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Creative Practice

• Choreography 2023-24: Boulevard Humaine commissioned by Dance Umbrella. Funded by the Hellenic Ministry of Culture and Sports, Arts Council of England, supported by TrinityLaban, Hellenic Centre/London
• Choreography 2022: Permanent Collection commissioned by Moving Ground Platform, an initiative of Isadora and Raymond Duncan Dance Research Center, funded by the Hellenic Ministry of Culture and Sports
• Choreography 2021: Funky Turn and/or Legally Live commissioned by Arc for Dance Festival 14, funded by Hellenic Ministry of Culture and Sports, supported by Kinitiras (GR) and Trinity Laban
• Choreography 2019: When Pillars Evaporate commissioned by Siobhan Davies Dance, funded by Arts Council England, supported by Trinity Laban & Isadora and Raymond Duncan Dance Research Center
• Choreography 2018: Vanishing Points commissioned by 30Bird (GB), funded by Arts Council England, supported by Metal Culture (Southend), Trinity Laban, Temple University Japan Campus
• Choreography 2016-17: Peregrinus commissioned by the Onassis Cultural Centre Athens as part of the Fast Forward Festival (GR). Supported by Firkin Crane (IE), Laban Theatre (GB), Metal Southend (GB) and Isadora and Raymond Duncan Research Centre for Dance (GR)
• Choreography 2015: Side Effects commissioned by Transitions Dance Company
• Choreography 2014: The Chapter House commissioned by Dancedigital, Bedfordshire. Funded by Arts Council England, supported by the Laban Theatre, Isadora and Raymond Duncan Research Center for Dance(GR) and dance-tech Berlin/Lake Studios (DE)
• Choreography 2013: Tomorrow in a Cup commissioned by International Network for Contemporary Performing Arts (IETM) within IETM plenary meeting in Athens
• Choreography 2012: You May! commissioned by Onassis Cultural Centre (GR). Funded by Arts Council England, supported by the Laban Theatre, The Place, Arnolfini, Bristol Dance Consortium, British Council of Greece and Isadora and Raymond Duncan Research Dance Centre (GR)
• Choreography 2011: Little Creatures commissioned by Sadler’s Wells, Company of Angels and The Place
• Choreography 2009-2010: In the Process of… commissioned by The Place. Funded by Hellenic National Centre of Theatre & Dance & Ministry of Culture (GR). Supported by the Bonnie Bird Choreography Fund 2009, Laban Theatre & Choreoroam 2008
• Choreography 2008: Goddesses in Exile commissioned by The Place and the Athens Epidaurus Festival. Supported by Robin Howard Foundation Award and Laban Theatre
• Choreography 2007: Limen commissioned work by Lyn Seymour for Greek National Ballet Company
• Choreography 2007: Dromi commissioned by The Place
• Choreography 2006: Can you see me? produced by Zoi Dimitriou

Other Activities

Zoi Dimitriou’s dance works are characterised by a pared-down, minimalist style of performance with a devoted attention to detail. She holds a strong commitment to exploring ways through which the body can make manifest and reveal the human condition and preserves the significance of craft as an operational mode for experimentation and the making of works.

Her choreographic research investigates the qualities and conditions of spectatorship and draws from the larger social for the development of compositional activity. She is invested in examining the nature of the image through its various repetitions, re-iterations and re-activations in order to re-distribute and re-member, to re-invest and see anew, as a way of potentially forming new imaginaries. With the focus on intertextuality, she employs techniques that stem from notions of estrangement and defamiliarization.

Methodologies she is developing are concerned with technicalities of attention and technologies of looking; ‘if by creating a suspension via the choreographic and performative, a certain unfamiliar space may open and if accustomed forms of cognition or re-membering can be delayed, then it may well be that in this unfamiliar space, potential may be found for new imaginaries to be formed. And perhaps these spaces where humans are gathering can eventually allow for reclaiming one’s poetic and political gestures’.

In 2006 she launches her choreographic career with the solo work Can You See Me?, where she explores the notion of visual perception and its significance to time-passing. Following her debut, she is commissioned to create Limen (2007) for the Greek National Ballet Company under the directorship of Lyn Seymour, a work carefully crafted for ten dancers on Steve Reich’s Triple Quartet.

