Artistic Voices - Interview with Caterina Moroni (Perform Europe supported artist)
As part of its new project, CS VOICES, Circostrada aims to continue and deepen the synergies established with fellow institutions and European peers during the previous project, CS BODY/IES, through the publication of an article written by artists who have received support via an ARTCENA, circusnext, IN SITU or Perform Europe scheme.
This time, discover the work of Caterina Moroni, Italian artist whose project HAND IN HAND: Intergenerational Participatory Project is supported by the Perform Europe funding scheme.
In this interview, Caterina Moroni discusses how engaging children as active participants in performance-making, fosters environmental awareness through sustainable artistic practices, and strengthens community ties by collaborating with local artists across Europe.

Your show Bloom&Doom, part of ‘HAND IN HAND: Intergenerational Participatory Project’ supported by Perform Europe, engages underrepresented communities, especially children, in the creative process. How do you ensure that their voices are genuinely reflected in the performance, and what impact do you hope this experience will have on them?
Bloom&Doom, an integral part of the HAND IN HAND: Intergenerational Participatory Project, places children at the centre as true agents of change. Together, we explore themes, environments, and physical situations that may appear risky through the eyes of adults. By confronting the concept of danger, we stage scenarios that might seem perilous to grown-ups. Yet, we ask ourselves: what is danger when the environment and world we are leaving to them are already at risk? This approach invites reflection on the importance of giving space to their voices and listening to their insights. Each group of children involved in the project brings unique skills and specificities, contributing to a performance that is always distinct and original, adapting—or rather re-creating itself—in every new context. Their physical presence and energy within the space are not just part of the performance but become a manifesto. During the show, it is the children who lead the adults on a journey through the city, engaging them in an intimate relationship of trust that overturns, surpasses, and stretches traditional dynamics. Step by step, the message becomes clear: we must trust their role as guides, just as we should trust the ancient animals the children point out to us, whose virtues we have inherited, and the plants that, without a single central control, instinctively know and cooperate. We need to reimagine traditional perspectives to envision new paths. We must reverse course. During the workshops leading up to the performance, the children are encouraged to freely share their ideas, emotions, and reflections. We actively work to ensure that every voice is heard and valued. This process not only helps children develop greater self-confidence and belief in their abilities, but also fosters a sense of community. Living this adventure together raises their awareness of the importance of caring for one another and feeling connected—not only with each other but also with children elsewhere in Europe, as well as with their immediate surroundings, the spaces they traverse every day, and the wider environment they may not even imagine. The impact I hope to achieve is twofold. On one hand, I want the children to feel empowered as protagonists of their own world, gaining confidence in their abilities and the value of their opinions, which in turn inspires them to shape and influence the events that affect their lives. On the other hand, I aim to stimulate personal growth that strengthens their sense of community and their understanding of active participation—and, consequently, their awareness of the freedom and possibilities available to them. Bloom&Doom thus becomes not just a performance, but a platform for children to express their voices and influence the world around them.
Sustainability is a core value of this project. Can you elaborate on the specific eco-friendly materials and practices you’ve adopted, and how you balance touring across Europe with minimising your environmental footprint?
The "Fight Against Climate Change" is one of the two priorities of the Perform Europe programme, which supports the HAND IN HAND project. This theme is deeply woven into both the content of the performance Bloom&Doom and the way it is created, through eco-conscious practices and a strong commitment to environmental awareness. Bloom&Doom aims to raise awareness about climate change and inspire people to take immediate action toward building a better future. To minimise its ecological footprint, my approach is based on simplicity and lightness: I travel with only the costumes—100 balaclavas handcrafted using recycled and scrap materials—and a few other items that would be difficult to source locally on short notice. All other necessary materials are sourced locally and, whenever possible, reused or recycled. We have chosen to limit travel to the bare minimum: I do not travel with my team but collaborate with local artists and professionals at each stop. For unavoidable travel, we adopt a responsible approach by offsetting carbon emissions through climate projects supported by the GoClimate programme. While this approach can sometimes bring moments of solitude and requires meticulous preparation, it often leads to vibrant and stimulating collaborations. These enrich the project with diverse cultural perspectives and, over time, grow into meaningful and lasting relationships. Ultimately, the balance between European tours and the need to reduce environmental impact is achieved through careful planning and a consistent commitment to sustainability. This demonstrates that art can be a powerful vehicle for change and environmental awareness.
Collaboration with local artists and professionals is a key aspect of ‘HAND IN HAND: Intergenerational Participatory Project’. How do these partnerships influence the creative process and community engagement in each of the five touring locations?
Collaboration with local artists and professionals is a key element both for enriching the creative process and for fostering community engagement at each of the five tour stops. In some locations, I personally selected the local artists, often through previous connections or shared experiences in other contexts. In other stops, however, it was the project partners who took care of appointing the most suitable collaborators. The creative process begins with preparatory remote meetings, during which I share with the artists the vision, practices, and methodologies of the performance Bloom&Doom. I provide them with a work outline that includes activities to be carried out with the children before my arrival. These activities may involve, for example, delivering a mysterious and anonymous letter that speaks directly to each child and involves them in the journey, as well as creating articles for a local "future newspaper" set in the year 2050. Meanwhile, together with the local organisers, we begin to envision the path for the performance, analysing maps and sharing photos of the places we will use. I also share a detailed workshop schedule, which is enriched by the experience and insights of the local artist. When I arrive on site, we work side by side to manage the workshops and define the route. This also means very practical activities, such as exploring the locations together, clearing paths, knocking on doors, walking a lot, enduring rain, heat, and cold, discussing limits, and celebrating achievements. Working with local artists allows us to integrate the cultural specifics and the "urgencies" of the territory into the project, also influencing the aesthetics and message of the performance. Furthermore, their participation facilitates direct dialogue and involvement with the children/performers and the audience. This synergy not only contributes to making each performance unique, but also creates a strong sense of belonging and pride within the community involved. For me, it is essential to generate lasting impact through my artistic work. This approach helps create a tangible legacy: relationships, open doors, and synergies formed during our visit can be nurtured, deepened, and made to blossom over time.

