices, resident shows and touring shows. Good means
of communication need to be in place to ensure that
all employees have access to the same information
and to maintain close ties between units, despite the
distances involved.
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A creative environment that reflects
the organization and its employees
CREATIVITY IS THE DRIVING FORCE BEHIND EVERYTHING CIRQUE DU SOLEIL DOES AND MUST BE CENTRAL
TO THE DAILY LIVES OF ALL EMPLOYEES. IT IS VITAL FOR CIRQUE DU SOLEIL TO MAINTAIN A HEALTHY,
STIMULATING, PRODUCTIVE WORK ENVIRONMENT, ONE THAT FOSTERS CREATIVITY AND FULFILLMENT
FOR ALL EMPLOYEES, AND CLEARLY REFLECTS A SOUND, CREATIVE, COMMITTED ORGANIZATION. AT
THE SAME TIME, THE REALITIES FACED BY ALL EMPLOYEES IN THE ORGANIZATION MUST BE TAKEN
INTO CONSIDERATION.
to regular employees, who also benefit from price
reductions in every city where the shows perform
and considerable discounts on merchandise.
In addition, Cirque organizes annual trips to allow
employees to travel to Cirque du Soleil shows more
cheaply, whether they’re going to see our resident shows
in Las Vegas and Orlando, or touring shows passing
through cities near our other places of business.
Stimulating Creativity: the Talons Hauts Bursary
In 2005, the Innovation Bursary was created, as part
of an initiative to encourage employees to submit
innovative projects that dovetailed with the activities
of Cirque du Soleil.
A Time of Reflection to Guide Our Way Forward
In 2006, a major Cirque-wide review was undertaken to
strengthen employees’ sense of ownership, and ensure
that Cirque’s values are embraced by employees and
passed on from generation to generation. This review led
to certain teams’ work environments being rearranged
at the end of 2006, to better reflect the needs of the
employees working in them.
Our Employees: The First Audience for Our Creations
It was renamed the Talons Hauts Bursary in 2006, in a
tribute to the bold, playful origins of Cirque du Soleil in
the time of the Club des Talons Hauts, and the strong
creativity of today’s Cirquesters. The bursary’s purpose
is to promote creativity among the employees, managers
and artists of Cirque du Soleil, and give them a way of
contributing to the organization’s creative pool. In this
way, Cirquesters are encouraged to recall their origins
and draw on them as inspiration for their current creative
projects. Essentially, the idea is to show everyone that
they can be a source of inspiration for Cirque, and a part
of its history if their projects are carried out.
In 2006, bursaries and honourable mentions
totalling $25,500 were distributed to the
six employees whose creation, marketing
and management projects were selected.
Cirque du Soleil remains, first and foremost, a provider
of creative content for a host of projects: shows under
the big top, in arenas and in permanent theatres, and the
creation of television, video, DVD, film and music products.
So that employees in all divisions may become more
familiar with the organization’s core business, Cirque
has introduced policies to give them easier access to
these products. For instance, employees at International
Headquarters (IHQ) whose work environment is less
closely linked to the daily presentation of shows are the
first to see acts by artists who have just completed
their Cirque du Soleil training.
Lunchtime talks featuring the creative teams for our
new shows are also organized to keep employees up to
date on the progress of new projects. And each year, a
certain number of complimentary tickets are distributed
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Making the arts and culture
an integral part of daily life
In the workplace, Cirque du Soleil makes an effort
to encourage employees’ cultural discovery, practice
and participation.
Architecturally integrated works
Two major architecturally integrated art projects were
created at Cirque in 2006:
An asphalt installation by artist Peter Gibson
(aka Roadsworth) on the IHQ parking lot.
Contemporary Art Collection
Cirque du Soleil displays its collection of contemporary
art in employees’ work settings, to create a vibrant,
stimulating environment.
In 2006
La mécanique des villes, a monumental work
by artist Dominic Besner, integrated into the
IHQ architecture.
Special art shows at IHQ
In 2006, the IHQ hosted shows by the following artists:
The collection was enriched by the addition
of more than 35 works of art.
Serge Clément – 5 h du matin
Ron Levine – Prisoners of Age
Dominique Paul, Maguy Carpentier and
Sophie Castonguay are among the young
artists represented among these acquisitions.
Jean Benoît Pouliot – Réflexion, Conduction
Jeremy Gamash – recent works
There are now over 300 works in the collection.
Yan Leroux – recent works
A window on the outside world
Yves Decoste – recent works
Cirque’s ticket purchase program allows employees to
attend artistic events free of charge.
Martin Villeneuve – Mars et avril, tome II
PARADE
In 2006
Over 2,000 tickets, for a total of 90 productions,
were distributed to Cirque du Soleil employees
in Montreal.
The Montreal Museum of Fine Arts opened its
doors to Cirque employees during regular
hours for the Catherine the Great, Il Modo
Italiano and Sacred Africa exhibitions.
The Support Program for Employees’ Artistic Projects
(PARADE) encourages and supports employees in their
artistic endeavours, by providing them with advice and
financial aid. The works are then performed or exhibited
in the organization’s offices.
In 2006
Over 50 employees in Montreal and Las Vegas
showed their work throughout the summer.
PARADE ventured into the literary arena with
Melissa A. Thompson’s Dreadful Paris, also
shortlisted for the McAusland First Book Prize.
In Las Vegas
Two cultural action programs were set up in Las Vegas
in 2006:
A monthly draw for various types of cultural
prizes, including tickets to events, free admission to gospel brunches and CDs.
The Bringing Art In! program, which organized
two artistic events for Cirque employees: a show
by the Danish Performance Team for those
working on the show MystèreTM and a presentation of film shorts for those on the show KÀ.
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A convivial environment:
Cirque is special
THE FACT THAT THERE’S NO DRESS CODE AT OUR OFFICES; THE UNIFYING EVENTS REGULARLY HELD FOR
EMPLOYEES, LIKE THE LAVISH YEARLY CELEBRATIONS OF CIRQUE’S ANNIVERSARY; THE SEMI-ANNUAL
CRAFTS FAIRS IN OUR OFFICES: IT ALL GOES TO SHOW THAT WE DON’T MISS A CHANCE TO LET OUR
EMPLOYEES KNOW HOW IMPORTANT THEY ARE TO US. FREE PARKING AND GYM ACCESS AT MANY OF OUR
SITES ARE OTHER SMALL PERKS THAT IMPROVE THE QUALITY OF LIFE FOR CIRQUE DU SOLEIL EMPLOYEES.
Keeping body and soul together
Food is very important in people’s lives. For the tour
teams, the kitchen plays a central role as the gathering
place par excellence. To meet the day-to-day needs of
our diverse group of employees, technicians and artists,
Cirque chefs serve balanced, tasty meals and strive to
please a wide range of tastes. Even at IHQ, the cafeteria
is a special place, conducive to getting together and
exchanging ideas. What’s more, IHQ has its own garden,
which provides produce for the kitchen; any surplus is
distributed to employees free of charge. The organization
also offers employees fair trade coffee and green tea on
the job—and that’s free, as well.
