Naia Burucoa’s work focuses on the way images develop meaning. She was born in Basque country and studied audiovisual techniques, photography and documentary filmmaking in Paris and Buenos Aires. After living for 6 years in Berlin, working as technician and light designer, consuming Berlin’s culture scene like eating breakfast, she went back to live to Basque country to be active in the local political culture scene. 

She is co-producer and singer of the music duo Gauak along with Lea Marie Uria, she co-created the queer collective Bitxi-bitxi to stir the queer political and culture scene in the town of Baiona, she is part of the basque dance and music collective Bilaka since 2021, and is co-artistic director of Cuntscollective.

She is involved in various cultural, social and political projects in Basque country as organizer,  technician or artist.

​

Tone Lorenzen (she/her) is a performance artist and artistic director working across immersive, site-specific, and participatory performance formats. Her practice explores intimacy, erotics, collective ritual, and the politics of the body, creating sensory environments where audiences and performers encounter vulnerability, proximity, and shared physical experience. Moving between care and confrontation, pleasure and discomfort, her works often unfold in unconventional settings such as saunas, public environments, and installation-based performance contexts.

She is co-founder and artistic director of CuntsCollective and collaborates internationally across interdisciplinary artistic fields. Lorenzen has curated and performed projects across Europe, the United States, Brazil, and China. She also works as Community Engagement Director for HIMHERANDIT, facilitating large-scale participatory projects rooted in trust, embodiment, and collective storytelling.

Her performance Weeping Men, created in collaboration with the Finnish shouting choir Huutajat, tours internationally and forms part of her ongoing artistic research into bathing cultures, ritual, and embodied audience encounters.

intersection of performance art, electronic sound, poetry, and visual installation. Raised across Brazil, Portugal, and New York City, they develop immersive works that explore eco-queer mythologies, cultural transformation, and body politics. Their key works include the transmedia demi-opera PHAUNA (winner YEP prize 2024) and its continuation PHTHORA (La Caixa Espaço do Tempo fund), as well as site-specific installations like Vestigia, and staring and co-writing in film such as Rezbotanik with a Cinema do Reel openong in Paris. Rezmorah’s practice spans live audiovisual performance, experimental music, including the duo REZGATE and collaboration with the trio Cíntia, and past amd present engagement with international queer performance collectives like CUNTS COLLECTIVE , ZONA (BR) and The Physical Guerrillas (CH)

 Daniel Miranda (BR/DE) is a Berlin-based artist working with light, installation, and spatial research. His practice explores the relationship between body, perception, and collective environments, often focusing on thresholds between public and private space. Through LED-based installations and site-specific works, he investigates abstraction, ritual, and the translation of natural elements into technological systems.

He is the Technical Director of dock11 Berlin. He holds a Master’s degree in Visual Culture from Museo Reina Sofía (Madrid) and studied Visual Communication at Universidade Federal Fluminense (UFF) in Rio de Janeiro. His work moves between light installations for galleries, festivals, and event spaces, and lighting design for dance, theatre, and opera.

​

Marie Kaae (she/her) is an internationally known mature performer & educator with Danish, Kurdish and Cameroonian (Bantu) heritage holding 25 years of experience in professional dance. She made her name known in the international battle scene with her dynamic and graceful style that continues to inspire dancers in her genre. Her practice is anchored in the cultural life of afro-american and -european club culture and the ambitious artform that is House Dance. 

Marie is currently focused on developing choreographic work, while advocating for the need of legitimate and authentic representation of Black dance genres within a professional and institutional context. 

Since 2012 she has actively worked to build and support dance communities around the world through the organizing of dance sessions, club nights,anti-racist learning seminars, Nordic collaboration projects and more. 

True to the Black and Queer culture that birthed House Dance, she is interested in the pursuit of liberation and joy through dance, that emphasizes personal expression and connection to ourselves and others. 

Elise Bjerkelund Reine is a circus performer and performance creator based in Copenhagen. She works with experimental and political circus to push boundaries and norms, aiming to evoke and provoke emotions through taking performative risks.

She is educated in Denmark (AFUK) and France (CNAC). 

After 23 years in the trapeze, and as a contortionist in every conceivable position she uses her equilibrist circus language to explore topics often aimed at an adult audience.

In addition to creating her own wor

Carla Schack (she/her) is an artist and educator - Associate Professor, DJ, musician and dancer/choreographer -  born & raised Brazilian with artistic and educative works that draws on references specially from Latin America and the African continent condensed into connection, belonging and groove moves and music. Carla performs at events in Europe, The UK, Africa, Latin and North America and has become a strong reference for female djs within the groove and electronic scene. She is a part of the dj duo Batukizer, who are world renowned for digging, researching and exposing Brazilian rare tracks and DJ sets on vinyl, with over 4 million plays on Youtube, regular tours in Brazil and a residency on London’s NTS Radio. She is a skilled and competent performer that provides exquisite with a truly global  touch. As an educator, she focuses on well being and self healing, and is especially interested in outreaching communities and people that would not get access and resources in a regular academic environment, creating spaces for flowing-creativity, inspired by life and nature.

