Being held this year for the second time, the Performing HEL showcase – encompassing circus, dance and theatre – is on the lookout for full-length performances, demos and pitches. Taking place in Helsinki on 29 August–1 September 2019, the showcase will present some of the most interesting elements of Finnish performing arts that are suitable for international audiences and touring to Finnish and international festival and theatre programme presenters.
A total of 4–6 full-length performances, 6 demo performances, and 10 pitches will be selected for Performing HEL. Some of the evening performances will be selected from the domestic programme of Helsinki Festival 2019.
The organisers are seeking applications from professional groups or artists working in or receiving funding from sources in Finland. The pieces selected must be suitable for touring and may be intended for different audiences. There are a total of three application options:
– full-length performances
– demo performances of pieces that have already premiered or future pieces/ideas (20–30 mins)
– 15-minute pitches of existing or future pieces.
Applicants may indicate which category they wish their application to be considered for, but the final decision on categories lies with the selection jury. Please note! Only one application from each applicant (artist/company) will be accepted.
The application period ends on 15 March 2019, with the jury aiming to have made its selections for the programme in April 2019. Artists and groups selected for the showcase programme will be paid a small fee.
The groups and artists selected commit to partaking in workshops to be held in spring and early summer on touring practicalities (technical riders, etc.) and how to sell performances (incl. promotional material and pitching).
For further information, please contact
Producer Anni Leino, *protected email*, tel. +358 (0)40 1823 722
Head of International Development Lotta Nevalainen, *protected email*, tel. +358 (0)50 303 8339
The main organisers of the Performing HEL showcase are CircusInfo Finland and Dance Info Finland. The event partners are Helsinki Festival, Svenska Teatern (the main Swedish-language theatre in Helsinki), the Finnish National Theatre, Espoo City Theatre, and Theatre Info Finland (TINFO). The event is supported by the Ministry of Education and Culture of Finland.
Arranged for the first time in 2018, performing arts showcase Performing HEL will take place on 29th of August – 1st of September 2019 in Helsinki, Finland.
With performances, demos and production pitches, the event will showcase the finest work from Finland right now. Performing HEL will encompass the full range of performing arts, including circus, dance and theatre, also delivered in exciting yet difficult-to-define combinations. The showcase happens at the same time with Helsinki Festival – the largest arts festival in Finland.
In 2019 the showcase is organised by Dance Info Finland and CirkusInfo Finland in cooperation with Helsinki Festival, the Finnish National Theatre, Svenska Teatern (the main Swedish-language theatre in Helsinki), Espoo City Theatre and Theatre Info Finland TINFO.
Save the date 29.8.-1.9.2019 – more news coming soon!
For further information, please contact Anni Leino, Producer, *protected email* | +358 (0)40 1823 722
Subcase, a showcase and marketplace for contemporary circus, takes place for the 10th time on February 11–15, 2019 near Stockholm, Sweden. Subcase is a meeting place for Nordic artists and international venues and festivals. As in previous years there will be strong Finnish presence. Lotta Vaulo and Lotta Nevalainen from CircusInfo Finland will be attending the showcase together with various Finnish circus artists, producers and programmers. CircusInfo Finland is also happy to bring two Finnish producers Selene Abonce Muhonen and Anni Leino to attend Subcase and network with their Swedish and Canadian colleagues through the project Crossing Missions for Young Presenters in Circus Arts. The project is funded by Nordic Council of Ministers.
Finnish shows in the programme
Full lenght performance
Race Horse Company: Urbotek
WHS/Kalle Nio: The Green
Pitches Premiered projects
Ilona Jäntti & Aino Venna: Yablochov Candle
Pitches Upcoming Projects
Salla Hakanpää: Funis
Recover Laboratory: One Night Only Multi Art Labyrinth
One can find Finnish circus artists also in the following performances/pitches:
Duo Homeles Moreles: Liquorice and Lemons
The Nordic Council: Three Men from the North
CircusInfo Finland is excited to take part in CINARS Biennale 2018 in Montréal, Canada from 12th to 17th November. In addition to CircusInfo’s Managing Director Lotta Vaulo and International Affairs Manager Lotta Nevalainen you can also meet the following Finnish circus professionals at CINARS:
Two Finnish producers Selene Abonce Muhonen and Anni Leino will as well attend the biennale through the Crossing Missions for Young Presenters in Circus Arts project created by Subcase, La Tohu and CircusInfo Finland. Find us from the Nordic Square booth in the Exhibition Hall or multiple events organized together with our Nordic and Finnish partners:
22:00-02:00 PM-AM Nordic Party. Location: Square Victoria at Fairmont The Queen Elizabeth. No registration needed. The Nordic Party is hosted by Nordic Embassies & Nordics Combined network.
