After 1981, with Greece’s accession into the European Economic Community (EEC), as today’s European Union (EU) was called at the time, the Greek diasporic phenomenon was transformed and the Greek theatrical mobility was mainly related to the recruitment of Greek officials to the EU institutions and organizations. For the next 40 years, the Greek Diasporic Community Theater (DCT) of Brussels has become a participatory field of integration and Greek troupes have begun to proliferate, influenced by the demographic, ideological, and socio-structural changes that have taken place both in Greece and Belgium in recent decades. The present paper studies and presents the causes of the artistic resilience of the Greek Diasporic Community Theater (DCT) in Brussels. The case of the Greek DCT in Brussels is such a unique case of DCT, which operates continuously and systematically from the early 1980s until today, flourishing and presenting unprecedented signs of resilience. 

Using the example of the Raymond Duncan family this article will explore the human body as an object of self-determination, a means of overcoming social boundaries, a field of racist shooting and phobic enforcement, a reference point of public outrage and the complex between sociality and corporality, but also as a tool of political vigilance and social intervention. Does a body dressed in a tunic resist the western way of life? Or is it a stereotypical outpouring of people unable to modernize? Is the body instrumentalized as a means of narrating exoticism? The bodies of the Duncan family members are an occasion for discussion in the public sphere, even today.