Encouraging employees’ social involvement
Through the Cirquesters Do Their Part program,
Cirque du Soleil seeks to recognize the commitment
of employees who get involved as volunteers in the
community. In 2006, the seventh year of the program,
eight $2,500 bursaries were awarded to organizations
where particularly devoted Cirquesters help out. In
2006, bursaries went to the following organizations:
Zoothérapie Québec
La Fondation des écoles Victor-Doré et
Joseph-Charbonneau
Habitat for Humanity Montreal
Big Brothers Big Sisters of Greater Montreal
Connecting 9 to 5 with 5 to 9: reconciling work
and family at Cirque
A few years ago, a committee was set up to study the
issue of reconciling work and family at Cirque. Some
simple initiatives are already in place: for instance,
Food Services offers reasonably priced prepared meals
that employees can take home, lightening parents’
evening workload.
En 2006
Cirque du Soleil became a major financial
partner in a public-private partnership set up
with a childcare centre, the Centre de la
petite enfance populaire de Saint-Michel in
Montreal. Under this agreement:
• 60 daycare spots at $7 a day will be added,
of which 30 will be reserved for Cirque du
Soleil employees;
• New premises will be built near IHQ to
house the childcare centre; spaces are also
planned for social economy groups and a
housing cooperative.
Under the new parental insurance plan enacted
by the Quebec government on January 1, 2006,
the benefits Cirque pays its employees during
maternity leave, combined with government
benefits, add up to 90% of their regular salary.
The National Wild Horse Association
L’Association Sportive et Communautaire
du Centre-Sud Inc.
Cyclo Nord-Sud
École de cirque de Verdun
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Community Relations
IT USED TO BE THAT WHEN THE CIRCUS CAME TO TOWN, RESIDENTS WOULD FLOCK TO HELP THE
TROUPE SET UP THE BIG TOP IN A SPIRIT OF CELEBRATION. BY THE VERY NATURE OF THEIR ART,
STREET PERFORMERS HAVE ALWAYS BEEN DRIVEN BY A PROFOUND NEED TO FORGE TIES WITH
OTHERS. WHILE EXEMPLIFYING MODERNITY, CIRQUE DU SOLEIL REMAINS FIRMLY ROOTED IN
THIS AGE-OLD CIRCUS TRADITION.
Since 1989, Cirque has dedicated 1% of its yearly earnings to its outreach and cultural action programs,
which reflect a social involvement extending far beyond the borders of its business markets. The figure
for 2006 exceeded $5,500,000, and the total has now reached nearly $40 million. Rather than tackling
a wide range of causes, Cirque du Soleil has chosen to commit itself to youth, particularly street kids.
This cause lies very close to Cirque’s heart: the organization hopes to give these young people the
opportunity to build new bridges with the community through their marginal status. Indeed, does
Cirque du Soleil not owe its existence to the fact that one day, older people firmly believed in the potential
of a group of young street performers, the original members of Cirque du Soleil? Now that it has the
means to fulfill its dreams, it is Cirque’s turn to give back to young people. In tandem with its partners,
Jeunesse du Monde, Oxfam International and many local youth organizations, Cirque du Soleil has
developed programs designed to help young people in nearly 80 communities worldwide, in some
20 countries on five continents. In 2006, Cirque donated the equivalent of over one million dollars
to organizations that work with at-risk youth.
The rationale and values behind Cirque’s social outreach, under the guidance of founder Guy Laliberté,
are grounded in this history where youth, risk, dreams and marginality come together to conceive a
better world. We still dream of enriching the lives of those who cross our path through our deeds and
our creativity. In imagining the world of tomorrow, Cirque du Soleil has now turned its attention to more
global issues such as the fight against poverty. Our aim is to use the same inspiration and energy that
drive our shows to further our dream of improving the quality of life for all human beings, everywhere.
The cause of youth at risk was a natural choice for Cirque du Soleil, given its origins, and the intervention
approaches selected—like everything Cirque does—are equally innovative and original. We have chosen
to use our artistic work as a means of helping young people. Because the circus arts require the participants
to work together supportively, and pool their talents and strengths, they help young people develop a sense
of belonging to a group. They also leave room for freedom and creativity, while demanding perseverance
and discipline. The circus arts give at-risk youth a chance to spread their wings, to express themselves
and use their marginal status as a tool to forge new links with a society that often excludes them. All of
this explains how Cirque du Soleil came to develop expertise and leadership in the social circus field.
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Cirque du Monde :
an Original Approach
to Social Intervention
OUR FLAGSHIP SOCIAL CIRCUS PROGRAM, CIRQUE
DU MONDE TM, WAS CREATED MORE THAN A DECADE
AGO. THE PROGRAM OFFERS CIRCUS WORKSHOPS
TO AT-RISK YOUTH IN OVER 50 COMMUNITIES
AROUND THE WORLD.
Cirque du Monde does not claim to be the answer to all
social problems, nor is it simply an amusement to take
young people’s minds off their difficult situation while
they’re in the workshop. Cirque du Monde is a tool to
help these young people develop their full potential.
The program can act as a catalyst, giving the participants
a positive experience on which they can build self
confidence and a sense of identity.
The International
Network for Social
Circus Instructor
Training meets
in Montreal
The fifth meeting of the
International Network for Social
Circus Instructor Training (INSCIT)
was held at the National Circus
School in late September 2006. The
ten-member organizations, which
represent seven different countries,
met to discuss the charter, mission,
goals and values of INSCIT and set
directions for the Network in years
to come.
The members of INSCIT are: Zip Zap
Circus (South Africa), National
Institute of Circus Arts (Australia),
Rede Circo do Mundo Brasil and
Escola Nacional de Circo (Brazil),
Jeunesse du Monde (Burkina Faso
and Canada), Cirque du Soleil
(Canada), National Circus School
(Canada), El Circo del Mundo
(Chile) and Circo Para Todos
(Colombia).
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North America
Montreal: Our International Headquarters
CIRQUE AS GOOD CITIZEN: INITIATIVES IN THE SAINT-MICHEL NEIGHBOURHOOD
NEARLY 10 YEARS AGO, WHEN IT WAS TIME FOR CIRQUE DU SOLEIL TO SET UP A PERMANENT INFRASTRUCTURE, WE WANTED TO PICK A LOCATION WHERE WE COULD HAVE MAXIMAL POSITIVE IMPACT.
By choosing one of Canada’s most disadvantaged neighbourhoods, the Saint-Michel sector of northern Montreal,
we set ourselves a challenge to meet through meaningful
action in the community. It is against this background
that Cirque du Soleil became a founding member of
TOHU, la Cité des arts du cirque, an NPO founded in
2003 with the threefold mission of making Montreal
a world circus arts capital, participating actively in the
rehabilitation of one of the biggest urban landfills in
North America, and contributing to the development
of the Saint-Michel neighbourhood.