12:30-14:30 PM Experience Circus and Dance from Finland! Networking Lunch for invited guests. Location: Rue Sainte-Catherine at Fairmont Queen Elizabeth. The networking lunch is hosted by CircusInfo Finland, Dance Info Finland and Embassy of Finland Ottawa in cooperation with Embassy of Finland Washington DC and Consulate General of Finland in New York.
16:45-18:15 PM Contemporary Circus from the North – Pitch Session of Canadian, Swedish and Finnish Circus. Location: Duluth at Fairmont Queen Elizabeth. Send an email to *protected email* to register for the pitch session. The event is hosted by Subcase in collaboration with Tohu and CircusInfo Finland. Pithes by Subcase Nordic Circus Showcase, Montréal Complètement Cirque Festival and Market, Cirkus Cirkör, Agit-Cirk, Saloranta & de Vylder, Kompani Giraff, Circus I love you, Kate & Pasi, Claudel Doucet, La Marche du Crabe and Emilie Pineault.
Circus Arts Research Platform (CARP) is a free resource website for academic research and studies related to the circus arts.
Published online at www.CircusArtsResearchPlatform.com, the platform stimulates and strengthens collaboration between scholars and professionals interested in circus arts studies across all academic disciplines. It offers to the academic community an international directory of researchers and an international, accessible bibliography of academic publications related to circus arts studies. It also gives information on current academic research in circus arts to a wider public.
The platform collects and maps universities and research institutions with circus-related research programs or research chairs; institutions offering residencies to scholars, as well as relevant collections in circus art.
At the time of the launch, the platform contains more than 120 profiles of researchers, references to 2000 academic publications in all languages and a world-wide map of more than 200 significant circus collections in archives, museums, libraries and resource centres. The references in the bibliography have been collected from the library collections of the Centre national des arts du Cirque (France), the École Nationale de Cirque (Canada) and from more than 100 academic databases all over the world. The international bibliography and its thematic bibliographies will be updated on regular bases.
In addition, CARP offers an overview of links to institutions, networks and other information resources in circus arts. The News & Events page gives information on the latest activities, conference calls and publications.
With 5 performances, 5 demos and 25 production pitches, the Performing HEL event will showcase the finest work from Finland right now. Taking place in the Finnish capital 31 August–2 September 2018, the event will encompass the full range of performing arts, including circus, dance and theatre, also delivered in exciting yet difficult-to-define combinations. The featured productions have been chosen for their high artistic merit and international resonance in mind. Curated by Helsinki Festival Director Topi Lehtipuu and Finnish National Theatre Director Mika Myllyaho, the programme features performances of all shapes and sizes.
A carefully selected group of international buyers, programme coordinators and other leading industry figures will be invited to attend, with the aim of matching them with the artists appearing on stage. The event also encompasses a seminar focusing on the international scope of the performing arts sector and the resources and opportunities that make it possible for artists to engage with international markets and audiences. The seminar’s keynote speakers are leading practitioners in their field in Finland and internationally. The seminar will be open to all professionals active in the performing arts sector.
Another purpose of the seminar and the showcase as a whole is to gather information on the types of support Finnish performing arts practitioners would like to have access to as they pursue opportunities internationally. What is required of artists wishing to work internationally and how can institutions in Finland respond to their needs? The showcase is envisaged as a pilot that will lead to the creation of both a permanent event and a new platform for promoting Finnish artists abroad.
The showcase is organised by the Finnish National Theatre, Helsinki Festival and Helsinki’s Svenska Teatern, Swedish-language theatre. Also participating are CircusInfo Finland and TINFO Theatre Info Finland, with financial support from, among others, the Swedish Cultural Foundation in Finland, Goethe Institute and Finnish cultural institutes internationally.
