In part one to this story, I presented an outline of how performing arts education and production is supported differently in different wealthy countries around the world. A lot of the information in that article demonstrates the unique difficulties of producing non-commercial work, especially with younger art forms like contemporary circus and physical theatre, in America.

Thus, as an American aerial theatre artist, full of questions and hungry for perspective, I ventured on what I call a 6 week Euro-romp. I set up opportunities to shadow prominent directors in theatre and circus, talk to professionals, observe rehearsals and do some of my own creative residency time. I intended to both bring my perspective and experience to my international colleagues processes, and also learn from them ways to cultivate some hope for the future of the field in the States. Roots I have always had a stubborn enthusiasm for high quality, imaginative, compelling performing arts, and I’ve always dreamed big. Over the years, my fascination with theatre and contemporary circus has inspired all kinds of unexpected journeys. For example, without any gymnastics or athletic background I decided to become an aerialist when I was 23 years old. With no interest in business, I started a company to enable the production of my own aerial theatre work. When I began...