Aikaterini Dimitrelli (she/her) is an interdisciplinary dance artist and performer based in Copenhagen. She graduated from the dance and choreography department of the Danish National School of Performing Arts in 2024. She has collaborated internationally with artists such as Rodrigo Andreolli, Maria Hassabi, Parini Secondo, Alma Söderberg, Cristian Duarte, Snorre Elvin, Alice Martucci. In 2025, she was an artist in residence at HAUT Scene together with Hanna A. Lokøy, and at Nordisk Teater Laboratorium with CuntsCollective as part of the iCoDaco residency. 

Yousef Sbieh is a dancer and performer from Jerusalem, Palestine. Sbieh earned a BA in Marketing & Business from Birzeit University (2015) while training as a Community Dance Trainer with the Austrian non-profit Yantè. During this time, he collaborated with schools in the West Bank, integrating physical learning and non-violent communication for young students and people with disabilities.

Since 2016, Sbieh has worked as a freelance dancer, performing in projects with choreographers such as Omar Rajeh, Samar King, Hooman Sharifi, and Khaled Barghouthi. He was also involved with Sareyyet Ramallah and the Ramallah Contemporary Dance Festival.

In 2017, he moved to Norway after receiving an apprenticeship with Carte Blanche, the Norwegian national company of contemporary dance, performing in productions across Norway, the Netherlands, and Germany.

Yousef currently is a freelancer performer working Anikaya Dance Theatre and developing Shabaab with Yaa Samar Dance Theatre, a full-length performance exploring Arab male friendship through movement, text, and puppetry

Anne-Sofie Pi is an Aarhus based choreographer, performer and videographer with a BPA(Hons) from Northern School of Contemporary Dance. Her artistic practice researches human nature and societal structures through movement and sound in universes of maximalistic scenography. With an interest in raw, honest expression and experience with physical theatre, she challenges our polished, "civilised" ways and the viewer's understanding of what is "normal".

Peter Vadim is an artist and landscape architect exploring site-specific, participatory practices in public spaces. His work investigates how temporary orders emerge from chaos, imagination, and embodied interaction, using ecological realism and poetic processes to co-produce meaning, allowing relational and fluid identities to unfold.

Rooted in a care for the abject, Vadim’s practice challenges dominant norms through aesthetic inquiry. Trained in dance and choreography at The Danish National School of Performing Arts, he has worked freelance since 1994. As a genderfluid artist/activist he published “dunst 2001–07: Aesthetics of Abjection” (Peripeti, 2018), deepening his focus on abjection and marginalized identities.

Holding a degree in landscape architecture (2014), Vadim teaches and collaborates widely, including with the University of Copenhagen and the University of Cape Town. Since 2020, he has been artistically active on Bornholm. His current projects, including Daydream Dialogues and Together we are Chaos, design poetic spaces for reflection, identity, and community, blending art and ecological thought.

Era Rolim (she/her) is a Brazilian trans artist whose work translates her anthropophagic dance practice into film, theatre, and choreographic installations. A performer, director, producer, dramaturge, and pedagogue, she holds a B.A. in Education (University of Brasília, 2012), a B.A. in Contemporary Dance (University of Brasília, 2017), and an M.A. in Art History from the Autonomous University of Mexico (2018). Winner of the 2nd Eixo Do Fora Contemporary Art Salon with the performative installation Untitled at the National Museum of the Republic in Brasília (2018), Era develops her artistic methodology through communal co-creation, affirming that deviant sensibilities arise collectively rather than individually. As an artistic director and performer, she has realised several shows in Brasilia, Mexico, Amsterdam, Viana, and Portugal. 

Marina Dubia acts (rehearses, operates, makes way) through word and presence to excavate our implications in physicality: what the world makes of us and what we make of what the world makes of us. Playing on the edge of body-to-body, overflow, she organizes choreographic actions where violence is in flux with care and joy, inviting the audience to engagement and re-positioning. Marina studied at Carla Zaccagnini's School of Conceptual and Contextual Practices at the Royal Danish Academy of Fine Arts in Copenhagen, and was part of PACAP 4 at Fórum Dança (Lisbon). In 2023, she was an artist-in-residence at Fonte and Pivô Pesquisa (São Paulo), and worked with O-Overgaden (Copenhagen) on the group piece Desabar To Collapse, featured in Jan. 2025 at Det Frie Felts Festival (Aarhus). This same year, she was a resident at CAPACETE (Rio de Janeiro), and the question "what would you like to destroy?" has led her to the creation of the heterogeneous trio performance Implication Sudies Ch. II: damage/restraint/overflow. She is currently in the early stages of preparing new group work. 