In 2017 CircusInfo Finland carried out a survey concerning the incidence of sexual and gender-based harassment experienced by Finnish circus professionals in their work. In total 143 people filled in the questionnaire by the deadline. The results show that one third of the respondents (44 persons) had experienced sexual harassment and one fourth of the respondents (35 persons) had experienced gender-based harassment in their work. A little more than 40 percent of respondents did not consider sexual harassment as a problem in circus sector. However, more than half of the respondents did not either answer or responded yes to the question.
The survey was targeted to all Finnish professionals working in circus sector. The questionnaire was also sent out to secondary level and higher education circus students, who usually work actively during their studies. The respondents were not asked to implicate in which country or in what year they had experienced sexual harassment. Circus sector is an international work milieu, thus the results of the survey reflect the working conditions in Finland and abroad in different time periods.
The vast majority, in total 112 respondents were women and 29 men. One of the respondents did not want to report gender and one reported to be transgender. In total 94 respondents indicated that they had not experienced sexual harassment in their work while 44 respondents had been sexually harassed. Also, two of the five persons who were not sure, if they had been sexually harassed, shared their experiences in the open comments section of the questionnaire. Most of the sexually harassed were women but also four men and one transgender had experienced sexual harassment.
The nature of the sexual harassment was usually verbal: obscene comments or regards on one’s body shape or clothing. Also comments or gestures of sexual nature were commonly experienced. Unwanted touching was experienced by 19 respondents.
“ One of the working group members (male in his 40s) touched repeatedly my butt during dance scenes and he also kept getting near to me in hope being able to touch me…I was forced to avoid this person during the whole rehearsal and performance period in order to do my job well.”
Requests or demands for sexual intercourse or other sexual favours were experienced by 13 respondents. The open comments section revealed that sexual favours were demanded in return for salary rise, job offers, safety at work and preserving good reputation. Eight of the respondents were harassed by messages, phone calls, videos and photos of sexual nature.
Majority of the respondents, 103 persons, had not experienced gender-based harassment in their work. The ones who had experienced gender-based harassment indicated it to have been most often underrating or insulting comments on one’s gender. The capabilities of women were downplayed, in so that they were not believed to go through the rigging, light designing or driving a car for example. Gender-based bullying was experienced by 8 respondents.
“I have experienced gender-based harassment for instance so that I was ruled out from meeting because I am a woman. I was told that my gender brought a different kind of tension to the meeting in comparison to a meeting where only men would be present.”
Also the female body shape was critiziced and one’s suitability to circus profession was called into question because of the shape of the body. In one case the employer had forced a woman to wear revealing clothing on the assumption that those are the kind of clothes women are supposed to wear while performing.
The harasser or was most often stated to be a co-worker (25 mentions) or another colleague (20 mentions). In 19 cases the harasser was the boss. The director was mentioned as harasser 10 times as well as teacher. Also employee, member of the public, producer, pupil, fellow student and a person sharing the same office got a few mentions.
“I have been approached and experienced touching and sexist talk often on behalf of my boss/director. When I was studying, the sexual concession paid off as promises for work or special status. Altogether the atmosphere has often been distressing, and somehow colored and undesirable.”
When asked whether sexual harassment is a problem in the circus sector, 61 persons answered no and 28 persons yes. A significant proportion of respondents, a total of 54 persons, could not say whether sexual harassment is a problem, which indicates that there has not been enough discussion around the topic yet.
“Even though nothing like this has never happened to me personally, I have heard and witnessed situations where sexual and gender-based harassment has happened. I think these are serious issues which should be addressed directly in the work communities in question. I believe, that in many situations people are afraid to intervene because the sector is so small and people are afraid that it would cost them personally.”
International womens’ circus community with the lead of Women in Circus Network has made #theshowisover petition to end the sexual harassment of women in the circus sector. Get acquainted with the petition here: https://womenincircus.wordpress.com/english/
CircusInfo Finland has a great privilege to organize four networking trips for selected group of Finnish circus professionals in 2018. In addition to attending official program at the festivals and markets, the trips will include visits and meetings with local circus and performing arts organizations.
