The ‘physical poetry’ of circus, a conversation with Vicki Dela Amedume, CEO and Founder of Upswing

Ahead of our exciting run of shows from Upswing, we spoke to founder Vicki Dela Amedume about the ‘physical poetry’ of circus, why it’s such a dynamic tool for storytelling and the history of Black circus acts in Britain.

What can our audiences expect from the upcoming show?

Audiences can look forward to some seriously jaw-dropping circus skills, a high-energy Afrobeats soundtrack, and sharp, quick-witted comedy. There are a few genuine surprises in there too. It’s a fun ride—but it might make you a little uncomfortable at times, and that’s exactly where the magic happens.

What do you enjoy about using circus art as a tool for storytelling?

What I love about circus is that it brings this mix of physical poetry and real risk—it grabs you on so many levels at once. I’ve always been committed to showing circus as a nuanced art form where the bodies on stage are seen as whole people – where identity, culture, and history are present rather than ignored. The performers aren’t anonymous bodies doing tricks; they’re people with stories, questions, contradictions, and circus is just one of the ways they speak. When you blend that with comedy and spoken word, each form has its own rhythm, but when they’re working in harmony, you get this layered experience that hits you in your gut before your brain has time to put up defenses.

What sparked your own creative journey with circus art?

Pure chance, really. I’d just finished my degree and was living in Leeds when I met the members of a company called Exponential who lived across the street. My roommate Rachel and I had been training with them for about a year when their original performers dropped out of a tour at the last minute. They thought, why not give us a shot? It was hard work – we did everything from hammering stakes into the ground to rigging lights in rainstorms – but it was also one of the best summers of my life. I remember sitting at the top of a 10-meter aerial rig thinking I was a world away from the labs and lecture rooms where I thought I’d spend my career. That’s when I realised performing arts could actually be a job.

What led you to founding Upswing?

I started Upswing primarily because I wanted space to experiment but also because I wanted to make circus that connected with the cultural references I grew up with. At the time, I didn’t see enough representation in the circus, especially of Black and Global Majority artists and I was often in a position within other companies where I was expected to fill the void of the absence of global majority artists, often in inauthentic ways. Circus has this incredible ability to connect with people emotionally, and I wanted to find an authentic representation for my voice.

There is an incredible history in the UK of Black circus artists, can you tell me about that?

There’s a really powerful history of Black circus artists in the UK. One of the earliest and most well-known figures was Pablo Fanque. He was born in Norwich in 1810 and became the first Black circus owner in Britain, which was a huge achievement at the time. He ran his own show for over 30 years and was massively popular for his horse-riding skills. Then there’s Miss La La, an incredible aerialist from the late 1800s, known for her strength—she used to hang from a trapeze by her teeth! She even became the subject of a famous painting by Degas. But while their talent was celebrated, they also had to navigate a world where racism was deeply embedded in society. Their presence on the stage was groundbreaking, but it came with constant challenges—being exoticised, overlooked, or not fully recognised for the depth of their artistry. Still, they carved out space for themselves and left a legacy that continues to inspire.

Who have your major inspirations been?

Usually the people I’m working with. Creating circus as a director is such a collaborative process with the artists—they bring their whole selves to the work, finding possibilities I couldn’t imagine on my own. They literally need to be my inspiration because it’s such a two-way process. I used to be a circus artist myself, but now I mainly direct and choreograph other performers, which means I can spend a lot more time sitting in a chair drinking tea!

If after seeing the show, people feel excited to get involved in circus arts, where might they begin?

Upswing offers opportunities to get involved with our work, like residencies for Black women and non-binary circus artists, free shows and workshops throughout Stoke-on-Trent and at-home resources for kids, schools and older people. The best way to find out about upcoming events you can get involved with is to sign up to our newsletter. There are spaces like the National Centre for Circus Arts, Aircraft Circus, Flying Fantastic and My Aerial Home where you can go to train yourself if you are really inspired.