Jonathan radbwa faroush Mayers is a Louisiana Creole artist born and raised in Istrouma, or Baton-Rouj (Baton Rouge), Louisiana. His passion for reconnecting with his heritage community and reclaiming his family’s languages, Kouri-Vini (the endangered Creole language of Louisiana) and Louisiana French—which were lost two generations earlier due to Americanization—led Mayers to do more linguistic and cultural research. Mayers paints images of mythological beasts and monsters in familiar, often local, landscapes, and incorporates that same physical landscape into his workevoke themes such as environmentalism, Creolism, and postcolonialism. He infuses his workevoke themes such as environmentalism, Creolism, and postcolonialism. He infuses his works with workwith Latannyèrizm (Latanièrisme) which brings together visual arts, language, and territory.

Mayers is represented by Arthur Roger Gallery in New Orleans. He received his Bachelor of Fine Arts degree from Louisiana State University (2007) and his Master of Fine Arts degree from the University of New Orleans (2011). He has been an artist-in-residence at Centre SAGAMIE (Alma, QC), Est-Nord-Est (Quebec City), and A Studio in the Woods (New Orleans). Mayers, Poet Laureate of Baton Rouge 2021-2023, is co-editor of Févi (2022), and his work can be found in : Nous sommes tous des astronautes : scénarios et prototypes pour des temps extrêmes (2024), Latær Lèv (2023), Contes merveilleux : Louisiane, 2023, Folklore Figures of French and Creole Louisiana (2021), Ancrages No 30. Traces, and Feux Follets. His most recent projects as an exhibition curator were Kont Kréyol-yé (2025) and Mitoloji Latannyèr | Mythologies louisianaises (2023). He is currently a doctoral student in Francophone studies at the University of Louisiana at Lafayette.

Before dedicating himself fully to choreography, Emmanuel Jouthe began his career as a dancer, developing his bodily sensitivity and his desire to share his experiences with other enthusiasts. Since 1999, he has served as the artistic director of his company, whose repertoire includes numerous works and arts education projects. Through these creations, he explores a wide range of stage territories and various ways to bring the audience closer to dance. Today, he is recognized as a prominent figure in the Quebec choreographic landscape. Constantly in motion and seeking new challenges, he eagerly initiates collaborations with emerging artists who inspire him to expand the boundaries of possibility.

Réjane Bougé hosted cultural and literary programmes on Radio-Canada for nearly fifteen years. A member of UNEQ, she was also a cultural advisor in literature and film/video at the Conseil des arts de Montréal (CAM) from 2006 to 2016. In 1992, she published her first novel, L’Amour cannibale. Alongside her professional activities, she continues to publish regularly. In all her books, the work of memory is predominant.  

Chantal Dumas is a Montreal-based sound artist who has been exploring the medium of sound for some thirty years. Her work takes the form of narration and soundscapes, composition, listening journeys and installations. Field recording has become a natural practice for her, allowing her to capture moments of life and grasp their essence and emotion, thus developing a documentation of her environment. Over the years, a recurring theme has emerged (space, time, territory), highlighting an environmental awareness combined with a keen interest in listening. Cartography therefore naturally comes into play in this context as a structuring element in some of her projects.

In recent years, she has collaborated on numerous projects, to mention just a few: the Kamikaze du vendredi podcast by poet Amélie Prévost (Quadrature and Planète rebelle), Dream Voices with author Réjane Bougé, in which blind people describe what their dreams are made of (Turbine), Montréal Ville invisible with Florian Grond and the Regroupement des aveugles et amblyopes du Montréal métropolitain (RAAM) and l’Autre Montréal. (2021). Then she composes Oscillations planétaires an electroacoustic piece evoking the geological world (commissioned by DeutschlandFunk Kultur, Germany), which was a finalist for the 2019-20 Opus Award: Album of the Year. Published by Diffusion iMedia.

Florian Grond is an Assistant Professor in the Department of Design and Computation Arts at Concordia University, where he is also Co-Director of the Centre for Sensory Studies. He is also a digital artist whose practice and research are rooted in immersive sound, sonification, auditory display, participatory design and accessibility. After completing a PhD in Germany (University of Bielefeld) and a postdoctoral fellowship in research-creation at McGill University, he developed expertise in the capture, mixing and diffusion of immersive sound.

His projects explore the creation of inclusive devices and experiences, in close dialogue with marginalised communities, particularly blind and neurodivergent people. He has initiated and led several artistic co-creation projects with artists with disabilities, and collaborated with researchers in sensory ethnography. With the late Belgian writer and researcher Piet Devos, he adapted the use of binaural technology as an innovative method for ethnographic research. His work is supported by the CALQ, the CAC, the FRQSC and the SSHRC, and spans the fields of sound arts, research-creation and sensory studies, with a view to developing new forms of listening and cultural mediation.

The Cummings & Pifko collective was born in 2019 from an installation that revealed the strength of their complementary worlds. For more than 25 years, Gaëtane Cummings, an artist with diverse abilities, has been transforming her experiences in a wheelchair into creativity and activism. Art, a space of freedom, leads her to explore performance, documentary, painting, installations, video, interventions and poetry. Sigmund Pifko, a multidisciplinary artist, illustrator, painter, graphic designer and enthusiast of digital arts and scenography, approaches each project as a research-creation, guided by sensitivity and curiosity. Together, they are part of the CripArt movement, which proposes to create and think about art differently while denouncing ableism. Their practice, nourished by the experience of marginalisation, seeks to transform exclusion into beauty, to reveal invisible realities and to open up new perspectives.