The trip destinations and selected participants are:
Edinburgh Fringe, August 17th–20th
artist and director Kalle Nio, WHS
producer Antti Suniala, Race Horse Company
and the leader of the trip: producer Sari Lakso, Kallo Collective
FiraTàrrega and Barcelona, September 5th–9th
coordinator Reija Tapaninen, Sirkus Faktori
artist Maria Peltola, Wise Fools
artist and director Henna Kaikula, Sivuhenkilöt/Sidekicks working group
Performing Arts Market in Seoul PAMS, October 7th–12th
artist Petri Tuominen
artist and director Rauli Katajavuori, Sirkus Supiainen
Cinars Biennale, November 12th–17th
artist Sade Kamppila, Circus I Love You
artist Pasi Nousiainen, Duo Kate & Pasi
producer Joonas Martikainen, Silence Festival & Cross-art Collective Piste
artist Inka Pehkonen, Sisus
artist Jenni Lehtinen, Agit-Cirk
producer Inna Huttunen, Recover Laboratory
Circusinfo staff member follows participants to FiraTàrrega and Barcelona, PAMS and Cinars. If you are interested to meet the Finnish delegation, please contact International Affairs Manager Lotta Nevalainen: *protected email*
NuoraNORD project participant Marija Baranauskaitė from Lithuania shares her experiences on the project so far:
I am a Lithuanian, emerging, new circus artist who spend last three years studying and working in Belgium and France. I recently had the privilege of being selected to join the NuoraNORD project. A one-year program for young circus companies and communities in Sweden, Finland, Latvia and Lithuania. NuoraNORD aims to develop sustainable artistic links between all the countries involved and create a strong circus community in the north of Europe.
While working on my artistic career, performing, creating and producing my own shows, teaching, bringing my knowledge to Lithuania, NuoraNORD is a huge source of inspiration and support.
From each country two producers or artists are taking part in all the workshops. The participants selected through an open call are me, Marija Baranauskaitė (Association of contemporary circus Lithuania), Selene Abonce Muhonen (Sisus & Art Society Now /Finland), Gildas Aleksa (Cirkulijacija Festival & Šelteris venue / Lithuania), Patricia Franke (Agent Franke / Sweden), Janis Laucenieks (Association Sansusi / Latvia), Ance Strazada (KVADRIFRONS / Latvia), Kaito Takayama (KaSa Company / Finland) and Mikaela Valencia Veide (Kaaos Kaamos / Sweden). We are all very lucky to be coordinated by the mentor Isabel González. Just following how she organizes our meetings, listening what experience she has, going through challenges and various practical tasks together has teached us very quickly and a lot.
So far two of the four workshops arranged have taken place. The first was in Riga and was titled: Working as a producer or manager in the field of contemporary circus. In a workshop led by Louise Michelle, the really inspiring co-founder of l’Avant Courrier, production and management office for contemporary circus shows based in France, we mapped the infrastructure of circus in our home countries and explored the role of producers in the Baltic- Nordic contemporary circus field. Local Latvian performance field professionals also visited us. This gave us an idea of the artistic scene and possibilities in Latvia and good examples of people thriving in this artistic community.
The second meeting was in Helsinki and focused on Strategic planning in artistic work. The workshop in Helsinki was lead by Isabel Gonzalez who introduced us with the methods by Dave Allen, how to focus on strategize the process of our work. We also attended a workshop or active talk lead by Daniel Gulko, where trough the movement and different exercises we had to face and answer to our most important motivations and questions. We had the chance to express our own personal Manifestos through different mediums and (as an exercise) perform the worst show we could possibly do. These exercises gave us the means to define ourselves as artists and producers and at the same time they highlighted our similarities. Despite our different backgrounds most of us were united by our quest for connection, vitality and our ambition to push beyond the limits and take risks to save the world through our art. We noticed that a mistake could be a gift if you are ready to accept it.
The next two gatherings will take place in Vilnius in September and Malmö in January and will focus on international marketing and network development.
I am representing Lithuania in these workshops and for me it is a great opportunity to look at the artistic scenes in my neighboring nations. Lithuania has a circus scene that has been developing rapidly over the last few years, but does not have the means or the experience that the other countries in the NuoraNORD project do.
Lithuania is a country with huge potential. People are hungry for more cultural events, they are motivated, curious and working hard to make it happen. Lithuania‘s second biggest city Kaunas was selected to be the European capital of culture in 2022 so we have a huge opportunity to grow and make new art forms alive in this relatively small and young country.
The new circus scene in Lithuania comprises mainly of the two festivals: New Circus Weekend and the educational circus festival „Cirkuliacija“ organized by the theatre company “Teatronas“ (celebrating its’ fourth year this July).
