The BigTop Label- European circus arts quality assurance system celebrates in 2026 its 10th anniversary. The following article of Mr Tamás Szalay gives an overview of the importance, and an eventual international impact of the BigTopLabel.
BigTopLabel – a decade in review and a possible global outlook
In the history of European circus arts, initiatives rarely emerge that are simultaneously capable of providing an institutional response to the question of quality, strengthening professional self-regulation, and at the same time becoming a politically meaningful reference point. BigTopLabel – now with more than ten years of operation – can be regarded precisely as such an exception. It is not merely a certification system, but a structural intervention that has addressed one of the most difficult challenges of the circus sector: how to credibly distinguish between quality and quality within an extremely heterogeneous, fragmented, and often informally operating industry. Its origins can be traced back to a moment that has since become symbolic: a proposal presented in the European Parliament in 2016, which raised the idea of creating an independent quality assurance system for the circus world, similar to Michelin stars. That initiative – which at the time may have seemed ambitious, even excessive to many – has by now become an operational reality. BigTopLabel has not only been established, but has also acquired tangible professional and institutional weight.
One of the fundamental characteristics of the circus sector is that it simultaneously embodies traditional, family-based operating models and contemporary, project-based, often experimental structures. In such an environment, the concept of “quality” can easily become relativised: the weight of audience experience, animal welfare standards, technical execution, or artistic concept may differ significantly from one troupe to another. In this context, BigTopLabel has introduced a clear, transparent, and multidimensional evaluation system that simultaneously assesses artistic performance, operating conditions, and social responsibility. This approach naturally goes beyond a simple “certification”: it in fact creates a system of standards capable of guiding the market, the audience, and – not least – the regulatory environment. At the same time, it is important to emphasise that BigTopLabel does not seek to establish a universal aesthetic benchmark. Rather, it defines a minimum level and an attainable quality horizon alongside which artistic diversity can be preserved. This delicate balance is one of the system’s greatest strengths, but at the same time also its greatest challenge.
A certification system of this type can only exert real impact if its independence and credibility are beyond question. In the case of BigTopLabel, this dimension has been consciously designed. While the programme works closely with key organisations such as the European Circus Association (ECA) and the Fédération Mondiale du Cirque (FMC), one of its core principles is precisely the preservation of institutional autonomy. This duality – the simultaneous presence of cooperation and distance – is not merely an organisational matter, but the key to credibility. BigTopLabel could not be what it is if it were to become merely an advocacy tool; at the same time, it could not function effectively if it were detached from the professional environment. The fact that certifications are awarded by an independent panel of experts, based on multi-criteria on-site assessments, fundamentally contributes to the legitimacy of the system.
The often-cited “Michelin star” analogy in relation to BigTopLabel may at first appear to be a simple communication device, but in reality it reflects a deeper structural parallel. As with the Michelin system, this is a certification mechanism that not only evaluates, but also provides direction: it influences consumer decisions, encourages quality improvements among providers, and in the longer term shapes the functioning of the entire sector. At the same time, the analogy is not complete. Compared to the gastronomic sector, the circus world is far more heterogeneous, less standardisable, and more strongly dependent on cultural context. For this reason, BigTopLabel cannot simply become a “global ranking” without jeopardising its own core principles.
After ten years of operation, the question logically arises: is the BigTopLabel model suitable for application beyond Europe? In other words, does a “global circus quality” exist that can be interpreted within a unified system? The arguments on one side are clear. The circus is a global genre, with strong international mobility and significant cultural export potential. A European-rooted but internationally recognised certification system could strengthen professional standards, increase transparency, and potentially open new markets for certified troupes. At the same time, the counterarguments cannot be ignored. Different regions – whether Asia, North America, or Africa – have distinct cultural traditions, regulatory environments, and economic conditions. The export of a European normative system could easily be interpreted as cultural dominance, potentially provoking resistance from local professional communities. Consequently, the question is not only whether expansion is technically feasible, but also whether the profession – in a global sense – is open to this type of standardisation.
The first ten years of BigTopLabel demonstrate that the circus sector is capable of creating institutions for itself that simultaneously serve quality, credibility, and professional development. This in itself is a significant achievement in a sector that for a long time remained outside the focus of structured cultural policies. However, the key question of the next decade will likely not be whether the system will endure – there is every reason to believe it will – but rather how it can adapt to a changing international environment. The possibility of global expansion is present, but it can only become a reality if BigTopLabel preserves the balance that has so far underpinned its success: the simultaneous enforcement of independence, professional credibility, and cultural sensitivity.
Brochure about the first ten years of BTL available here: https://bigtoplabel.com/btl10-booklet/
Tamás Lajos Szalay
(creative coordinator of BigTopLabel)