One of your goals is to inspire participants to become climate change-makers. What tools, skills, or experiences does Bloom&Doom provide to empower participants, particularly children, to take meaningful action in their communities?
One of the central goals of Bloom&Doom is to inspire participants, especially children, to become agents of change in the fight against climate change, helping them imagine and take meaningful actions within their communities while positively influencing the behavior of adults and peers. The workshops and preparatory activities are designed to stimulate the children's imagination and encourage them to reflect on the environmental challenges that affect us all. By using techniques like guided visualisation and creating articles for an imaginary future newspaper—set in the year 2050, a key year for the European Union’s sustainability goals—the children can express their concerns and ideas, turning emotions into concrete actions. During the creative process, they develop key skills such as teamwork, empathetic communication, and critical thinking. During moments of reflection, we use a technique inspired by the Way of Council, a method of gathering and communication in a circle that draws from various popular traditions, creating a safe and inclusive space where everyone can freely express themselves. This encourages mutual listening, respect, and the appreciation of each voice. This approach helps children recognise the value of everyone’s voice, the importance of collaboration, and the impact of collective actions. A distinctive element of the Bloom&Doom experience is that the participants are involved in extraordinary activities that require them to engage deeply, often working hard, facing challenges, and finding creative solutions to problems or conflicts. These moments make the children feel strong and aware of their great potential, showing them how capable they are of contributing to change. Practical activities, such as urban explorations and the shared creation of installations in specific locations within their city for the performance, reinforce their sense of belonging and responsibility towards their environment. Through cooperative games, improvisation, and moments of mutual care, the children learn not only to take care of the environment but also to take care of each other. Bloom&Doom thus seeks to provide a transformative experience that encourages children to see themselves as protagonists of change, showing them that every small gesture, when placed within a community context, can help create a more sustainable future.

What would be your wish for the future of outdoor arts and performing arts at large in Europe when it comes to embracing greener initiatives? What is more urgent in this area?
The first thing that comes to mind is the desire to see a more decisive commitment, especially in Italy, where there is still a long way to go in adopting a more conscious and sustainable artistic approach. As an artist, I believe that art has a unique power: it can raise awareness, move, and inspire in a direct and profound way. That’s why I dream of a future where festivals, institutions, and artists not only adopt greener practices in production but also integrate sustainability into the content and messages they share. One of the most urgent priorities is to reduce the environmental impact of artistic events. This means choosing sustainable materials, limiting waste, and rethinking transportation and logistics to reduce emissions. But it’s not enough. Another urgent priority is to invest in training artists and professionals because it's important to provide everyone with the tools to create art that aligns with the world we want to build. For me, however, art is never just art: it’s an act of activism. It’s a way of being in the world, of caring, of leaving a mark. And I believe that the future of outdoor performing arts lies right here: in the ability to create connections, to get people to reflect, imagine, and maybe even change. I think it’s essential to work together, as artists and communities, but also with those who bring a scientific perspective, to create projects that really make a difference. I would like to see more collaborations and networks among artists who share these values because together we can amplify our impact. And I would like those who govern and fund to recognise how much art can do for a more sustainable world: we need funds, incentives for low-emission projects, and policies that help us turn this vision into reality.


Caterina Moroni is an independent interdisciplinary artist, educator, and activist. Her work focuses on participatory processes, public spaces, and unconventional venues, aiming to foster connections and address societal challenges.
Her creations take the form of contemporary rituals, urban walks, installations, interactive games, and experiences that adapt to the context and participants, resulting in a unique event each time. She collaborates as both an artist and project manager on social inclusion, urban regeneration, and non-formal education projects.
écrivez-nous : infocircostrada@artcena.fr