In 2007 she is nominated for the Rolex Mentor and Protege Arts Initiative. In 2008 she becomes the sixth beneficiary of the Robin Howard Foundation’s annual Commission Award and creates the duet Goddesses in Exile and the solo Dromi, where she explores notions of mythology, femininity and identity. In the summer of 2008 she is one of 10 international artists to embark on the research-based project, Choreoroam between The Place (GB), Dansateliers (NL) and Operaestate Festival Veneto (IT), where she not only choreographs bodies but also 60 wooden hula hoops following scores that are inspired from Conlon Nancarrow’s compositional methods. In 2009 she is one of the twelve up-and-coming choreographers of the In Motion project in Bucharest, an international talent development programme initiated between Dance4 (GB), Springdance (NL) and the Centrul National al Dansului (RO). That same year she premieres In the Process of… (short version), which awards her the Bonnie Bird Choreography Award, an entry in the Aerowaves network of artists and a consequent commission by The Place for the full-evening version (2010).

​In 2010 she is selected for the Big Intensive, an international development programme by Sadler’s Wells for dance artists and choreographers.

In 2011 she is honoured with the Choreography for Children Award (CfC), a project between Sadler’s Wells, Company of Angels and London Contemporary Dance School and is commissioned to create Little Creatures. In 2012 she is commissioned by the Onassis Cultural Centre (GR) to create You May!, a work inspired by Chris Marker’s 1962 film La Jetee about an impending catastrophe, exploring risk margins through the strict structure of contemporary society and what happens when you splice the personal and the political together.

​In 2013 she enters a new phase in her creative practice and thinking, exploring archival content, the use of digital media in performance, interactivity, and a desire to move away from the conventional theatre settings and towards off-site installations. Considering how attention and engagement with cultural work is changing in relation to the instant gratification experienced through technological devices she embarks in developing technologically inspired methodologies for the development of both kinetic content and choreographic principles. In 2014 she creates The Chapter House, with collaborator, co-performer and acknowledged pioneer in the integration of dance and digital media, Mark Coniglio.

In 2016 she is commissioned by the Onassis Cultural Centre to create Peregrinus (2017), an off-site installation for the Fast Forward Festival 4, exploring issues of flight and exile, willing wandering and imposed nomadism. In 2018 she is commissioned by 30Bird to create Vanishing Points, collaborating with scientists from the field of anthropology and exploring issues of disappearance, a theme that was further explored in 2019 with the performance When Pillars Evaporate and presented as part of the Open Choreography Evening at Siobhan Davies Studios. In 2021 she premieres Funky Turn and/or Legally Live in the context of the 14th Arc For Dance Festival (digital edition), exploring how through the use of sampling technologies and digital techniques the smallest gesture can assume a life of its own and become the basis for the birth of new iterations and reverberations. In 2022 she is commissioned by the Duncan Research Centre as part of the Moving Ground Project to create Permanent Collection, an off-site, intergenerational, 24hour performance event exploring notions of time, circularity and how through the appropriation of core patterns that govern both nature and our own bodies one can make new connections with the environment and the world shaping more hopeful ecologies and futures. In 2023/24 she created Boulevard Humaine, exploring the music of Yannis Xenakis and notions of interculturalism and the core question of how we can be different together. This work was supported and presented as part of Dance Umbrella 2024 as well as in venues in Athens and London.

​She studied dance at the State School of Dance in Athens (KSOT), at the Trisha Brown Studios in New York on an Onassis Foundation scholarship, and received a Master’s Degree from TrinityLaban in London graduating with distinction.

Her works are presented internationally in venues such as: Royal Opera House 2, Arnolfini, Lilyan Baylis, Athens and Epidaurus Festival, The Kalamata International Dance Festival, Onassis Stegi, Fast Forward Festival, BE Festival, Operaestate Festival Veneto, Teatri di Vita, Piccolo Teatro, Europe in Motion Festival (RO), The Place, Cambridge Junction, One Dance Week Festival (BG), among others.