In 2006, Cirque du Soleil sat on the board of directors of
the trans-sectoral umbrella movement Vivre Saint-Michel
en santé, within which residents, community groups,
and business people from across the Saint-Michel
neighbourhood work together to define and promote
action priorities aimed at improving the quality of life
in the neighbourhood, and aiding the social and economic
development of its residents. These action priorities gave
Cirque a role in the work of the Club des partenaires
culturels de Saint-Michel, the Club des partenaires
sports et loisirs de Saint Michel, the Groupe Action
Jeunesse and Oser Jarry.
Also in 2006, four schools in the Saint-Michel neighbourhood, Louis-Joseph-Papineau, Joseph François-Perreault,
Georges-Vanier and Lucien-Pagé, participated in the
Social Circus in the Schools program, which gives circus
arts workshops for students as a means of preventing
school dropout and raising the profile of the arts.
immigrated to Canada, as a way of helping them enter
the Quebec labour market. In 2006, the Artist Training
Program Management Department hosted one such
intern, with promising results.
In August 2006, enough new school supplies were collected to equip the children of 202 neighbourhood families
for the new school year. An employee delegation of
12 Cirque volunteers went to the Saint-Michel community
store (Magasin-Partage) to distribute the supplies.
Moreover, thanks to $1,250 raised through the sale of
desserts made by some 50 employees, an agreement
reached in 2005 between Saint-Noël-Chabanel School
and the organization Mon Resto Saint-Michel was
extended to provide some of the school’s most disadvantaged students with school supplies throughout
the academic year.
At the end of the year, a drive was held to collect nonperishable foods, toys and clothing for poor families in
the neighbourhood. This year, a group of young artists
attending the IHQ school organized a number of activities
to boost employees’ participation in the drive. The activities were designed with input from their teachers, taking
into consideration the learning objectives the artists
need to reach during their time with us. The result:
employee donations raised nearly 1,700 kilos of nonperishable foods—over 180 kilos more than in 2005
—as well as four loads of toys and clothing.
From June to September, Cirque du Soleil took part in
the “Classes Affaires” project run by Fonds Ville-Marie,
an NPO supported by the City of Montreal. In this project,
designed to fight the dropout phenomenon, 18 students
aged 14 to 16 from high schools in the Saint-Michel
neighbourhood came to Cirque for internships varying
in length from one to five weeks, under the guidance of
employees from 12 different divisions of the organization.
We are also looking at the possibility of offering internships for young neighbourhood residents who recently
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Beyond the boundaries of our neighbourhood
Cirque’s action as a good citizen extends beyond the
Saint-Michel neighbourhood. In Montreal, the organization
is a founding member of Culture Montréal, an NPO
that works to promote the right and access to culture,
and the cultural participation of all residents. By strengthening Montreal’s position as a cultural metropolis,
Culture Montréal seeks to assert the role of culture in
the city’s development.
In May, the IHQ Human Resources Service went to work,
helping out with the spring clean-up at Colonie SainteJeanne d’Arc in Contrecœur, near Montreal. Each year,
Colonie Sainte-Jeanne d’Arc—a summer camp exclusively
for girls aged 4 to 14—welcomes 600 campers from the
city’s poorest neighbourhoods. The volunteer clean-up
activity was a chance for employees to show their support for youth in difficulty and, in so doing, give back
to the community.
Also in May, over 200 young people, instructors and
social workers from Cirque du Monde sites across Quebec
gathered in Montreal for the annual meeting of Cirque
du Monde’s Quebec network. This event is a chance
for young people from the various sites to build bridges
and break down the isolation torchbearers for the cause
of the social circus in Quebec sometimes suffer. The
gathering culminated in a show in which each site was
a featured performer, presenting its own homegrown
act. Special attention was given to these acts’ dramatic,
symbolic and esthetic aspects, to enrich the participants’
artistic vocabularies.
In 2006
Cirque du Monde workshops totalling
30 weeks were held at the program’s
Montreal, Sherbrooke, Victoriaville,
Drummondville and Quebec City sites.
In addition, 13 visits by Cirque du Monde
instructors were organized in the
Atikamekw communities of Manawan
and Wemontaci. Finally, an instructor
was sent to the Inuit community of
Inukjuak, Nunavik, for six weeks.
Integrating the arts into the community:
a year rich in innovation
A very special event in Cirque history took place in
2006: the opening of Sacred Africa, our joint show with
the Montreal Museum of Fine Arts (MMFA) and McGill
University’s Redpath Museum. Presented in the context
of the MMFA’s permanent collection, the show brings
together selected corpuses from the two museums and
works from the personal collection of Cirque du Soleil
founder Guy Laliberté.
In Quebec, some hundred artists received
funding from the
Cirque du Soleil
support program for
the cultural sector.
Notable projects
include the launch
of Louise LeCavalier’s
very first production with her new company Le Fou
glorieux. In another impressively influential project,
our support helped Romanian-born director Theodor
Cristian Popescu develop a collaboration with the
Théâtre de Quat’Sous: their production of Une nuit
arabe was presented in February 2007. Other projects
that resulted in highly interesting collaborations
include our participation on the jury of the St-Ambroise
Fringe Festival and a screening of the Minutes Urbania
series of shorts. Also worthy of note: at the 2006 edition
of the Soirée des Masques (the major annual gala
organized by the Académie québécoise du théâtre),
all of the big Montreal winners had received support
from Cirque du Soleil!
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Supporting the next generation:
a long-term vision
Arts nomades: discovering the arts,
self and others
Cirque du Soleil supports various sectors of activity,
from which it recruits the future members of the organization so essential to its longevity: sports, business and
the technical sphere. In recognition of the bridge created
between the circus arts and the sports world, Cirque
has chosen to invest in future generations of athletes.
Thus, in 2006, support totalling nearly $70,000 was
awarded to organizations that work with promising
young athletes in artistic gymnastics, trampoline, diving
and synchronized swimming in Canada. Worthy of mention
among the many agreements reached is a collaboration
with Gymnastics Canada (the Canadian gymnastics
federation) and the Quebec Foundation for Athletic
Excellence, under which Cirque du Soleil awarded
$20,000 in bursaries to nine Quebec student-athletes
in 2006 during a ceremony at IHQ.
In our 2005 review, we
announced the introduction
of the Arts nomades pilot
project, intended to foster
children’s well-being and
development through arts
and culture. This project is an initiative of Cirque du
Soleil founder Guy Laliberté and the École Buissonnière,
developed in partnership with the school system and
the Saint-Michel community. Each week, four- and fiveyear-old pupils at the Bienville and Saint-Mathieu schools
participate in three hours of plastic arts, dance and circus
arts workshops. The arts and culture are excellent tools
to promote children’s overall development. Arts nomades
helps children develop their social skills, culture and
imagination, through play and unique experiences.
