By JoAnn Ireland
I recently visited Stockholm, Sweden; my husband was there for a meeting and I paused my own work activities to take the opportunity to be a tourist for about 4.5-days. I had been to Stockholm once before on a truly incredible trip to Europe with my Dad, retired high-school mathematics and computer science teacher and recreational juggler Bob Swaim, for about 1‐day during May 1996. I enjoy traveling, as those who have read my other articles for the IJA’s eJuggle that mainly cover East Coast juggling festivals in the United States; however, I have not taken the opportunity to visit Europe for over twenty years. When I last visited Europe in 2004, that was when I didn’t have access to the internet on a cell phone, so this trip with that tool would be a new experience.
I was reading eJuggle before I left for Stockholm and lo and behold, there was an article (https://www.juggle.org/division-dialogues-by-erik-aberg/) about Erik Åberg’s (www.erikaberg.com, https://www.skh.se/english/people/co-workers/erik-aberg/, and Instagram: @erikaberg) upcoming doctoral thesis defense at Stockholm University of the Arts (Stockholms Konstnärliga Högskola (SKH)) (www.uniarts.se). After further looking into it, I learned that the thesis defense would be taking place while I was visiting Stockholm – this would be a very unique experience indeed! I had never been to a thesis defense before, let alone one in a Nordic country where they use the concept of an opponent during a thesis defense, more on that later.
I certainly knew of Åberg, I had purchased his book, Cleverer Than God, to learn more about the great juggler Paul Cinquevalli; as a longtime juggler, I really knew nothing about Cinquevalli. I had also purchased Åberg’s, “Abercube,” as a gift for my Dad because he loves props that are unique – and the Abercube is very unique. Note that Åberg developed the Abercube prior to the start of his doctoral program at SKH. I’m fairly certain my Dad hasn’t yet used the Abercube, but in all fairness to my Dad, he’s a very busy guy.
Erik Åberg’s Doctoral Research
Åberg’s research (https://www.researchcatalogue.net/view/4392556/4392557) contained five aspects:
- The book, Division Dialogues: On the Components and Practices of Juggling, that explains his research from 2021 through 2026.
- The book, Cleverer Than God: Echoes and Excerpts from the Life of Paul Cinquevalli,” with quotes about and by juggler Paul Cinquevalli.
- A five-part video series that covers:
- the artistic use of the Abercube
- the use of the reduct-construct method in:
- juggling,
- sculpture, specifically with his Abercube, and
- writing of Cleverer Than God with archival material
- rolling a ball on a moving wall of Abercubes and how he developed the diagonal-Abercube
- examples of objects from his archive of historical juggling equipment that included:
- Edward Van Wyck and Harry Lind juggling clubs
- as a tribute to Jay Green, a more modern juggling club, who is known for its invention
- a prop and photo from juggler Gil Dova’s act, as well as historical background about his father, Ben Dova, an acrobat who was also known for surviving the Hindenburg disaster
- a mouthpiece from a ball-spinning mouthstick and photos from juggler Ernest Montego’s act.
- examples of objects from his archive of historical juggling equipment that included:
- the development of an archival box that can also be used as a display stand.
- A zine, “Dialogue Notes,” that includes an abstract, keywords, and additional notes on getting to meet and interview Larry Weeks, choosing the book title for Cleverer Than God and the reproduction of the Abercube with Swedish patent application no. 1851306-9.
- The archival box he developed that could also be used as a display stand
Erik Åberg’s Public Doctoral Thesis Defense
Erik Åberg’s doctoral thesis defense at Stockholm University of the Arts
(Cecilia Roos top right, Erik Åberg bottom left)
Åberg’s defense was located in Valhallavägen 189 at SKH, the room was a performance space / theater with seating for about 150 people on two levels. There were approximately 50 people in attendance including Åberg’s family, friends, staff and students from SKH, members from his doctoral cohort, and members of the public. Alisan Funk, (https://www.skh.se/english/people/co-workers/alisan-funk/), Head of the Circus Arts Department at SKH, welcomed those in attendance and briefly discussed how juggling was used in our collective metaphors – i.e., I’m juggling so many things. Cecilia Roos, (https://www.skh.se/english/people/co-workers/cecilia-roos/), Professor of Dance, was Chair of the Defense. Roos introduced the participants and provided the schedule for the afternoon.
Åberg’s Summary of his Doctoral Research
Åberg had twenty minutes to provide a summary of his doctoral work at SKH since 2021. He started with a historical circus anecdote that at the circus, everybody would get a ticket to win a goat and it got a lot of people to attend. In reality, the goat went to a circus-insider performer. Similarly, he had copies of his two books, zine, programs, and bookmarks with quotes, that unlike the circus anecdote, all of those in attendance could receive. He also demonstrated his archival box that turns into a stand, so you could keep your project.
