Today we’d like to introduce you to Anna Paiva.
Hi Anna, so excited to have you on the platform. So before we get into questions about your work-life, maybe you can bring our readers up to speed on your story and how you got to where you are today?
It all began in a social circus project, where we met and, almost without realizing it, we built a very strong connection through art. That’s where we took our first steps.
During the project’s break, the desire to keep going was overwhelming. So we started meeting on our own, improvising our training, hanging from trees, occupying whatever spaces we had with whatever was within our reach. It was simple, but it was real — and that’s where everything began to take shape.
From those gatherings came the desire to go further: to train more often, explore new possibilities, and most importantly, bring our art into the world. Even though the project was an incredible opportunity, we felt the need to expand, to create our own narratives and paths.
Today, we have our own aerial acrobatics school, we perform in large venues, and we are about to premiere our first original show. In less than a year as a troupe, we went from the streets to build things that once felt distant — all through hard work, commitment, and dedication.
We continue with the same spirit from the beginning: creating with what we have, supporting one another, and believing in the power of our art. Above all, we are deeply grateful for every step of this journey.
Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
Our journey started in a very challenging way. We had no funding or proper training space, so the streets became our only option to practice our art. That’s how we began — hanging from trees, with inflatable mattresses underneath, improvising with what we had.
This choice, although necessary, was often judged by people within the artistic community itself, where there isn’t always sensitivity to different socioeconomic realities. Circus, which should be accessible, is often seen as an elitist form of art.
Training on the streets meant dealing with the sun, the rain, and risky situations, being exposed to strangers and not always on safe environments. Still, it was in this setting that we created our first acts and took our first steps as a group.
At the same time, that’s where we found unexpected support: people who saw us training, connected with what we were doing, and in some way helped us to keep going. Those exchanges were essential in sustaining our path.
Alright, so let’s switch gears a bit and talk business. What should we know about your work?
Above all, we are circus acrobats. Our specialty is aerial acrobatics, working with aerial silks, lyra, and also ground acrobatics. But our work goes beyond technique: we are artists across multiple disciplines — dancers, fire performers, teachers, and above all, lifelong learners.
Our artistic research blends strength, sensitivity, and stage presence. We aim to create not only beautiful movements, but experiences that move the audience, tell stories, and convey real emotions. Every act we create carries a piece of our journey, our bodies, and our lived experiences.
We are very proud of everything we’ve built as a troupe made up of women, independent artists, and neurodivergent individuals. In a space that is often not accessible or welcoming, we continue to create our own paths with autonomy, mutual support, and courage.
What sets us apart is exactly this combination: our truth. We come from a grassroots background, grew by training with limited resources, and turned that into creative strength. Our work is born from improvisation, collectiveness, and from the desire to occupy spaces that historically were not designed for us.
More than performing acrobatics, we strive to build our own artistic language, where technique and emotion walk side by side. We are driven by our passion for circus and the desire to transform everything we live into art.
Risk taking is a topic that people have widely differing views on – we’d love to hear your thoughts.
We have taken many risks throughout our journey. From the beginning, when we used to train hanging from trees, to moments when we had to perform without safety mats, we have always dealt with limitations and improvisation.
That continues today, because being an acrobat inherently involves risk. We are constantly exposed to falls and injuries — it’s part of the practice and part of the path we chose.
Beyond that, there are financial risks. Often, we have to invest first without any guarantee of return, trusting in our work and in the continuity of the project. There’s also the risk of time: the time we dedicate to the troupe could be spent elsewhere, but we choose to invest it in our dream.
For us, risk has never been about recklessness, but about believing in what we do and what makes us keep moving forward even without guarantees. It’s a constant balance between care, hard work, and courage.
Contact Info:
- Instagram: https://www.instagram.com/trupemiriadeacrobatica/
- Other: trupemiriadeacrobatica@gmail.com
