Rebecca Jensen is a dancer, choreographer, and teacher, born in Aotearoa. Her low-fi, process-driven practice works through dance, focusing on the interdisciplinary potential of choreography. Rebecca has presented work in festivals including Tempo festival Auckland 2019, 2024, Nelson Arts Festival 2024, FRAME Biennale 2023, the Kier Choreographic Award 2016/2022, Front Beach Back Beach 2022, CONTACT HIGH, Gertrude Glasshouse 2021 & PAGEANT New York 2025, Blindside Gallery 2021, College Dance, La Biennale di Venezia 2018, Dance Massive Festival 2015/2017. Her long form collaboration with Sarah Aiken includes a suite of eco-horror works and participatory dance project Deep Soulful Sweats – presented across Australia and internationally since 2013. Rebecca is influenced by her extensive history working as a performer with choreographers including Jo Lloyd, Lucy Guerin Inc, Shelley Lasica, Harrison Ritchie Jones, Lee Serle and Adam Linder. She is a 2015 DanceWEB scholar, Australia Council Cité internationale des arts resident 2020 and was Resident Director of Lucy Guerin inc 2023 and is a Gertrude Studio Artist 2024 – 2026.

Lana Šprajcer works as an independent dance artist based in Naarm; teaching dance practice and movement, and practicing and/or collaborating with other local artists and choreographers in the process of developing, making and/or performing choreographic works (some of whom are, apart from Rebecca Jensen, Jo Lloyd, Shelley Lasica, Thomas Woodman). Lana is also a co-founder of MOLD kolektiv, a performance collective of visual / dance artists based in Croatia, with whom she continues to make and perform dance works in Europe, most often in visual arts contexts. She holds a BA in Comparative Literature and a BA in Contemporary Dance from the University of Zagreb, Croatia.

Anika De Ruyter is a dance artist based in Naarm / Melbourne. Upon completing a Bachelor of Fine Arts (Dance) at VCA in 2019 they were awarded the Orloff Family Charitable Trust Scholarship in Dance for excellence. Since graduation De Ruyter has worked with well–known Melbourne choreographers including Alisdair Macindoe, Sandra Parker, Rebecca Jensen and Harrison Ritchie-Jones. Most recently they performed in Ritchie-Jones’ Tantrum for 6 (2025). De Ruyter has also worked extensively with performance artist Gabriella Imrichova in their works Methods for Collapse at Blindside Gallery (2022) and Gertrude Glasshouse (2023), and their most recent full length piece, Dance (2025).

Andrew Wilson (b. 1988) is an australian musician and mechanic. Using a wide variety of aliases (including Andras, Art Wilson, Wilson Tanner) his recordings are an assemblage of australian vernacular sounds, salvaged materials and the flotsam and jetsam of electronica. Andrew has composed soundtracks for contemporary dance presented as part of Next Wave Festival, Melbourne Fringe and Dance Massive. The soundtrack for Rebecca Jensen & Sarah Aiken’s ‘Overworld’ (2014) was re-released by cult American label Numero Group and the score for ‘What Am I Supposed to Do?’ (2019) was nominated for a Green Room Award for Best Sound Composition and Design. Andrew has toured extensively worldwide as a DJ and performer and currently lives in the Victorian Goldfields.

Giovanna Yate Gonzalez is a Colombian-born dancer turned lighting designer based in Australia. A VCA graduate, she has worked on acclaimed projects like Siren Dance (Sydney Dance Company) and the Fringe award-winning LUSH. In 2023, she joined Malthouse’s Besen Artistic Program and, in 2024, was Associate Lighting Designer for Amelia Lever-Davidson on The Children’s Bach. Known for blending movement and light, her work includes Flesh Vessel (Dance X, FESTIVAL, 2025). Giovanna is currently part of Melbourne Theatre Company’s FUTURE CREATIVE program, continuing to illuminate Naarm’s stages.

Romanie Harper is a designer from Naarm/Melbourne working across theatre, dance and experimental performance. Recent design credits include The Black Woman of Gippsland, Meet Me at Dawn and Sunshine Super Girl (Melbourne Theatre Company), Swim (Griffin Theatre Company), Fu*ck Christmas, Nosferatu, K-BOX, Australian Realness, Trustees, Good Muslim Boy and Little Emperors (Malthouse), 8/8/8: REST and 8/8/8:WORK (Rising Festival), The Crying Room; Exhumed (The Substation),The Master & Margarita, The Cherry Orchard and Packer and Sons (Belvoir St Theatre), Shhh and Desert 6.29pm (Red Stitch Actors Theatre), Hercules, Die! Old People Die! and We All Know Whats Happening (Arts House), What Am I Supposed to Do? (Deep Souful Sweats), Slip, Contest and Moral Panic (Darebin Speakeasy), Bad Boy, Runt and This Is Eden (Fortyfive Downstairs).

Anna Nalpantidis is an award-winning creative producer working across contemporary performance, film and public art. Creatively, Anna is interested in co-creating and facilitating experiences that are site-responsive, ambitious and experimental.Anna has worked in senior roles for organisations including APHIDS, Next Wave, Experimenta and Melbourne Fringe and with presenting and venue partners including RISING, The Substation, Performance Space, WinterWild Festival, ACMI, National Gallery of Victoria, ACCA, State Library of Victoria, Arts Centre Melbourne, Now Or Never, MONA FOMA, Melbourne Fringe, Platform Arts, Arts House, Noosa Regional Gallery, Horizon Festival, Fusebox Festival, PS21 and Transform Festival. Anna has a Bachelor of Performing Arts / Bachelor of Laws (Honours) from Monash University, having completed her Performing Arts degree at the University of Exeter (with a focus on Interdisciplinary Spatial Practices and Site-Specific Art). She is currently the Chair of the Green Room panel for Contemporary & Experimental Performance.

Texas Nixon-Kain is an artist interested in the interdisciplinary possibilities of choreography, and in how the body can be presented and circulated across contexts. As a performance maker, they work collaboratively with Niki Verrall. Together, their work has been supported by Critical Path, Dance Base Yokohama (JP), Studio Kura (JP), Seventh Gallery, Darebin Arts Speakeasy, and the Ian Potter Cultural Trust.