Apart from these few weeks of new circus being alive in Lithuania the rest of the year is relatively quiet. To become a circus artist is really complicated, as we do not have the infrastructure and enough education in circus arts. Artists, I am one of them, who are interested in seeking a career in contemporary circus are forced to go abroad for a professional education and to work.
Luckily Lithuania is growing and developing. We already have a very strong international organization called Red Noses Clown Doctors, and some burgeoning Lithuanian artists who have completed fully, partly or are completing their professional circus training abroad (some names to keep and eye on in the future: Monika Neverauskaitė, Džiugas Kunsmanas, Kęstas Matusevičius, Urtė Šimkonytė, Elena Nechiporenko, Konstantin Kosoveč, Zilvinas Beniušis, Indrė Lencevičiūtė). We are seeking to find the best ways how they could share their knowledge and bring fresh ideas and talent to Lithuania.
At the end of March this year I was one the founders the Association of Contemporary Circus of Lithuania. The main inspiration for creating this organization was the New Circus Weekend – the biggest new circus event in Lithuania, which has been successfully presenting the best international circus artists for the past 13 years.
The creation of this association was a first step toward creating a chance for the circus community of Lithuania to become united, strengthened and inspired to grow. For the moment we are seeking to create the conditions for more workshops to happen so that local artists can progress, make more productions and collaborate internationally. We also want to spread information about the work we are doing to the world.
The NuoraNORD project is giving a great opportunity for artists from all over the Baltic-Nordic area, and is an important project for new circus. It leads the way for more projects and a further integration of the circus communities in these countries. I am very thankful and happy to be a part of it.
Inari Pölkki and Meri-Maija Näykki are two Finns currently studying in Bristol at Circomedia’s MA for Directing Circus. This originally in-Finnish-written blog text is now published also in English translation:
We have gotten to be a part of the first class of the MA for Directing Circus, the course started last autumn in Great-Britain. Circomedia is one out of UK’s two university-level circus academies and it is located in Bristol, an art city the size of Helsinki. Next September the circus world will get its first six directors with a degree on the subject, of whom one third are Finnish.
Unlike in other circus universities around the world, in Circomedia the undergraduate students are not purely circus artists, the degree programme is called ”Contemporary circus WITH physical theatre”. This means that they have a lot of focus on studying different stylistic forms of performing arts and combining those to circus. When we got to see the performances of the third year students, we were stunned: there was feet juggling clownery on a trapeze, handstand monologue about feet and vaginas, IT-themed male burlesque, physical stand up and political partner acrobatics. The students of Circomedia are versatile performers, they talk naturally on stage and they invest in devising the concept of the performance. The downside of this is that there is not as much time left for training skills and that is why especially the Christmas show we made with the first year undergraduate students reminded more of a youth circus’ spring show than a piece made by professionals.
For directing circus this hybrid school is a good birthplace as there is an atmosphere of intent to develop contemporary circus art and an understanding of the complexity of the art of directing.
In our class, there are – in addition to us two Finns – one local, one from New Zealand, one from the U.S. and one from Hungary. Each of us has a different background education-wise, from video editing to growing up in a traditional circus family. All of us have a background in circus, even though they could have chosen students from purely theatre or dance backgrounds. The studies can be done either as an attending student or through distance studies. Five of us are here in Bristol and one is abroad. Though by doing the course from a distance you will miss the lectures, practical sessions and performer and space resources provided by the school. These are things we pay for in the form of a tuition fee. Even being here on the spot, it is sometimes hard to grasp what and when should be done, part of this is caused by the fact that this is the first year for the course.
The studies have been divided into five modules, in the core of each module, there is a project. We have had a dozen or so visiting teachers addressing different topics regarding the module’s theme. There have been visits from for example Sean Gandini, Jonathan Priest and Bauke Lievens.
We have now carried out our first two modules and started on the third and fourth, the fifth will be carried out over the summer. Now we will introduce the modules shortly according to our current knowledge.
Performer as source
Includes directorial work based on the performer, where the director helps the performer(s) bring their ideas to the stage and uses the performer as the one producing material. In this module we chose one to three projects by the third year circus artist students to participate on, the decision was based on their written proposals. In addition, we (the MA-students) directed together the first year students’ Christmas show, the show was based on the material the students had produced themselves.