Each year Cirque du Soleil also awards a bursary as part
of the Quebec Entrepreneurship Contest, to support
small businesses which, upon their creation, include in
their mandate the desire to build a better world. The
Cirque du Soleil award in 2006 went to the firm Recycor,
which recycles used tires and rubber waste. After shredding these materials, the company extracts the ground
rubber and steel, and resells them for use in new items.
Environmental protection is the primary concern.
Arts nomades will be continued in 2007, during which
time its cultural outreach component will be deployed.
This part of the program includes the exhibition of artistic
projects created by the pupils themselves, as well as
parent-child activities and cultural outings. Through
these initiatives, Arts nomades seeks to develop a taste
for culture and a greater openness to the world in the
children from a very young age, and to help them integrate
better into the society. Since this cultural outreach
involves the participation of the family, the school system
and the community, it becomes a meeting place where
cultures, communities and generations can develop
closer relations. The project will also be evaluated
according to parameters established jointly with an
expert from Université du Québec à Montréal (UQÀM).
Arts nomades will continue to be run as a pilot project
until the end of the 2007-2008 school year.
We are constantly seeking innovative ways to support
the institutions that are preparing the next generation
in the field of production and stage techniques. To
this end, in late 2006 we distributed a large amount of
stage equipment, audio-visual materials and acrobatic
rigging equipment, totalling $100,000, to four training
institutions in the Montreal region: John Abbott College,
Collège Lionel-Groulx, Cégep de Saint-Hyacinthe and
the reintegration organization Jeun’Est, to help meet
their needs for technical resources.
12
Las Vegas and Orlando:
the central reality of our resident shows
IN 2006, FOR THE THIRD CONSECUTIVE YEAR, THE ANNUAL DRESS REHEARSALS OF OUR RESIDENT SHOWS
WERE SPECIAL OCCASIONS.
Tickets for these performances, which are not open to
the general public, were sold at low prices to employees of our hotel partners to give them access to our
shows. All of the profits generated by this operation,
totalling nearly $300,000 in 2006, were donated to
community social programs.
Over the last six years, the annual Labour Day event
Run Away with Cirque du Soleil has become a mustattend for the Las Vegas community. The day’s activities
include a five-kilometre run and a one-mile walk, as
well as numerous activities at the event site, such as
a circus workshop run by Cirque du Monde instructors,
face painting and an exhibit of Cirque du Monde photos.
Members of various non-profit organizations where
Cirque du Monde programs have been set up are also
available to answer the public’s questions, providing
a day-long demonstration of the program’s impact on
its young participants. Thanks to a raffle whose prizes
include tickets to Cirque du Soleil shows, and the generous donations of our commercial partners, the 2006
event raised nearly $50,000, which was shared among
our Cirque du Monde partners in Las Vegas: the
Center for Independent Living, Street Teens, the Andre
Agassi Charitable Foundation and West Care. All told,
115 Cirque du Soleil employees volunteered at the event.
13
A special collaboration with the Lied Discovery
Children’s Museum, an interactive museum for kids
of all ages, was another great chance to publicize
the Cirque du Monde program with a photo exhibit
of sites around the globe, and practical workshops
led by local Cirque du Monde instructors.
During the year, the employees themselves showed
a very special commitment to their community. Over
100 Cirque du Soleil employees in Las Vegas, primarily
technicians on our shows, participated in the Christmas
in April program run by Rebuilding Together, a volunteer
organization that works with the community to break
the cycle of poverty and homelessness by renovating
the properties of at-risk residents, particularly elderly
and handicapped people and families, so that they can
live independently in a safe environment.
The technical crew from our aquatic show “O” also
launched a highly original initiative: they created a
calendar featuring swimsuit photos of technicians,
health service employees and coaches—all done with
great humility and a humorous touch! All proceeds
from the sale of this calendar, which celebrates the
diversity of those working behind the scenes, were
donated to the MGM/Mirage VOICE Foundation and
Cirque du Soleil Foundation USA.
At the end of the year, a non-perishable food drive
was held for our employees in Las Vegas as part of the
company’s holiday celebrations. Decorations made by
our costume team were also donated to the Southern
Nevada Association of Pride, a group dedicated to
promoting diversity in the community. Very special
Christmas trees were set up at the sites of all our
Las Vegas operations as well, as part of two projects.
In the first, developed jointly with the Women’s Development Center, employees of each of our resident shows
and our regional office bought Christmas presents for
six families headed by single mothers who had been
in battered women’s shelters, choosing the gifts from
the families’ own wish lists. In the second project,
developed jointly with Street Teens, each division of
the regional office “adopted” an at-risk teenager, again
buying Christmas gifts from the teenager’s own list.
In Orlando, the Center for Drug-Free Living (CFDFL),
a long-time Cirque du Monde partner in Orlando,
presented its 2006 Community Award to the troupe
of the show La Nouba. The prize, given for the greatest
contribution from the community, recognizes organizations, individuals and other donors which have
supported CFDFL’s various substance-abuse prevention
and treatment programs during the year. Aided by
activity leaders from La Nouba, Disney and City
of Orlando recreational services, Cirque du Monde
has played an ongoing role in the organization’s
teen programs since 1998.
A new program to support
the Las Vegas arts community
A support program for the arts community was launched
in Las Vegas in fall 2006. Cirque du Soleil makes a
constant effort to establish dialogue with communities,
by promoting their development, encouraging people
to participate in cultural activities within their community, and supporting events that are significant to the
communities themselves. The aim of the new bursary
program is to support the creation of new artistic
projects, in both the visual
and the performing arts,
that are likely to benefit the
community of Clark County,
Nevada. Launched as part
of the First Friday series
of cultural events held
in Las Vegas on the first
Friday of each month,
the program should have
concrete impact in 2007.
Ruben Permel
Cirque du Monde at the Museum!
14
Partners in the community
The official opening of the
Cirque du Soleil auditorium at
Andre Agassi College Preparatory
Academy, with which Cirque
signed a five-year cooperation
agreement in 2005, was on
May 5, 2006. The school, set up
by Andre Agassi, takes students
from disadvantaged settings.
Self-discipline and respect are
promoted, and students are given personal attention
in an effort to prepare them for college.
The Tiger Woods Foundation (TWF) is another organization
which, like Cirque du Soleil, has chosen to support the
cause of at-risk youth. Cirque has been contributing to
the TWF since 2000. In February, the TWF inaugurated
its most important community project to date: the
Tiger Woods Learning Center in Anaheim, California.
Like Cirque, the TWF makes annual donations to a
dozen organizations that work with at-risk youth, so
our contributions to the TWF are another way we
pursue our social outreach goals.
North American tours:
holding out a hand to
the community on our travels
Benefit shows are a long-established tradition at
Cirque du Soleil. Cirque donates tickets for its touring
shows to organizations, which then sell them to benefit
their causes. The proceeds go to fund programs and
services for at-risk youth. In 2006, 23 organizations
in North America organized 27 benefit performances
that raised a total of over $720,000.