Åberg described the reduct-construct method, which he admitted is not something he invented, as being used in juggling by the repeated action of a single throw (e.g., a single cascade throw). A second component can be introduced where, for example, a throw goes over the top. The construct step follows, where these components are recombined in different ways, (i.e., the recombined cascade and over-the-top throws results in the tennis-ball, half-shower in either direction, and reverse cascade). He also used the reduct-construct method to arrange and pair up a collection of 59 quotes in Cleverer Than God, some quotes were more existential than others, with one quote from each year of Cinquevalli’s life.
The juggling during the thesis defense happened rather briefly, Åberg demonstrated a three-ball cascade and tennis ball pattern, with maybe a behind the back throw. I had been photographing and writing about numerous juggling festivals during 2025 and 2026, so I was not in the mindset to take a picture of the cascade or tennis ball pattern, unless it was appropriate for the performing juggler. There was no other “traditional” juggling demonstrated (i.e., where the number of objects used, is at least one more than the number of hands used); therefore, there are no photographs in this article of Åberg juggling.
Erik Åberg demonstrating Abercubes at Stockholm University of the Arts – June 2, 2026
Erik Åberg demonstrating: the diagonal Abercube (top), ball on rail (bottom left), and archival box (bottom right)
Åberg beautifully demonstrated the use of Abercubes. He also demonstrated a ball on a rail with one musical tone, which was the simplest one he preferred, although he tried one with 3, 5, and 7 tones in his research. He mentioned that he made his own doctoral knuckle dusters. Åberg discussed his interest in art, making an analogy to Italian food and cooking a spaghetti carbonara – summarizing that when he creates a thing, he likes a premise that can generate a multitude of variations.
Bart Moens’ Summary of Erik Åberg’s Research
The performance space was rearranged for Bart Moens, (https://www.uantwerpen.be/en/staff/bart-moens_25283/research/), an art historian and media archaeologist specializing in the interconnections between the arts and popular culture in the 19 th century and is a postdoctoral researcher at the University of Antwerp. Moens served as the opponent, who stood while reading his non-evaluative 20‐minute summary of Åberg’s work from a laptop.
Bart Moens – Stockholm University of the Arts – June 2, 2026
Moens admitted his own experience with juggling was only metaphorically. Moens talked about the reduct-construct method, where components are recombined to generate new structures and this method goes through Åberg’s research. However, this was not always positively received in juggling and was regarded as too analytical. He also talked about how it allows a method of understanding and teaching, and it can be a way of developing new patterns.
Moens talked about how historic interviews are components and jugglers interact with archives in search of interviews. Åberg visited collector Larry Weeks and Jay Green and this culminates in the organization of an archive. Historical jugglers were often not only performers, but makers of their own props. Contemporary juggling relies on commercially available props. The juggler is not only a performer, but also a prop maker. The workshop serves as an interconnected side of this. He provided artistic Abercube influences, and the components are combined and objects are used in his performances (e.g., videos).
Moens continued to state that the reduct-construct method is applied to historical and archival materials. The archive is a repository of historical objects, clubs, balls, interviews, advertisements, and press clippings, the volume of which is significant. A central figure is Paul Cinquevalli who was a pioneering performer in the 19 th and 20 th centuries. Cinquevalli was a celebrity, an entry point into a wider ecology; he was a fixture with an extensive address book and through his network, broader dimensions came into view.
Moens asked, referring to juggling, “Is it an art form, or is it useless – historical accounts are ambivalent.” He concluded and summarized that while Åberg’s use of reduct-construct started in juggling, he then used it across multiple disciplines – archival, for artistic output, and sculpture.
Erik Åberg’s and Bart Moens’ Discussion
Åberg (left) and Moens (right) Discussion
There was then a discussion between Åberg and Moens, with Moens noting that the questions are not objections, but to clarify; examples from the discussion are below.
Moens opened the discussion by noting that Åberg started reduct-construct from juggling, then transferred it to object creation, sculpture, and archival work. He then asked, do you see equivalent operations, about the stability of the method, and what do you see as the limitations?
Åberg – What remains methodologically stable? Am I translating, interpreting, or inspiring? What am I doing from domain to domain? Juggling, sculpture, and archive is all language and you are translating, you are trying to imitate a method from domain to domain. Translation is where I’ve settled. Moens
then noted he didn’t believe he read that in the dissertation.
