An American juggler conquers the Canary Islands with his "Rollercoaster".

American juggler Wes Peden is a true innovator. They say he has reinvented the modern circus with his vibrant performances, skill, and boundless imagination. He has come to the Canary Islands to present his show "Rollercoaster" at the Clownbaret International Clown Festival (FIC). He performed yesterday at the Guía de Isora Auditorium, and tomorrow, Sunday, he will present his program at the Leal Theater in La Laguna (starting at 7:00 PM).

- Why are festivals like FIC needed?

"It is important for artists and audiences to feel the living energy that inspires new ideas and helps to look at our profession in a new way. When you get to a place where circus and clowning are the main thing, and not just an addition to something, you can enjoy art and appreciate it without further explanation. This is very important for the development of the circus."

- What is special about "Rollercoaster"?

"It's a completely new take on juggling. I came up with almost all the tricks in the show myself. There are unique objects that no one has ever juggled before, amazing tricks, unexpected jumps, interesting toys, and modern juggling. All of this is vibrant and inspired by roller coasters. It's something incredible, made with love, generosity, and a lot of fun."

"I always try to add something to my performances that no one has ever seen before."

- Where does your love for juggling come from?

"My father was a juggler, so our house was always full of juggling equipment. I watched him practice, make props, and learn new tricks. He always shared his ideas with me, and he was interested in whether I was working on something new and wanted to show it to him. He liked all kinds of juggling: balls, clubs, rings, diabolo, sticks, unicycling, stilt walking, magic, lasso... Any object could be used. From the very beginning, juggling seemed to me to be a world where you can use anything to express yourself. In addition, I have dyslexia, which makes it difficult for me to learn in school. But often people with dyslexia have a better understanding of the 3D world, whether it's architecture, ceramics, or sculpture. I think this helped me easily learn different juggling techniques from childhood, and I got a good base working with my father."

- Your style is considered a model in modern juggling. How did you come to such an original approach?

"At first, I learned from my father, who greatly inspired me to work with objects. Then I was influenced by two jugglers: Sean McKinney and Jay Gilligan. They have a creative style with a punk aesthetic, less refined than in Las Vegas, and more personal. When I started, my work was a mixture of all these influences, and they can still be seen. Over the years, I have tried to enrich and expand what I do, to add something that I don't think anyone has ever seen before. Working on this for many years, I developed my own style."

- Do you remember a moment in your childhood that impressed you?

"When I was five years old, I learned to juggle and practiced a lot. But when I was nine, my father and I went to the International Jugglers' Convention in the USA for the first time. There were thousands of jugglers, competitions, performances, and workshops. It was incredible for a child to see so many different styles, and it gave me the motivation to practice even more. I started juggling not one hour a day, but every free minute. I was always juggling, reading books, or watching videos of other jugglers. That's when I finally "caught" juggling."

- What is the process of creating a performance from idea to premiere?

"It usually takes about three years of experimenting with new objects and techniques when I'm at home between tours. I study different styles that interest me, try new objects, and draw inspiration from everything around me. For example, I watch skateboarding in pools or parks and see how they use momentum on ramps, looking for ways to transfer that to juggling. I'm also interested in graphic design and the balance of forms, and I love stand-up comedy, analyzing the rhythm of jokes. I work like that, and when I feel like I'm finding my style, the last year of intensive work begins, when everything is organized into choreography, universe, and dramaturgy."

- What is the strangest object you have used in your performances?

"I have worked with many strange objects. For example, in a show where all the music was on vinyl records, I juggled them and did tricks, taking them out of the covers and putting them on the record player. I also used open bottles of water that spray water when you catch them; rolls of toilet paper that fly around in the air when you spin them; inflatable palm trees and cacti, and even an onion that I played with while eating it. All of this is part of modern and creative juggling."

- What elements of clowning and circus can still move the audience in the digital age?

"A live performance has an energy that is difficult to convey. When you are in a room where there is no recorded, edited, or repeated script, where something can change at any moment, there is a strong tension. In circus and clowning, the audience's reaction can affect the performance, or the performance can change due to a mistake, an unexpected triumph, or the energy in the room. This is a unique and very important experience. In addition, performances are not made using algorithms that guess what the audience will like the most, but are created by an individual with love and creativity, which makes them more amazing and authentic."

- What emotions do you want to evoke in the audience?

"I like to share what brings me the most joy, in bright colors and electro-pop rhythms, offering a unique moment of human connection. Any emotion that arises from these forms, rhythms, and tricks is correct. Juggling is a performing art: I offer what I want to share, and what touches the emotions of the audience simply touches."

- What motivates you to go on stage after so many years of performing?

"I am motivated by sharing what makes me happy and seeing that the audience likes it too. It makes me feel connected to the world and other people, and I feel that my place on the planet makes sense if I can brighten someone's life, even for an hour. In addition, I am always updating the tricks, routines, and ideas of the show; any small improvement appears in the next show. This keeps the show fresh, and it is felt in my presence on stage, even after hundreds of performances."