We live in a world dominated by data collection and data-driven decision-making. It can be overwhelming to consider how widely our personal information is shared across publicly accessible databases. While this reality may seem alarming, it’s important to remember that data, in and of itself, is not the end. Data tells a story. Behind every number, name, and entry is a human life.

As a librarian and information scientist, I’ve come to see data not as cold or impersonal, but as a key to unlocking meaning. Obscure details and overlooked records often become the breadcrumbs that lead to a greater understanding of our world. The past, even when fragmented or hidden, can be reconstructed through determined research and thoughtful curation.

My recent work with the circus route books housed in the Milner Library at Illinois State University has opened a window into a fascinating and often forgotten chapter of American entertainment history. These books, which documented the schedules and logistics of traveling circuses in the late 19th and early 20th centuries, also serve as a record of the people who brought the circus to life, not only the sideshow performers but also the circus staff and laborers who brought the show to life.

Sideshow performers, often at the time labeled “human oddities,” were typically marginalized individuals whose stories have typically been excluded from traditional narratives. While a few, like Melvin Burkhart (the Anatomical Wonder) or Frances O’Connor (the armless performer), gained fame during their time, many others faded into obscurity. Thanks to the preservation efforts of circus enthusiasts and the Milner Library’s staff, we can now begin to unearth and share their stories.

Through careful examination of the route books and cross-referencing publicly available databases, I identified and researched 27 performers whose lives deserved renewed attention. Frank Lentini, the “boy with three legs,” delighted audiences with his remarkable physicality. The Orissa twins, Radhika and Dudhika Nayak, were conjoined sisters taken from an orphanage in India and exhibited across Europe and America. In 1902, after Radhika contracted tuberculosis, a highly publicized surgical attempt to separate them ended in tragedy. Dudhika died during the operation, and Radhika passed away less than a year later. Their story, like many others, raises deep ethical questions about exploitation and agency.

Other performers, like Laloo the Double-Bodied Wonder, challenged their own portrayals. Laloo famously advocated for a shift in terminology from “oddities” or “curiosities” to “prodigies.” This marked the beginning of a movement by the sideshow performers themselves to demand dignity, respect, and rights that had long been denied.

Some stories remain elusive but still compelling. Isaac “Ike” Jones, an African American one-legged dancing champion, appears in two route books. Further research led me to an obituary published in the Rochester Democrat and Chronicle on April 14, 1895. Ike lost his leg in a hunting accident yet went on to earn acclaim for his dancing ability. While much of his life is still hidden, I’m hopeful that continued investigation will bring his full story to light.

To make these lives more accessible, I’ve input key details and data points about each performer into the Wikidata database. This ensures their stories are not just remembered but are also available to future researchers and enthusiasts. I’ve also created an interactive story map titled Specatacle and Struggle: The Hidden Stories of Circus Sideshow Performers. It introduces the public to these remarkable individuals and the complex roles they played in circus history.

All data tells a story. For librarians, curators, and digital humanists, uncovering those stories is both a calling and a responsibility. With continued support from both public and private sectors, we can keep piecing together these vital human histories. In doing so, we bring voice to those long unheard and meaning to the data they left behind.

Note on historical terms: The terminology used to describe circus act types and performance act names have changed greatly over the past two centuries. While these descriptions are often offensive and no longer acceptable today, the historical language has been referenced in its original form in order to accurately convey past ideologies and reveal past experiences. The route book collection that forms the basis for the Wikidata and StoryMapJs project discussed here contains depictions of people representative of the cultural context in which these route books were created.

These projects were completed by Josh Jenkins, graduate student at University of North Carolina, Chapel Hill, during a spring 2025 internship in Milner Library’s Special Collections.