Moens wanted to hear Åberg’s thoughts on other artists, for example, Sol LeWitt, who developed the open cube, is in your dissertation, but you don’t elaborate.
Åberg – I started to gather other works which resonate and landed on Sol LeWitt. In sculptures they can move and that can be taken as a criteria. Some things are possible to juggle, some end up on the floor, and some work. In Sol LeWitt’s incomplete cubes, it was hard to find that restriction.
Moens further asked, in general, about historical accounts of Cinquevalli.
Åberg – Who was Cinquevalli? An article about Cinquevalli says he died by running into a burning building trying to save his dog. But there are other reports about how he died that contradict that. So what do you do with that story.
Åberg – I am interested in history. Regarding his book on Cinquevalli, he had heard from another juggling historian upon reading the book who, “Can’t wait for you to write the real book about Cinquevalli.” Åberg continued, we just don’t have the documentation, for example, Enrico Rastelli, (an Italian juggler who lived from 1896 – 1931, and widely regarding as one of the greatest performers in the history of juggling) – that period in the field is completely unknown.
Moens asked, referring to Erik’s archival work, what are your visions? Is it a tool? Do you digitize? Would you put it in a database? And are you a collector or safe-guarder?
Åberg – I had been collecting for 10 to 15 years. And this was something I’m doing on the side. This is a resource that is very specific to myself. What if I move this translation into the archive and that would be a way to test this method. I had been collecting 15,000 clippings, that takes a while, but it grew to 27,000 clippings. I am a collector. Åberg said he asked Larry Weeks whether he was a collector, and he said he was an accumulator, or hoarder, which received chuckles from the audience.
Moens noted regarding the archival box that it was created from a general concern, but it is created from wood, which is not suitable to archive. Is it a prototype?
Åberg – You are correct, I would not store in that. If I were to archive I would choose a different material. This is currently MDF (medium density fiberboard).
Moens wanted to hear how different practices inform each other, for example, you make a prop, you start juggling, you get feedback.
Åberg – The workshop and the space to practice, they are adjacent and that came to me by visiting a puppeteer in Iceland. Åberg wanted to step out the door from a workshop to a practice space (he has a kitchen between). Regarding the connection of workshop and practice spaces, Åberg also described the axis of a drill press to drill a hole and then a ball can rest in the hole and not balance on the surface, which he had demonstrated in one of his five videos.
Moens asked whether the end product is the performance.
Åberg – Yes, I was a performing juggler. People would ask how is that made, what is the material? If I’m doing a performance, I’m in charge of that time duration; whereas, if I’m in a gallery, you (the spectator) own the time and how long you stay.
Moens asked about collaboration with the academic world.
Åberg – Most people interested in the history of juggling do it with this approach. Åberg was going to stick with newspaper archives / books. He did add that he is interested in connecting other things.
Moens noted that there are plenty of sources to compliment with other types of sources.
Questions from the Examination Committee
This discussion between Åberg and Moens was followed by a 30-minute break. Then there were questions from the examination committee, who included:
- Ingri Midgard Fiksdal (https://ingrifiksdal.com), a choreographer based in Norway;
- Pieterjan Ginckels (https://arch.kuleuven.be/team/members/ginckels-pieterjan), Assistant Professor in Architecture and Design at the KU Leuven Faculty of Architecture in Brussels; and
- Chrysa Parkinson (https://www.skh.se/english/people/co-workers/chrysa-parkinson/), Professor
of Dance at SKH.
Examples of questions from the examination committee and Åberg’s responses are below.
Erik Åberg (upper left) and Erik Åberg with examination committee – Pieterjan Ginckels, Chrysa Parkinson, and Ingri Midgard Fiksdal (remaining photos)
The committee, in context of Åberg pairing up quotes in Cleverer Than God, asked about existentialism, meaning, and meaningfulness in juggling.
Åberg – The meaningfulness that I had experienced in juggling magazines, message boards, and in the Washington Post (referring to an article by Lloyd Grove entitled, “Juggling: It’s Fun Because It’s Useless,”) and juggling was described as something that was existentially not important. Åberg further mentioned a quote, “But a juggler wrote, let’s not get too deep into this, this is all for fun.” Åberg continued, a lot of the juggling definitions refer to, “Doing useless things in the hardest way possible.” When I began diving into this archive, one of the bookmarks, “See Rome and die,” as in, you have to see Rome, it’s such a beautiful place. And the author of the quote was advising the audience in the same way about seeing Cinquevalli’s performance. Åberg further said he talked to juggler Michael Moschen about his crystal ball act and also talked to an embryologist who thought embryo development is exactly like that.