The tour of our show DELIRIUM, launched in January 2006,
was another chance to reach out to local communities.
During the year, the musical show visited big arenas in
over 60 cities across Canada and the U.S. In Cleveland,
Las Vegas, Phoenix, Los Angeles, Calgary, Edmonton,
Portland, Omaha and Hampton, the DELIRIUM crew and
artists helped to arrange backstage tours for organizations
working with at-risk youth. In New York, musicians from
the show visited our local Cirque du Monde partner,
The Point, to organize a musical workshop on percussion
instruments. Over the year, more than 14,000 tickets
were donated to organizations for at-risk youth in the
cities visited by DELIRIUM. What’s more, the DELIRIUM
hand-to-hand act was presented at the 41st Jerry Lewis
Muscular Dystrophy Association Telethon.
In late February, as the show Quidam began its last
week of performances, some kids from the YMCA in
La Jolla, California, headed for the Del Mar Fairgrounds
to take part in a circus workshop given by the artists
and crew. The workshop focused on several feats from
the show, featuring aerial contortion, skipping rope and
juggling acts. The artists, coaches and crew of Quidam
worked closely with the group to help them develop the
coordination and technique required for these acts.
With the holiday season approaching, the teachers
and students at the school for our show Corteo joined
forces to give a helping hand to the poor children of
greater Atlanta. The students distributed Christmas
food baskets and a host of baby items collected by the
Corteo team at the Atlanta Children’s Shelter, a day
shelter for the children of homeless families. They took
advantage of their visit to read to a group of toddlers.
Finally, on the Friday evening before Christmas, the
students helped organize the Helping Hands Holiday
Dinner, a Christmas party for nearly 3,000 disadvantaged
children in the Atlanta region.
Since June 2006, Cirque du Soleil has been donating
tickets on its North American tours in partnership with
the Tickets for Kids Foundation, an organization whose
goal is to enrich at-risk children’s lives by acquiring
tickets for a wide range of cultural, sports and educational activities, and giving them to the children and their
families. In this way, Tickets for Kids gives these children,
most of whom are from underserved neighbourhoods, a
chance to enjoy cultural experiences that would otherwise
have been beyond their reach.
15
South America: renewed presence
IN 2006, A CIRQUE DU SOLEIL SHOW VENTURED INTO SOUTH AMERICA FOR THE FIRST TIME. BUT THIS WAS
DEFINITELY NOT THE ORGANIZATION'S MAIDEN VOYAGE TO THE CITIES THE SHOW SALTIMBANCO VISITED
ON ITS TOUR. IN FACT, CIRQUE HAS BEEN PLAYING AN ACTIVE ROLE IN MANY OF THESE COMMUNITIES FOR
NEARLY 10 YEARS NOW VIA ITS SOCIAL OUTREACH PROGRAMS, PARTICULARLY CIRQUE DU MONDE.
During our time in South America, over 2,000 preview
tickets were donated to organizations that work with
at-risk youth, to give the kids they help a chance to see
a show they could never have afforded otherwise. We
also used the tour as an opportunity to create unique
events. At the first performances of Saltimbanco in
Chile, Argentina and Brazil, we sparked encounters by
bringing representatives of the local circus community
and social circus organizations together with people
from Cirque du Soleil.
In Chile, for instance, we decided to
make our time in Santiago a turning
point in our relations with the local
circus community by organizing a
cocktail party the night before our
show’s premiere, under the big top
of El Circo del Mundo, our Chilean
social circus partner. At the party,
tickets for the Saltimbanco premiere
were distributed to members of the
circus community, who took the
opportunity to get better acquainted
with each other and with us. Our
Santiago run also provided ample
opportunities for exchange between
Cirque du Soleil and Circo del Mundo. A group of about
15 young people from Circo del Mundo spent three days
visiting our tour facilities, attending rehearsals and
taking part in workshops. Students from the Cirque
du Soleil tour school reciprocated by visiting the Circo
del Mundo site and participating in circus workshops
in the community.
In Argentina, at the get-together organized the night
before the premiere, a local organization that gives
circus workshops for at-risk youth, Circo Social del Sur,
reached an agreement with the City of Buenos Aires,
which undertook to provide them with a permanent site
for their activities. While we were in Argentina, Cirque
du Soleil also met with the Faculty of Economic Science
at the University of Buenos Aires, which invited Cirque
to send a speaker to their Programa Académico Número
Uno, a high-level program that presents talks by international leaders in many fields.
Similar exchanges occurred during our stays in São Paolo
and Rio de Janeiro, Brazil. While Saltimbanco was in
São Paolo, a talk on the Cirque du Soleil organizational
and business model was organized at the Fundaçao
Getulio Vargas, one of South America’s foremost business
schools. In Rio de Janeiro—home to the head offices of
Rede Circo do Mundo Brasil, an umbrella organization
that coordinates some 20 social circus groups across
the country—a whole network of social circus workers
and big names from the circus community in the state
of Rio de Janeiro assembled at the Escola Nacional do
Circo do Rio before the Saltimbanco premiere, on the
invitation of Cirque and the Escola. The guests had a
chance to exchange views and watch performances by
students from the school.
Another noteworthy opportunity to build bridges with
the community in Brazil was the Saltimbanco team’s
visit to the Communidade do Funchal, the little favela
near our show site in São Paolo where most of our
maintenance workers lived. As part of the celebrations
organized for National Children’s Day in October, the
kids from the Saltimbanco school, accompanied by
their teachers and some tour employees and partners,
were invited to a circus show in the heart of the favela,
showcasing local specialties. Two one-week social circus
training sessions were also given in Brazil in 2006: one
in the southern part of the country, in Rio de Janeiro,
and another in the north, at Recife. A total of 40 local
instructors were trained.
Central America:
fertile ground
AS ONE OF OUR CIRQUE DU MONDE
PROJECTS IN CENTRAL AMERICA,
WORKSHOPS LASTING A TOTAL
OF EIGHT WEEKS WERE GIVEN IN
CHOLUTECA, HONDURAS. IN 2007,
OUR AIM IS TO EXTEND OUR ACTIVITIES
TO THE CAPITAL, TEGUCIGALPA.
16
Europe: saluting the origins of the circus
TWO OF OUR SHOWS, ALEGRÍA AND DRALION, CRISS-CROSSED EUROPE IN 2006, PLAYING IN 14 CITIES IN
THE UNITED KINGDOM, SPAIN, ITALY, SWITZERLAND, THE NETHERLANDS, GERMANY AND BELGIUM. OVER
THE COURSE OF THE YEAR, 12 BENEFIT PERFORMANCES WERE ORGANIZED FOR 11 ORGANIZATIONS FOR
AT-RISK YOUTH, RAISING A TOTAL OF NEARLY $675,000. DURING THIS PERIOD, OVER 7,000 FREE TICKETS
WERE DONATED TO COMMUNITY GROUPS SO THAT THE PEOPLE THEY HELP COULD SEE OUR SHOWS.
