Brooke Stamp (b. Parramatta, 1979) is a leading voice in Australian contemporary dance, recognised for her multivalent practice spanning dance, visual art, experimental sound, research and education. Working between bases of Naarm/Melbourne and the Gold Coast, she interrogates the evolving role of dance in contemporary culture through dynamic explorations of personal, feminist and collective dance histories. Unfolding across studios, galleries, theatres and natural environments, Stamp’s work is motivated by a deep enquiry into the body and the politics of presence–drawing on improvisation to cultivate a distinctive signature of experiential aesthetics and ‘real-time’ choreographies that transcend genre and form. Stamp’s early career is distinguished by stand-out performances with leading choreographers including Phillip Adams (BalletLab,2000–2014), Miguel Gutierrez (NYC), Chunky Move, Shelley Lasica, Rebecca Hilton and Sandra Parker, among others; earning her multiple Helpmann and Green Room Award nominations for Best Female Performer. In 2005, she was awarded an Australia Council Skills and Development Grant to study in New York and in 2017 she received the prestigious Australia Council Fellowship for Dance.   

Daniel Jenatsch is a multimedia artist and composer based in Melbourne. His work combines hyper-detailed soundscapes, music, text and video to create experimental documentaries, installations, radio works and performances. In 2021 he received the John Fries Award for The Close World, at UNSW Galleries. Additional work includes The Sheraton Hotel Incident (2019), commissioned by ACCA for the Macfarlane Commission, and Mysterious Illness (2018), presented by Arts House. His work has been presented at the MCA, ACMI, Kunsten festival des arts, the Athens Biennale, Liquid Architecture and Next Wave Festival. Daniel has worked as a sound designer artists including Matthew Barney, Jonathan Bepler, Kim Sooja, Lucy Guerin, Amrita Hepi and Atlanta Eke. He is currently a PhD candidate at RMIT University, where his research investigates orality and contemporary technology. 

Matthew Day was a teenage ballroom dancing champion, studied Dance, Performance Studies and Art History at University of Western Sydney and Victorian College of Arts. In 2016 he completed a masters at DAS Choreography, Amsterdam. Day’s work is characterized by it’s migration across artistic disciplines, cultural contexts and performance formats, and his solo works have been presented in Australia and around Europe. He is interested in the potential of dance and choreography to generate unorthodox relations, and perform new modes of existence. Day often works with duration and repetition approaching the body as a site of infinite potential and choreography as a field of energetic intensity and exchange. Day currently resides and works on Bundjalung Country (Northern Rivers) and is of Irish and Scottish descent. 

Ainslie Allan (they/them) – fka. Daisy Sanders – is a Boorloo dance, experimental and community artist (WAAPA BA Arts Dance 2013, Honours 2017). Their choreographic work is based in improvisation (body/voice/writing), re-imagines audience paradigms and prioritises collective experience and energetic exchange. Protracted experience of chronic illness led Ainslie to develop a rest-focused movement method and deeply considered approach to collaborative artistic leadership that is sustainable, accessible and caring. Ainslie was University of Otago’s 2023 Caroline Plummer Fellow (Aotearoa), company artist with Sensorium Theatre (2016–2023) and pvi collective (2024) and the 2025 Artistic Director of Stompin (Lutruwita). Their original works include A Resting Mess (2016-current), Womb for World Weeping (STRUT Situ8:CITY 2022) and Room To Rest (Arts Centre Melbourne 2021). Ainslie’s artistic values and practice have been shaped by powerful working relationships with Teac Damsa (Ireland), Geoff Sobelle (USA), Ros Crisp (Vic), Pilar Mata Dupont (Netherlands/WA), Jo Pollitt, Joshua Pether and Tone List (all WA) among others. 

Annika Moses lives and makes on Whadjuk Noongar land in Boorloo (Perth), so-called Australia. Nika Mo is a moniker under which Moses performs and releases alt/freak-folk music. Great Statue is the music and ‘performance art’ moniker through which they channel the still-living Laurie Anderson in karaoke drag. Alongside this Moses organises and curates with Tone List, a Boorloo-based label for exploratory music. Across some of the year Moses facilitates creative projects in Tura’s regional program, on Martu and Gija lands in the East Pilbara and Kimberley. Moses work has been premiered and exhibited in festivals including Totally Huge New Music Festival, Fairbridge Festival, Audible Edge, FRINGEWORLD, WAMfest and Sound Spectrum, and installation works at Cullity Gallery and Mundaring Arts Centre. 

Jo Pollitt is a dancer by trade who lives on Whadjuk Noongar County and works as a Vice Chancellor’s Research Fellow at Edith Cowan University with the Centre for People, Place & Planet and the Western Australian Academy of Performing Arts. Her work is grounded in a twenty+ year practice of working with improvisation as methodology across multiple performed, choreographic, curatorial and publishing platforms. As performer, choreographer, writer and dramaturg her work has been commissioned and presented at local and international festivals and venues (Performing Writing in Aotearoa, Judson Church in New York, AGWA, Perth Festival, PICA, Tasdance). Jo was an inaugural Forrest Creative and Performance leadership Fellow, is convenor of Dance Research Australasia, co-lead of #FEAS: Feminist Educators Against Sexism, author of The dancer in your hands < >. She is currently working on a multi-year project called Staging Weather toward deepening human-environment relations through art-science-education collaborations. 

Mani Mae Gomes is a Boorloo-based independent performing artist who works across dance, theatre, and music. Recently they danced and sang in A Resting Mess (2024), acted and danced in Pavan Kumar Hari’s Child (2025), and sang and danced in Muriel Hillion’s Sanctuary Within (2025). Their intersecting identities (queer, neurodivergent, trans non-binary, Cabo Verdiano-Australian) feed into their practice. Mani completed their Bachelor of Arts (Dance) Honours in 2017 and works regularly with Sensorium Theatre as a musician and performer. They are currently working in collaboration with Ainslie Allan on an evolving weekly improvisational movement and vocal practice.