Sara Vilardo (she/her) is an artist and performer working in the field of site-specific and participatory performance practices. Her research unfolds at the intersection of walking, sound, and relational processes, investigating the relationship between body, landscape, and memory as a space of shared transformation.

With a background in contemporary performing arts and interdisciplinary theatre research, she holds a Master’s degree from a.pass – Advanced Performance and Scenography Studies (Belgium, 2010) and an MPECV – Master in Performative Practices and Visual Culture from the Museo Reina Sofía (Madrid, ES, 2017). She has developed a practice rooted in physical work, dramaturgical composition, and immersive methodologies. Over time, her work has shifted toward process-based and site-responsive formats, often developed through artistic residencies and research projects embedded in specific territories.

Through headphone-based experiences, walking performances, and collective listening practices, she creates immersive environments in which spectators become active participants within temporary communities. Her work does not focus on representation, but on activating relational spaces where presence, movement, and composition emerge through the encounter between people and place.

She is the founder of the independent company LAVA/SaraVilardo, through which she develops projects in Denmark, where she is based, and internationally, collaborating with diverse communities and non-conventional contexts. Her creations frequently arise from residency-based research processes in which landscape becomes dramaturgy and listening becomes a political act.

Her latest project, Sirene (2023–ongoing), winner of Progetto Cura 2024 in Italy and supported by the Danish Arts Foundation (Statens Kunstfond), explores the theme of departure and the possibility of return as a collective experience. The work constructs performative walking journeys in which moving together becomes both a poetic gesture and a relational choice.

Her practice centers on the creation of temporary communities through shared time, embodied presence, and mutual responsibility, conceiving art as a space of transition, possibility, and transformation.

Alex Blum (she/her) is trained in choreography at School for New Dance Development in Amsterdam and in political science at Freie Universität Berlin. As a member of the queer performance pedagogical collective In Pursuit of Otherwise Possibility, Alex writes and teaches about queer feedback, consent, and refusal in Denmark, the Netherlands, and Germany. Since 2025, Alex has been the artistic leader of HAUT in Copenhagen. Alex's artistic work unfolds embodied notions of freedom in the face of violence. In performances at a wide range of international venues, Alex involves her audience in the rehearsal situation of dance to highlight the body's ability to touch, listen to, consent to, and witness each other as more than just political fixations.

Camilla Siddu (she/her)  is a dancer and choreographer based in Copenhagen. She develops choreographic work rooted in street dance foundations while expanding into theatrical contexts, often exploring themes of grief, memory, and collective experience. Her ongoing project, So Close, Away, which was selected to tour around 6 countries in the EU between 2024/2025, investigates how loss can be understood and shared through the body, and she is currently expanding it into an evening-length format. Alongside her performance work, she is active in Copenhagen’s street dance community as an organizer, teacher, and judge. She is the founder of Movers Collective, currently in its second year of residency at Kraftwerket in Copenhagen, where she creates platforms for the younger generation to access knowledge, artistic development, and community-building initiatives within street dance culture.

Gracia Rios is an actor and musician from Málaga, trained in violin and musical theatre (Mountview, London). She has worked internationally in Spain, UK, Greenland and Denmark in multiple performative genres such as musical, devised, physical and text-based theatre and has been an ensemble member of NTL–Odin Teatret (2022–2024). Currenlty she is co-founder of Grapa Teatro dk and creator of the solo performance The Lesson.

Miriam Swartz: performing artist, choreographer, and educator with a broad background in interdisciplinary movement practices, including contemporary circus, dance, music, and physical theatre. My artistic career as a performer has always been closely intertwined with my work in teaching and artistic mediation. My practice is grounded in a hybrid research methodology and a performative, choreographic pedagogy that moves between three interconnected positions: artist, researcher, and educator. I work with the individual and the unique embodied expression of each performer, while drawing on a broad artistic literacy to cultivate diverse and high-quality representation within both interdisciplinary performing arts and the wider dance field.

Central to my work is a norm-critical approach informed by queer-feminist and decolonizing perspectives on dance and movement practices. Through an intersectional lens—engaging questions of diversity, authenticity, agency, equality, gender, and democracy—I seek to question and expand established choreographic and pedagogical frameworks. At the same time, my work emphasizes respect for lived experience, autonomy, and authenticity in the creative process. Cultivating these values forms the foundation of my artistic and pedagogical practice.