AFTER THE IMPRESSIVE INITIATIVES OF THE DRALION STAFF IN 2005, IT WAS THE ALEGRÍA TEAM’S TURN
TO CONNECT WITH LOCAL COMMUNITIES IN 2006
To give an example, the show’s run in Amsterdam was
graced by an inspiring encounter between the tour team
and our Cirque du Monde partner in the Netherlands,
Circus Elleboog. A group of young people were invited
to the site, where they had the time of their lives on the
acrobatic equipment and were fascinated by a mime
workshop. A percussion workshop provided living proof
that, with some imagination and a few empty water
bottles, you can make music—and lots of noise! Circus
Elleboog’s two costume-makers had a highly stimulating
discussion with the Alegría costume team. And in 2006,
for the first time, Circus Elleboog held social circus
workshops in Amsterdam Noord, an underserved neighbourhood with high concentration of people of ethnic
origin. Cirque du Monde workshops were also organized
with Circus Carampa in Madrid, Circus Cabuwazi in
Berlin and the Fundación Adsis in Valencia.
Connecting with circuses elsewhere
Of all the European countries where our shows performed in 2006, our visit to Italy definitely stands out. The
performance runs of Alegría in Milan and Rome gave
us a chance to forge links with Italy’s highly influential
circus milieu. Working with a specialist, we were able
to invite all of the top figures in this community, with
its rich history, to the Alegría premieres. By this small
gesture, Cirque du Soleil sought to recognize the Italian
circus community’s outstanding contribution to circus
around the globe. While we were in Milan, we also had
a very interesting exchange with students in the Department of Performing Arts and Multimedia Communications
at the University of Milan, where a talk on the Cirque
du Soleil “phenomenon” was presented in a course on
circus history.
In Poland, Cirque supported the development of the Girls
Can pilot project for teenage girls from disadvantaged
and marginalized areas. The project uses creative activities, including social circus workshops and discussion
groups, to build the girls’ self-esteem and leadership
qualities, encouraging them to create unifying initiatives
for the community as a whole, and giving them some
skills traditionally seen as more “masculine” which they
can put to practical use in their everyday lives.
17
Cirque du Soleil seeks to raise the international profile
of the circus arts and serve as a rallying point for the
world circus community. Above and beyond the work we
do connecting with the circus community in the context
of our touring shows, other initiatives allow us to build
even stronger bridges with circus people around the
world. Participating in circus festivals is one way we
forge these links. For instance, as well as presenting an
act at the 27th edition of the Festival mondial du cirque
de demain in Paris in January 2006, we also awarded a
special prize there. In the same period, Cirque supported
the European Circus Association (of which it is a member)
as it has for several years, in the organization of its
annual symposium, helping to make the fourth edition
a success by funding simultaneous translation of the
proceedings into five languages. During the summer of
2006, Cirque du Soleil also took part in the event Autant
voler, held near Toulouse, France, which included a
professional meeting on the subject of risk management
in aerial acrobatics organized by the Syndicat du cirque
de création. As well as providing financial support for
the event, Cirque sent two of its own specialists in
the field to share their expertise at a round table on
preventive measures.
The next generation in sports:
an international issue
The European sports community has a major impact on
the pool of artists available to Cirque du Soleil. In fact,
over 50% of our artists come from the sports world.
In recognition of this inestimable contribution, we have
put in place mechanisms to support the next generation
in international sports, particularly in regions from which
we draw large numbers of artists. Thus, in 2006, we
donated equipment to the Moscow National Centre.
Similarly, Cirque du Soleil presented bursaries and
medals to worthy athletes and coaches at the Russian
and Ukrainian national sports acrobatics championships.
Cirque also reached cooperation agreements with the
Fédération Française de Gymnastique and the Russian
Gymnastics Federation, as well as presenting acts
at the 125th anniversary gala of the International
Gymnastics Federation in Geneva in October 2006.
Emphasizing the role of arts
and culture in society
In June, Cirque du Soleil participated, in its own
unique fashion, in the Third World Summit on
Arts and Culture, held at NewcastleGateshead,
in the United Kingdom. The event was attended
by 500 delegates from 77 countries around the
globe. In presenting the role Cirque du Soleil
played in revitalizing the Saint-Michel neighbourhood by its establishment of TOHU, la Cité des
arts du cirque, and its annual participation in
Journées de la culture, a Quebec celebration
which gives the general public a backstage look
at their cultural institutions, our spokesperson
demonstrated that Cirque is a living embodiment
of the principle that culture and the arts must
play a vital role in a vibrant, healthy society.
18
Africa, Asia and Oceania: one Cirque, one planet
IN SOUTH AFRICA, THROUGH ITS CIRQUE DU MONDE PROGRAM, CIRQUE DU SOLEIL ARRANGED FOR A
SOCIAL CIRCUS INSTRUCTOR TO GO TO DURBAN TO GIVE SIX WEEKS OF WORKSHOPS. CIRQUE ALSO GAVE
FINANCIAL ASSISTANCE TO ZIP ZAP CIRCUS TO HELP IT SET UP A CIRCUS PROJECT FOR HIV-POSITIVE YOUTH
IN THE TOWNSHIP OF KHAYELITSHA, NEAR CAPE TOWN. SUPPORT WAS ALSO PROVIDED FOR THE CIRQUE
DU MONDE SITE IN OUAGADOUGOU, BURKINA FASO, IN THE FORM OF SUPERVISION BY AN OXFAM QUÉBEC
COOPERANT. FINALLY, A SOCIAL CIRCUS INSTRUCTOR WAS SENT TO DOUALA, CAMEROON, TO GIVE SEVEN
WEEKS OF WORKSHOPS.
A collaboration between the Oxfam International
Youth Parliament (OIYP), BITC and Cirque du Soleil
provided an ideal platform for two young African
members of the OIYP, at the BITC Social Responsibility Awards gala in London in July 2006. Hadson
and Mercy addressed the 1,400 guests from over
800 companies. Speaking of their realities, dreams
and concerns, they made an impassioned plea to
the organizations to behave in a socially responsible
manner.
Hadson is a young man of 26 from Sierra Leone, a
country ravaged by civil war. While recovering from
an injury suffered during violent confrontation, Hadson
made a vow that he would work to build peace in
his country. He now organizes sports festivals that
bring together young people from all walks of life
in a peaceful spirit, and provide a platform for
educational programs.
Twenty-four-year-old Mercy, from Uganda, has set up
a training centre for women and girls in her region.
The aim of the training is to promote women’s participation in community and political life. Since 2004,
eight women have held the office of councillor at the
local level, and one woman has been elected to
Parliament—a level of participation unprecedented
in this part of the country. Mercy’s attendance at the
event earned her a donation from one of the member
companies, which will allow her to begin building a
community centre.
