Noa grew up in Montreuil, near the housing estates, in a family deeply immersed in the arts.
From a very young age, her parents enrolled her in a music conservatory, and the classical guitar has accompanied her ever since. She followed a dual academic and musical curriculum throughout middle and high school. At the age of 16, she joined the Orchestre de Spectacle de Montreuil under the musical direction of Sylvain Cartigny, which allowed her to experience professional stage work for the first time in productions directed by Mathieu Bauer.
She also attended circus classes, and this art form quickly became the discovery of a language that deeply moved her and freed her from certain societal constraints.
She completed a scientific baccalaureate. Passionate about mathematics, while already knowing she wanted to pursue a career in the cultural and artistic field, she took a detour through the IUT of Marne-la-Vallée, where she earned a diploma in Multimedia and Internet Technologies (DUT Métiers du Multimédia et de l’Internet). There she learned web programming, communication, and audiovisual production.
After completing her studies, she finally committed to her desire to pursue circus arts, specifically the German wheel. She devoted a year to independent practice while working as a school supervisor in a suburban middle school near Parisboth a means and a necessity for her to stay connected to a certain reality of life.
The following year, she joined the École nationale des arts du cirque de Rosny-sous-Bois (ENACR), and later the Centre national des arts du cirque. With the German wheel as her working partner, she explores navigation through vertical and horizontal axes, breaking conventional boundaries of line and spiral. She investigates our perception of time through the wheel’s continuous motion and its constant management of balance and counterbalance.
In recent years, she has had the opportunity to work with Kaori Ito, Bertrand Bossard, and Guy Alloucherie (Cie HVDZ).
Her political commitments and philosophical reflections are an integral part of her daily life and naturally resonate with her artistic concerns. She considers it essential to be aware of the impact of the representations we create, and the social contexts in which they are embedded. Questions around power dynamics, feminism, and more broadly our relationship to others and to social structures, are particularly important to her.
Through her musical background, her sensitivity to words - reading, writing, speaking - and her fascination with the body in all its physical and symbolic dimensions, she advocates for the transversality of artistic practices. Her vision of performing arts lies in the encounter between the intelligible and the sensorial.
In line with these concerns, she wishes to continue developing her artistic language with the goal of creating a long-form stage piece, while also exploring other terrains, spaces, and audiences. With her wheel, she dreams of journeys, through cities and fields, paths traveled at the rhythm of the wind, at a shared pace.
It is often during her train journeys, rocked by songs by Christophe and Leonard Cohen, that she is reminded of how vast the world is—a feeling she tries never to forget, wherever she is.