20 STORIES OF CIRCOSTRADA - CELEBRATING THE 20TH ANNIVERSARY OF THE NETWORK: FIRST FRESH - AN ARTICLE BY KIKI MUUKKONEN

In September 2008, we had the very first FRESH CIRCUS conference in Paris. I remember Stéphane Simonin and Yohann Floch, the inventors of the event, had just come up with the name FRESH — and they were charmingly proud of it: ‘It’s not contemporary circus, it’s fresh circus.’ There was some nervousness around the conference itself, however, because it was the first really big official event of the network — an invitation to the entire sector on an international level, with crucial funders like the Ministry of Culture and the European Commission expected to attend. We were quite aware that this was an important moment to deliver well, for HorsLesMurs and for the sector. The venue was the huge space of La Villette in northern Paris. On the first day we were split into seven different thematic workshops, with panellists of speakers discussing different issues or aspects of circus. Each group had a reporter who was there to absorb the conversation and give a reflection at the final plenary session the next day. I was one of those reporters, for a session on information centres and data collection. At that point, I’d worked in the sector for only a year. I was new to circus, to international contexts, and to these kinds of conferences. Increasing the pressure was the fact that HorsLesMurs was itself an information centre, so I had the feeling that I was going to be repor- ting on HorsLesMurs to all its crucial funders and stakeholders. I prepared thoroughly beforehand, read surveys and background material. During the session I took notes very carefully. Was the session interesting? To be honest, I couldn’t tell — I was focused on my task. I worked the whole night on my presentation for the plenary session the next day, growing anxious through the hours. By 3 o’clock in the morning I was seriously considering going to the Eiffel Tower and jumping off instead of giving my presentation. I think I slept an hour at most. But the next day, when the time came for me to speak, the second I opened my mouth and started talking, I became calm and focused on sharing my reflections. The audience of 400 something people was clearly interested and attentive, and to my happy surprise I even ended up joking a little bit with them. In the end, the conference and all its presentations were pulled off in style. This was the start of what would be a series of FRESH events, over many years to come. I remember the satisfying feeling of a shared collective achievement, of building for the future together. Today, I wouldn’t want to work in any other field of the performing arts. I find that the way my fellow professionals engage and push forward and develop the sector is rooted in an idealistic and democratic world-view, in a true interest in the audience, and in respect for artists and the process of artistic work. There is also something I feel in the sector: a kind of underdog passion; it’s almost like being part of a movement. I’ve found real satisfaction in being part of that over the years, and I think the essential energy is the same today — even if the art form is better recognised, and in several countries very much part of artistic and institutional infrastructures. It keeps me going, keeps me motivated and creative. I’m pleased and proud to be part of pushing for development on an international level in the stimulating context of Circostrada network.