Research methodologies and context
A module where everyone sets a research question and carries out the research on the chosen topic with academic criteria. As there is very little written about directing circus, most of us chose the “practise as research” method, where you devise material in circus laboratories, which is then researched on. In her research, Meri-Maija further developed the tool she had devised for dramaturgical thinking in circus called “stolen dramaturgy”. Inari researched the artistic thinking and process of devising transitions in circus.
Director as author
In this module, each director presents a proposal for a piece and chooses the performers for it from the second year students or from outside of the school. During the five-week rehearsal period, an 8-15 minute director oriented performance is being devised, for which there is 9-12 hours of rehearsal space available weekly. The presentations for this project will be at the end of March. So at the moment, we are in deep waters with our visions.
A collaboration project you can carry out in a way you choose yourself, for example by doing a placement as a director’s assistant or by doing a project in collaboration with students/professionals from other fields. Among our class, there are variations from making a music video to creating sound design for a circus piece, to a traditional placement.
A final project which is both written and concrete. Circomedia offers the spaces for training and for the premiere of a show type project or research during the summer. The written work will be about the process of the project.
At the moment we are searching for performers for our final projects, so if you are interested in coming to Bristol for the summer to devise a performance with an experimental angle, or for example have a project in need of a director (in Bristol/Finland/other) do not hesitate to contact us to see if our interests meet. (More information here)
All in all our experience about the studies has had its ups and downs, mainly due to the fact that we are the pilot class for the course. For example, they were not prepared enough in advance for our requirements for spaces, but now Circomedia has rented extra space for us to use. Next year Circomedia is moving to completely new and bigger spaces. The collaboration with the other students has been interesting and as a pioneer class, we have been able to influence the contents of the studies. Together with the other MA students, we have been creating the vocabulary for directing circus and defining the professional field for our own thinking and for the future students.
If you are interested in directing circus and applying to this course we recommend to read the broader descriptions of the programme from Circomedia’s website. What is not clear in the descriptions is that the course does not offer many basic tools for directing, rather the assumption is that your undergraduate degree has included the basic understanding of the work of a director. If your background is in circus artist training it is advisable to for example read material on directing theatre or to acquire directorial thinking by joining a project. It is good to think about the studies as a laboratory, where you can be free of the responsibilities of profit and loss, divide directorial work to smaller pieces, reflect on your own work, and ask help when you need it. Even though the nature of the studies is relatively independent and they won’t give you ready-made tools for directing, Circomedia will give support when there is a need for it.
If you have any questions, you can be in contact with Circomedia office or us!
Meri-Maija Näykki grew up training and performing circus at Sorin Sirkus, but as a teenager, she switched over to theatre. She graduated as a drama instructor from Metropolia University of Applied sciences, the subject of her thesis was directing circus. She has worked as a circus director in contemporary circus piece VIRE and in Linnanmäki Circus School, she has also mentored Wise Fools and Hand Some Feet companies. Meri-Maija has also directed space and community-based performances for her own Täsmäteatteri-company in Tampere since 2014. More information about Meri-Maija can be found at www.meri-maija.com
Inari Pölkki graduated with a degree in circus arts from the performing arts programme at Turku University of Applied sciences. She spent the summer after graduating as a circus volunteer in Japan. Inari has also taught and directed circus at Circus Helsinki, Sirkus Keikaus and Sirkus Unioni. In addition to circus she has a background in Ballroom dancing, from which her passion for designing and making costumes originates.
DIRECTORS AVAILABLE / LOOKING FOR CIRCUS ARTISTS
We are studying for our masters degrees in Directing Circus at Circomedia, United Kingdom and we are now looking for performers for our major projects that are premiering at the end of the summer.
The form of the major project is quite open. At the moment we are looking for performers and mapping out opportunities. Unfortunately, we don’t have money to pay for the performers, but we can negotiate about travel and accommodation costs. The rehearsals will take place between 15th of June and 15th of September. Faster you contact us, sooner we will get to the planning phase. We need to set our Major project schedules by the middle of April.
Contact Meri-Maija, if…
…you are interested in summer in Bristol plus ambitious and exploratory way of making contemporary circus.
… you want to make circus art together with director and other performers and aim to a touring show.
… you are a performer who is open towards new ways of creating and wants to develop oneself as a circus maker.
… you are interested in abstract storytelling and absurd humour.
Contact Inari if
… you want to spend your summer in Finland (other parts of the world can also be proposed).
… anything, Inari is interested in hearing about it.