In November, with the participation of Cirque du Soleil,
nine young residents of the TunaHAKI Centre for Child
Development, an arts-focused shelter for AIDS orphans
and street kids in Moshi, in Tanzania’s Kilimanjaro
region, made a great journey of discovery. At the centre,
the young people had taught themselves a number of
circus techniques in an effort to expand their horizons
and improve their lives through the arts. Getting on the
plane for the first time in their lives, the group flew to
the U.S.—Los Angeles, to be precise—where they met
with Cirque du Monde instructors and took part in an
exclusive social circus workshop. In addition to the
workshop, they did a second day of training with the
kids from the Los Angeles Youth Network, our Cirque
du Monde partner in Los Angeles. Next, their trip took
them to Las Vegas, where they attended training sessions
and a performance of Mystère, as well as getting more
exclusive workshops with the Cirque du Monde team in
Las Vegas.
Cirque du Soleil also displayed its citizenship colours
“down under” when the show Varekai arrived to tour
Australia in fall 2006. Two benefit performances included
in the tour raised more than $78,000 for Oxfam Australia,
our main social outreach partner in the area. Finally, at
the Cirque du Monde site in Beirut, Lebanon, Cirque du
Soleil provided financial support for the hiring of local
social circus instructors.
19
The Environment
IN KEEPING WITH THE COMMITMENTS MADE IN 2005, THE ORGANIZATION ADOPTED A NEW
ENVIRONMENTAL POLICY IN 2006, BASED ON A SUSTAINABLE DEVELOPMENT PHILOSOPHY
AND SETTING OUT ITS ENVIRONMENTAL COMMITMENTS AND OBJECTIVES. THE POLICY, UNDER
WHICH THE ORGANIZATION ACCEDES TO THE CITY OF MONTREAL’S SUSTAINABLE DEVELOPMENT
PLAN, IS ORGANIZED AROUND FIVE MAIN AXES:
Water management
Air quality and climate change
Management of residual materials
Management of hazardous materials
Education and awareness
Under this policy, Cirque du Soleil makes the following commitments:
to comply with the requirements to which it is subject in regard
to the environment;
to reduce, by preventive action, the environmental impact caused
by the organization’s products, services and activities;
to ensure continuous improvement of its environmental performance;
to make the environment a factor in the organization’s business
decisions.
For 2007, Cirque du Soleil plans to develop a set of indicators to track its
environmental performance.
20
Water: responsible management of a vital resource
CIRQUE DU SOLEIL HAS SET ITSELF THE OBJECTIVE OF ENSURING THAT WATER IS MANAGED MORE
EFFICIENTLY BY REDUCING CONSUMPTION IN EXISTING ACTIVITIES AND PREVENTING WASTEWATER
CONTAMINATION. THE ORGANIZATION UNDERTAKES TO INVEST IN TECHNOLOGIES, EQUIPMENT OR
SYSTEMS TO HELP REACH THESE OBJECTIVES AND MAKE EFFICIENT WATER MANAGEMENT AN
INTEGRAL PART OF EVERY NEW DEVELOPMENT PROJECT.
In 2006
Objectives for 2007
An analysis of our water management
practices was conducted by an outside firm.
An action plan was developed to reduce
consumption and prevent contamination.
A feasibility study was carried out on
the possibility of installing a rainwater
recovery reservoir at IHQ.
A water distribution and treatment system
was put in place to eliminate the purchase
and sale of bottled water at IHQ.
Modify the landscaping at IHQ, replacing
certain plants by others that require less
water.
Continue modifying the sanitary facilities
at IHQ and the artists’ apartment building
in Montreal to reduce water consumption.
Check the feasibility of various measures
involving the touring shows and draw up
an implementation schedule.
Conventional cleaning products used
for housekeeping were replaced by
biodegradable products.
Air quality: an organization that’s doing
its part in the fight against climate change
CIRQUE IS STRIVING TO REDUCE ITS IMPACT ON CLIMATE CHANGE, PRIMARILY BY USING ENERGY
RESPONSIBLY THROUGHOUT THE ORGANIZATION BY MEANS OF IMPROVED ENERGY EFFICIENCY AND
THE USE OF RENEWABLE ENERGY WHEREVER POSSIBLE. THE ORGANIZATION IS ALSO COMMITTED
TO REDUCING ITS DIRECT GREENHOUSE GAS EMISSIONS BY RE-EVALUATING ITS CURRENT PROCEDURES
FOR TRANSPORTING GOODS AND PEOPLE AND GENERATING ELECTRICITY AT ITS TOUR SITES.
Objectives for 2007
In 2006
A greenhouse gas (GG) emissions balance
sheet was drawn up by an outside firm.
A pilot project examined the use of
biodiesel to fuel the generators used
on the Varekai tour.
New lighting control measures were
implemented at IHQ.
Bicycles were made available for employees
to borrow when needed, to reduce their
use of motor vehicles for short-distance
travel such as round trips between the
organization’s various premises in Montreal.
Develop a GG emission plan.
Implement measures to encourage the
employees at IHQ to use transportation
alternatives other than solo car travel
to get from home to work and back.
Identify opportunities for reducing energy
consumption at IHQ and on the tours.
(Our GG emission inventory showed that
in 2005, our reference year, our energy
consumption accounted for nearly 70%
of our GG emissions.)
Assess the possibility of extending the use
of biodiesel on tour sites.
21
Management of residual materials: major advances
TO ENSURE THE EFFICIENT USE AND CONSUMPTION OF MATERIALS IN ITS OPERATIONS, CIRQUE PROMOTES
(IN THE FOLLOWING ORDER) PREVENTION, WASTE REDUCTION, REUSE, RECYCLING AND RECLAMATION.
In 2006
Objectives for 2007
Recycling services for plastic, glass and
aluminum were extended to all of our
Montreal offices.
Continue salvage and recycling efforts
on the tours, primarily in Europe and
North America.
Office stationery supply choices were
modified so that we are now using FSC
certified, 100% post-consumer recycled
paper that is not bleached with chlorine.
Renew the IHQ’s accreditation under
Recyc-Quebec’s ICI on recycle program.
Improve facilities for collecting residual
materials at IHQ.
A salvage system was set up to donate
materials and equipment we no longer
need to various NPOs that focus on
arts education.
The introduction of recycling on the tours
continued: services are now in place on
the Corteo, Quidam and Alegría tours.
An agreement was reached with a North
American broker to facilitate access to
salvage and recycling services for shows
touring North America.
Hazardous waste management: safety first
IN KEEPING WITH ITS ENVIRONMENTAL POLICY AND ITS ROLE AS A RESPONSIBLE CITIZEN, CIRQUE DU SOLEIL
SEEKS TO REDUCE THE USE OF CONTROLLED PRODUCTS IN ITS OPERATIONS BY REPLACING THEM WITH
PRODUCTS THAT ARE LESS HARMFUL TO HUMAN HEALTH AND THE ENVIRONMENT. MOREOVER, CIRQUE
ENSURES THAT CONTROLLED PRODUCTS ARE DISPOSED OF BY ORGANIZATIONS THAT CAN PROVIDE
PROPER HANDLING AND DISPOSAL.
