(Drawing by Nek)
Goldjian Charlo
Goldjian is an artist, transdisciplinary psychodiverse facilitator and choreographer, who loves to make visible, readable, and malleable the processes of knowledge emergence. Goldjian cherishes relational practices between humans, ecologies, and technologies. Their work creates intimate spaces dedicated to mutual learning and slowing down processes. Co-founder of the collectives À Nos Prothèses and La Nef Vagale, Goldjian embraces media arts, relational art, performance, and video dance. Their practice often revolves around facilitating collaborative, collective, and restorative practices. Many of their emotional roots and connections are located on the island of Tio’tia:ke, colonially known as Montreal. Goldjian nurtures and practices connection, to oneself, to time and space, to other humans and non-humans, reflecting on the conditions of connection, care, and anchoring to activate this quality of presence
Mariana Marcassa
Mariana Marcassa was born in rural Brazil, in a family connected to the earth that made cheese, sang to their animals and lived on a rural tree spotted landscape. Since 2017, she lives and works in Tiohtià:ke/Mooniyaang/Montreal where she develops theoretical and practical approaches to sound and voice explorations, and the creation of experimental listening techniques. She is the author of the double book BANZO SOUNDS and BANZO LANDSCAPE (2019) which explores the psychogeographies of depression and Banzo, a specific affection of the land and human affected by the trauma of slavery in Brazil.
https://cargocollective.com/marianamarcassa/artwork
Charo Foo Tai Wei
Charo Foo Tai Wei was trained in modern dance and traditional Chinese dance, and moved to Quebec City in 2005, where she studied contemporary dance at the École de danse de Québec. From 2007 to 2013, she acted, danced and choreographed in Robert Lepage’s production of Le Dragon bleu (Ex Machina). In 2015, she discovered butoh. Fascinated by how the resonance of nerve cells could trigger organic movement that develops from within the body, she turned her research toward instinctive body work to develop her own choreographic language. Her first work « The Golden Stick Ritual » was selected by CanAsian Dance’s KickStart program and presented at Tangente (2021) in collaboration with Festival Accès Asie. https://vimeo.com/363714937. She’s currently working on a second solo piece, named Yearning, which explores the intricacies of a subterranean universe that navigates lanes of domestic abuse, gender violence and systemic racism.
Hanna Sybille Muller
The choreographer Hanna Sybille Muller is known for her capacity to build site-specific universes composing with the unique contributions of participating dancers. Sybille is interested in both language’s and the body’s strange, magic and ordinary potencies. She has been questioning what it means to collaborate with humans and non-humans, especially in her most recent collaboration with Erin Robinsong: Polymorphic Microbe Bodies which premiered as a somatic dance film in 2021 at Tangente in Montreal. https://hannasybillemuller.com/
Karine Rathle
Karine Rathle is a dancer, teacher, choreographer and researcher in dance and dance science. Extending beyond the perceived limits of the physical, Karine’s voyage of discovery aspires to integrate the movement, the image and the theatrical aspect in both her creation, and her performance of dance. In addition to ballet, and contemporary dance, she has extensive knowledge in the field of Somatics and integrates it to her own practice and teaching. She’s currently working on a piece dealing with the embodied remains of rape in humans of all genders. https://karinerathle.com/
Saša Buccitelli
Saša’s artistic practices and rituals explore the power of oppositional forces, and the portals of possibility that manifest when such forces coalesce. Through poetry, dance, and painting, saša explores and honors the bliss, devastation, and generative capacities of altered states of being; states of immense expansion and contraction, of unbridled expression and repression, of righteous rage and incapacitating shame. Their art seeks to shed light on the ways dominant cultural frameworks, shaped by ableism, capitalism and colonialism, fail to hold and revere the preciousness, wisdom and magic of such states, and the people who embody them.
Mikki Bradshaw
Mikki Bradshaw is a black FtM trans non binary & multi-disciplinary artist, of Caribbean and mixed descent. As a youngster, Mikki believed that arts gave them the resilience and creativity to thrive despite family trauma, transphobia and racism, undiagnosed neuro divergence and depression. A flamboyant queer riot act from a very young age, Mikki has been writing/producing music, singing solo & with various bands since the age of 4. At 14, they created a « By youth for youth » touring theater company called Misconceptions. They later became the mainspace technician at Buddies In Bad Times Theatre, Toronto and co-directed a documentary (Shine On), on the history of the music scene in Ottawa, Ontario. First through music and sound, further through acting, directing and producing, then through drag and performance, they learned how to synthesize and distill all of those skills through sound design, lighting design and camera work. Mikki grows a passion for teaching youngsters, light, words, action, or sound, and hopes to inspire others to find their medium and share their voice. From Our grandmother’s hands, a quote stays planted in their heart and mind. « …When you get, give….When you learn, teach. » -Maya Angelou
Melvin Mariampillai
I am a former investment portfolio manager with an undergraduate degree in microbiology and immunology. I am also a former drug and sex addict and discovered Vipassana mediation about 12 years ago which became one of the tools that help me work with my addictions and nervous system. Over the last two years, I have entered the world of dance and movement practice which has replaced seated meditation as my preferred way to self regulate. While dance remains a relatively new part of life, I find myself particularly drawn to Afro-descendant / street-dance art forms and cultures such as break, hip-hop, house and vogue. I have also recently joined the board of Studio 303 in Montréal, which supports artists engaged in critical and experimental practices in dance and interdisciplinary performance. This is a space where I have attended numerous workshops over the last two years, several of which have contributed to shifts in the way I observe and interact with the world. The dance workshops Studio 303 have provided me with a way of experiencing alternatives to consumerist, hierarchical and sedentary states and environments I often found myself in.
Artistically, I am interested in the energetic and playful intersection of movement, sexuality and money, and how I can shift from a consumer of these « products » into generating and flowing the energy that these things possess.