Åberg talked about comparisons between quotes and there could be someone who has a different feeling. There were other things and that resonates in the objects that the juggler’s use, brightly colored objects that you could buy at a gas station. He gave an example where a reporter comes up on stage after a show and steps on the equipment, and how would this object have to change for this not to have occurred.
The committee asked whether influencers are jugglers, and in the world, why juggle today?
Åberg – The metaphor, juggling career and family life, in my own work, I try not to do that. And a lot of people read my work like that, but I try to stay away from that. I’m talking about juggling physically.
The committee noted, for example, that Åberg’s work inspires biomedical researchers. Åberg talked about and showed the Abercube and about influencing the work of Björn Högberg at the Department of Medical Biochemistry Biophysics, Karolinska Institutet. Åberg had talked to Högberg, who noted that structures could be explored as a basis for DNA origami capable of changing shape in response to specific molecules, for example, in relation to receptors in cells. Åberg did not intend for that to happen and he was not involved in that lab, but he set up the premise.
The committee, in reference to Åberg’s Instagram account, asked whether Instagram is a stage.
Åberg – I guess so, you as the audience are watching. If you define the art work as a juggling trick, then I wanted to test that. Åberg then provided a quote about watching something unfold, and to watch something unfold is the work. Åberg also sarcastically noted that he loves it when a performer walks in on stage and says, “We are going to begin now.” But of course it has started, as a spectator you can choose.
The committee noted he worked with reduct-construct for many years with juggling. How does that relate to archive?
Åberg – Reduct-construct is a step-by-step guide, identify the component, repeat the components. I’ve done the method so much with juggling. This method, reduct-construct, is a construction of throws. What is as distinct as a throw, so is a quote, we put quotation marks around a quote. Juggling has indentations and so does archival materials.
The committee asked Åberg whether he engages in practices that challenge his methodology in juggling.
Åberg talked about concepts like juggling metal balls in a metal room and you should have all the sizes and variations of the juggling balls. He also talked about Italian juggler Carlo Cerato who had several connections to his work. Cerato makes objects out of Styrofoam that you can manipulate with your breath.
Questions from the Audience
The committee question portion was followed by about ten audience members asking questions. Examples of questions from the audience and Åberg’s responses are below.
An audience member asked, how are artists inspired by the circus? Åberg talked about the Bauhouse movement and that Rastelli had been invited to their practices.
JoAnn Ireland asked, how do you see the reduct-construct method withstanding the test of time (short term) in juggling? Åberg noted that as long as we’re manipulating objects, the method will be used.
JoAnn Ireland also asked, could the reduct-construct method be used, as science and technology progresses to make historical prediction models, to back-calculate, and be more certain of what has occurred in history? Åberg said he hadn’t thought about using the method to back-calculate the accuracy of history. And while he doesn’t know for certain whether the wigs for lions account about Cinquevalli in chapter 3 of Division Dialogues was true or not, it was his understanding that it was not true.
An audience member who was a Professor of Circus asked, as a maker of props, how has that changed your practice? Åberg described an actor on stage with a wall with lids, and the set designer didn’t adequately sandpaper the holes, and it was painful for the actor to interact with, and none of the audience can see this. Åberg continued to note that the knuckle dusters were the first time he used 2000 grit sandpaper.
An audience member asked, if you’re working with clubs, how does that change your practice? Åberg said it matters that I made these, he added that I always travel with a repair kit.
An audience member noted that Åberg has his own archive and asked how he is documenting that in his own life’s work? Åberg responded that there is a constant ambivalence. It is his understanding that the wig story (referring to the wigs for lions account about Cinquevalli in chapter 3 of Division
Dialogues) isn’t true. Feel free to make myths about what I do.
An audience member asked, is this research project closed for you? Åberg consented, I’m going to try. I’m not going to write Division Dialogues Part II.
Jay Gilligan, a former juggling instructor at SKH, asked the last question of the afternoon, can you give one or two sentences of reflection on your experience at SKH. Åberg thought the doctoral courses gave him a lot, he felt that he got the outcome at the end. Archiving and that whole relationship was something that he developed throughout.
Left to right: Magnus Bärtås, Ingri Midgard Fiksdal, Pieterjan Ginckels, Bart Moens, Erik Åberg, Kent Olofsson, Chrysa Parkinson, and Martin Hargreaves
The audience question portion was followed by about a half-hour of deliberation by the committee and then announcement of the result – Erik Åberg passed his doctoral thesis defense! Åberg then thanked his family, friends, and staff from SKH. Graduation ceremonies took place on June 5th .
