Testimony – Ohiane’s project in Mexico

Ohiane from Everything is Possible (UK) tells us about her mobility project in Mexico:


I am Ohiane Uranga and I work in England for Everything is Possible, coordinating organisation of Suitcase Circus SCREAM project and also for a Community Circus School in Leeds.


This opportunity to learn, share and experienced Circus in Mexico it’s been incredible enriching for me.

I’ve never had the opportunity to be in an University that has a Degree in Circus & Performing Arts. It’s been inspiring to see how holistic is the programme with technical and high physical training, as dance, gymnastics, tumbling, aerial, acrobatics, biomechanics…but also with a wide range of Circus & Performing matters on the Curriculum as History of Circus, security techniques, voice and diction, music, scenography, costumes design, pantomime, ocial Circus…


I went with two other participants Kaupo and Stef, from Estonia and Belgium and we were all living together with students from the degree. Two of them had recently had the opportunity to do a jobshadowing mobility opportunity in Estonia and Belgium, so they had meet before. It was fantastic to have time at home after training and observing classes to talk and share our experiences away and how we’ve seen each others Circus methods and ways of teaching, times schedules and security and how the country and its culture influence on our working field and seeing how we can all enrich and learn from each others strengths and weaknesses. We had lovely debates about Circus!


One of the ideas that I most remind now was from a conversation I had with Janette, also a participant of this project that told me: “It’s never too late but it’s always later than you think.”


It was interesting and difficult seen the Circus scene now in Mexico which is leaving a profound transition since animals in Circus are being recently forbidden.

This law has made a big impact in a Country where hundreds of traditional Circuses from more than 6 generations had either to change completely their approach and be able to “realocate hundreds of animals some where” or disapear from the Circus scene. We had the chance to visit some of those who are transforming their traditional way into a mixture with Cabaret and Burlesque tipe of Circus or combining Ballet and Circus Arts trying to find a new scene that is both accepted and enjoyed by all the targets (organisers, performers, audience and polititians)   that polemic seems too far away from any European country now and

I’d never really though much about it before

or at least I didn’t saw “both sides of the situation” which makes me think that any forced chance harms someone.


I bring with me the necesity to read and to theorize about the Circus, about it’s techniques, about the new ways it’s taking, about the impact in society

and it’s impact as a methodological tool and it’s role in the field of social work. Meeting there doctors as Julio Revolledo or Hector Yzquierdo who are both writing about the Circus from different perspectives in order to leave a legacy and to ensure the permance and evolution of Circus Arts, made me realise the great importance of working on theorizing; because like George Santayana said: “the man who does not know his history is doomed to repeat”.