Ki Omos Kineitai calling!

Why do we tour abroad? What is our motive for reaching out and proposing transnational mobility and collaboration to potential partners from the other corner of Europe? Well, for Ki Omos Kineitai(And Yet it Moves), the reasons are manifold. Firstly, as an experienced artistic group with more than 20 years of activity in the Greek circus scene, it is vital to introduce our work to audiences and communities that might be interested in it, in terms of its multidisciplinary aesthetic quality and identity, which characterizes every work. Being able to connect cultural professionals of different backgrounds and styles, going from classical texts and folklore myths to absurd post-dramatic performances in unique steel structures on and off stage, while keeping a distinct identity, is one of the core strengths of this group. Next to it, are the quintessential elements of the ‘Ki Omos Kineitai' mentality of solidarity, community, and sharing, expressed over the years through countless educational modules such as workshops and seminars, to people of all ages and backgrounds, as well as performances able to be performed in all kinds of spaces indoor or outdoor, able to reach the communities in their places. 

However, the necessity to become part of a global context comes with the challenges of coming from a local context where the contemporary circus is under-represented and lacking any professional recognition by government and cultural policy frameworks and academic curriculums. In that sense, forming international collaborations would need to largely count upon international possibilities and open calls, such as Perform Europe. But, even if the calls for more sustainable, green, and inclusive touring are well justified and central to the current state of the (art)world, it is questionable how these can be put into practice, by whom, and for whom.

Being in the Southernmost tip of Europe, despite some -celebrated- positives, can also mean larger distances to be covered and thus greater difficulties in reducing costs and emissions. Does this mean that production from Greece should only look towards neighboring countries and regions such as Southern Europe, the Mediterranean, and the Balkans because that would be more sustainably viable? The other way around, should productions and partners coming from more socially stable countries where the cultural frameworks allow space and support for contemporary circus, be looking only in their neighboring countries for touring possibilities due to the expenses that would be required to bring their productions to more distant locations? Furthermore, does this geographical, but also political, economic, and social situation mean that all productions should focus on more flexible and portable artistic work of solo artists or duos, instead of larger multidisciplinary works such as that often made by Ki Omos Kineitai?

To respond to these considerations, the team of Ki Omos Kineitai has come up with and is glad to present a multifaceted approach, responding both to touring possibilities of its work ‘’God’s Particle’’ and hosting possibilities at its own theatre space ‘’Theatro Roes’’. Next to those, of course, are various educational possibilities, with the double goal of hosting the first international circus festival in Athens, as well as establishing a national social circus school.

To view more, you are invited to check out the updated website of Ki Omos Kineitai