In 2006
Objectives for 2007
An analysis of our hazardous materials
management procedures was conducted
to identify risks and study our practices
relative to applicable best practices.
Conduct training sessions on hazardous
waste transport for certain employees.
Implement a hazardous waste sorting
method at our manufacturing workshops.
We have begun implementing the measures
recommended in this analysis.
22
Education and awareness: working upstream
CIRQUE DU SOLEIL INTENDS TO MAKE ITS EMPLOYEES AWARE OF THE ENVIRONMENTAL ISSUES CONNECTED
WITH THE ORGANIZATION’S ACTIVITIES; PUT TRAINING PROGRAMS IN PLACE TO REINFORCE EMPLOYEES’
TECHNICAL SKILLS IN REGARD TO THE ENVIRONMENT; AND, THROUGH ITS INITIATIVES, PROMOTE ENVIRONMENTAL PROTECTION IN COOPERATION WITH VARIOUS STAKEHOLDERS (NPOS, GOVERNMENTS, SPECTATORS
AND PARTNERS). CIRQUE’S AIM IS TO EDUCATE ITS EMPLOYEES AND RAISE THEIR AWARENESS, SETTING AN
EXAMPLE BY ITS ACTIONS AND THEN ENCOURAGING THEM TO CHANGE THEIR OWN BEHAVIOUR.
In 2006
Objectives for 2007
Awareness-raising activities were organized
during Environment Week and on World
Water Day.
Many talks on environmental issues have
been given for employees.
Continue organizing special activities
for Environment Week.
Mount awareness-raising campaigns
to accompany our actions in the areas
of climate change and water management.
A bicycle tune-up clinic was organized
for employees.
Many messages to raise employee
awareness on environmental issues
have been sent via the organization’s
internal communication tools.
Taking environmental impact into
consideration in project design
Examples of successful projects are beginning to emerge.
In 2006, Cirque du Soleil put the finishing touches on
a project that addresses a number of environmental
concerns: the new parking lot at our IHQ in Montreal.
Instead of traditional asphalt, which is petroleum-based,
this parking lot is made of vegecol, a material composed
of vegetable oil. Because it is a lighter colour, it contributes less to the urban heat island phenomenon than a
conventional parking lot. Moreover, the ditch around the
parking lot is landscaped with specific wetland plants to
act as a natural filter for the runoff water, which is then
directed into the storm drain system and ultimately to a
rainwater recovery reservoir.
23
Partners and Suppliers
CIRQUE DU SOLEIL NOW HAS OPERATIONS AROUND THE WORLD, VENTURING BEYOND
NORTH AMERICA, EUROPE AND AUSTRALIA INTO SOUTH AMERICA, THE MIDDLE EAST AND
ASIA. WE ARE TRULY A GLOBAL ORGANIZATION, INTERACTING WITH A GROWING NUMBER
OF SUPPLIERS AND BUSINESS PARTNERS. IN 2006, CIRQUE CONSIDERED THIS ASPECT OF ITS
BUSINESS STRATEGIES TO ASSESS THE ISSUES IT RAISES IN TERMS OF SOCIAL RESPONSIBILITY.
There was consensus within the organization on the need to set up an ethical procurement program
and establish dialogue with our partners and suppliers. By ethical procurement, we mean a series of
measures designed to ensure that the products the organization markets (our merchandise) and the
products we buy are manufactured in conditions where people and the environment are respected.
Responsible procurement:
a continuous learning process
will henceforth be raised during negotiations with new
suppliers and contract renewals.
Cirque du Soleil values are naturally attuned to the ethical
issues surrounding procurement, but the organization
still needs to work on extending its practical knowledge
in this regard. In 2006, therefore, managers from key
sectors participated in a training session on responsible
procurement, which gave them tools to assess the main
risks and issues around responsible procurement and set
up a process to implement a responsible procurement
program.
Partners: building a relationship
Suppliers: initiating a process
Although merchandise accounts for only a small percentage of the organization’s turnover, it is a particularly
sensitive sector because part of the production is
done in countries where ethical risks exist. That said,
our contracts already include clauses demanding
guarantees from our suppliers on the issue of child
labour. While we do not yet have mechanisms to verify
the enforcement of these clauses, they nonetheless
have the merit of communicating our concerns to
suppliers and give us negotiating power in the case
of non-compliance. And the issue of working conditions
To penetrate new markets, Cirque reaches agreements with
local promoters. At present, we have such agreements
with many partners. Our contracts with promoters cover
aspects related to social responsibility: social outreach,
conditions for temporary workers, a child labour clause
for merchandise produced by local promoters.
In 2006, our efforts in this area greatly improved our
relationship with our South American promoter. We
convinced our partner to lower its profits in order
to give back to local communities, in particular by
donating tickets for benefit performances and reserving
500 tickets to the dress rehearsal in each city for
organizations that work with at-risk youth. We even had
a direct positive impact on conditions for temporary
workers. In fact, as a result of observations from
Cirque du Soleil employees, we got the promoter
to agree to provide meals for temporary workers,
depending on the hours they worked at our site.
A long-term endeavour
In the coming year, our aim is to implement a program
of responsible procurement, including monitoring and
following up on manufacturing conditions in the factory,
and maintaining dialogue with our business partners
on economically profitable, socially responsible business
solutions.
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Prospects for 2007
–move constantly forward
A SOCIALLY COMMITTED CIRQUE MEANS, FIRST AND FOREMOST, AN ORGANIZATION THAT STEPS
FORWARD AS A GOOD CITIZEN IN SOCIETY, WITH ALL THE DUTIES AND RESPONSIBILITIES THAT
ENTAILS. EVERY CIRQUE DU SOLEIL DIVISION MUST TAKE OWNERSHIP OF SOCIAL RESPONSIBILITY
ISSUES AND INCLUDE THEM IN ITS BUSINESS AND MANAGEMENT PRIORITIES.
In 2007, our social responsibility initiatives will focus on two priority areas: our relationships with our
partners and suppliers, and the environment. Cirque du Soleil draws potential partners wherever it
establishes itself, and we hope that attraction will give us the influence to ensure that certain conditions
linked to our values and commitments are respected in all contract negotiations. On the environmental
front, an action plan will be drawn up for the coming years, based on our various environmental management
studies, to guide our priorities for the future.
We have embarked on a long-term process, but as an organization that strives to be a good world citizen,
we are confident the task will be fulfilling. We also believe it is essential if we are to continue pursuing
our dreams, and doing a little more, each day, to build a better world.
Photos: Hugues Dubois, Jean-François Gratton,
Thomas Muscionico, Éric Piché, Al Seib, Véronique Vial
Costumes: Dominique Lemieux © 1998-2005 Cirque
du Soleil Inc.
Photo: Eric St-Pierre, Abidjan, Côte d’Ivoire 2001
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