What has changed, what are the developments in your work, since the last interview?

Since the last interview, I continue to evolve and remain active in the artistic events of dance and performance. During these years I created productions with my dance company which have been presented in different and alternative venues in Athens.

2015. SILENCE, at Onassis Cultural Foundation
2016. DISPLACEMENT – the road, at the National Museum of Contemporary Art with the support of the Ioannou F. KOSTOPOULOU Foundation
2017. RELATIVES, at Artiria Athens, with the support of the Ministry of Culture and Sports
2018. I & I, at Kinitiras (Residency-work in progress) with the support of the Ioannou F. KOSTOPOULOU Foundation
2019. I & I, at Athens Video Dance Project with the support of Ioannou F. KOSTOPOULOU Foundation
2020. TRACES at Benaki Museum with the support of NEON Foundation and FLUX LABORATORY

2021 REACTION, at Artiria ATHENS with the support of the Ministry of Culture and Sports.

These are all productions of a minimal aesthetic, focusing on human existence and highlighting the body as a visual and primary tool in its placement in space and time.

At the same time, I participated in a three-month online course from the University of Athens on Dance therapy-Theory and Practice, receiving the certificate of training.

I continue to teach technique and improvisation to professional dancers and organize seminars for all those interested in movement as a means of expression.

After a decade of successive crises (economic, social, environmental, health) what changes and developments do you notice have occurred in the contemporary dance scene in Greece and what do you think is missing?

The social, ecological, economic changes that occur throughout the years always affect the arts accordingly. Drawing from life, art shapes itself accordingly, it progresses, compiles, and activates new codes of communication and thus evolves through multiple transitions.

Dance as an active and fluid art form has certainly been influenced by the ongoing landscape, shaping new voices, new ideas and qualities. I notice that there is an immediate, almost instantaneous identification of young dance makers to an approach of translating choreographically everyday life and the problems that arise. I would point out the lack of reflection and research on ideas and also the documentation of the latter as a shortcoming. The speed and visualisation of everything (characteristic of our visual culture) has permeated dance productions yet without necessarily offering to the artworks some more essential dimension. I note all these, as observations through my own perspective of how I see and feel these changes, without any desire to be critical.

How might we imagine the landscape of dance in the next ten years?

I try to avoid fantasies and speculations at all levels. All I want and can do is hope for a more substantial development in dance and most certainly for a more active presence and support of the state in the arts, through a targeted and lasting policy.