Stockholm University of the Arts Circus School
Stockholm University of the Arts (SKH) Circus School
The Stockholm University of the Arts Circus School is located adjacent to KTH (Kungliga Tekniska högskolan) Royal Institute of Technology; it’s in a former KTH civil engineering building. SKH is an educational institution where research is also conducted in: circus, dance, film, media, opera, and theater. From the 2025 SKH annual report, they have 434 full-time equivalent students, with 26 doctoral students, and 193 full-time equivalent employees.
SKH launched a new bachelor’s program in 2025 that emphasizes diverse knowledge through circus practice; it’s a three-year full-time program that leads to a Bachelor of Fine Arts. The SKH bachelor’s program in circus is planned to start in fall of 2027 (application period planned for 12/1/2026 –1/15/2027). (https://www.skh.se/english/courses/bachelor-programmes/bachelor-programme-in-circus/)
The SKH master’s program in circus first launched in 2016, is a two-year full-time program, and leads to a Master of Fine Arts, with the latest cohort starting in the fall of 2026. (https://www.skh.se/english/courses/master-programmes/master-s-programme-in-contemporary-circus-arts/)
Additional information about the SKH doctoral (or third-cycle) studies can be found at the following link. (https://www.skh.se/english/research/doctoral-studies/)
Visiting Stockholm, Sweden
Stockholm, Sweden: top row (l-r) – hillside view of the city, view of the city with water. bottom row (l-r) – Nordic Museum, City Hall, Vasa Museum.
Stockholm has approximately 1 million people living in its city. Nicknamed the, “Venice of the North,” Stockholm is spread across fourteen islands. Over 30% of the city area is made up of waterways and another 30% is parks, so expect to travel across plenty of bridges and see lots of green spaces. There are quite a few hills and staircases in some areas that provide wonderful views. And, if you’re visiting in the summer, daylight hours are plentiful.
While in Stockholm, I took the opportunity to visit quite a few museums. Some of the most impressive museums in Stockholm, in my opinion, are:
- Nordic Museum (Nordiska Museet) – it covered Nordic civilization from the 1500s to the present. (https://www.nordiskamuseet.se/en/)
- Modern Art Museum (Moderna Museet) – with special exhibits on surrealism and tapestries. (https://www.modernamuseet.se/en/stockholm/)
- Vasa Museum (Vasa Museet) – the Vasa was a Swedish warship that sank in 1628 off the coast of Sweden, was salvaged in 1961, and remained largely intact. There was also a temporary exhibit on filmmaker James Cameron with props from the movie, “Titanic.” (https://www.vasamuseet.se/en)
- Nobel Prize Museum – has two large rooms covering the history of the Nobel Prize and an exhibit, “These Things Changed the World,” with unique items from selected Nobel laureates in the fields of science, literature, peace efforts, and economics. (https://www.nobelprizemuseum.se/en/)
There are numerous other arts, culture, and music (including ABBA and Avicii) museums in Stockholm, so if visiting, be sure to look into others that might be more inline with your own interests.
Stockholm, Sweden: top row (l-r) – cinnamon and cardamom rolls, art at the Tekniska Högskolan Station. bottom row (l-r) – The North Face juggling advertisement, view of the city
Stockholm is a very walkable and bike-friendly city, sidewalks weren’t overly crowded, the city felt compact, and there were plenty of frequently-traveled bike lanes. The Stockholm metro, or tunnelbana, also has extensive art displays within its stations; I especially enjoyed the science-themed art display at the Tekniska Högskolan station, conveniently located near the SKH circus school building. There was also no shortage of places for me to enjoy the Swedish cafe culture and fika, the Swedish tradition of taking time out of your day to enjoy a hot beverage and a snack with company and conversation, along with Swedish cinnamon or cardamom (which tastes like Earl Grey tea, in my opinion, for those who aren’t familiar with the flavor) rolls. And while I knew IKEA, the flat-pack home furnishing retailer, was Swedish, I didn’t know that H&M, the fashion and home decor retailer, was also Swedish. And while not exactly juggling or a Swedish brand, I did see advertising outside The North Face store in Stockholm of a model juggling packable shorts. Fjällräven (a Swedish outdoors outfitter), needs to up its game, as The North Face is clearly reaching out to jugglers through its advertising and marketing.
In summary, if you have the opportunity to visit the beautiful city of Stockholm, to enjoy meeting its people, and experiencing its culture, which through SKH is very supportive of circus arts and juggling, I definitely recommend it.
JoAnn Ireland
JoAnn Ireland is a longtime hobbyist juggler who especially prefers juggling beanbags, joggles (running and juggling), and occasionally rides a unicycle. She is grateful for the opportunity to have been able to attend many IJA and regional juggling festivals.