David Mack is an award-winning dancer with more than 20 years of experience performing with companies including Sydney Dance Company, Rambert Dance Company. Phoenix Dance Theatre and West Australian Ballet. Throughout his career, he has performed works by notable choreographers such as Rafael Bonachela, William Forsythe, Jacopo Godani, Javier de Frutos, Kim Brandstrup, Ivan Cavallari, Barry Moreland, Glen Tetley, John Cranko, Jiri Kylian, Alexander Ekman, Cass Mortimer Eipper, Kristina Chan and Gabrielle Nankivell. In 2015, David won the Green Room Award for Male Dancer, and in 2016, was awarded an Australian Dance Award for Outstanding Male Dancer.

A tour-de-force of multidisciplinary skill, David has also worked as a choreographer, répétiteur, lecturer and actor. His choreographic career began with Papillon, created on and performed by the West Australian Ballet in 2009. He has gone on to become a respected teacher of choreographic, improvisation and technique workshops at dance companies and educational institutions throughout the country.

In 2019, David devised the thrillingly divergent, improvised work In-Synch in collaboration with Sandy Delasalle and Aurelien Scanella for the West Australian Ballet’s Ballet at the Quarry season. He has staged numerous works, including Rafael Bonachela’s 2 in D Minor (2014) for WAAPA’s 2018 Rise season. As an independent artist in 2021, David continues to foster his choreographic and teaching practices while working as a dancer in Perth.

Deborah Brown is an acclaimed Australian dancer noted for her decade-long career as a leading dancer and choreographer with Bangarra Dance Theatre between 2003-2013. Her career highlights while working with Bangarra include returning to Country (including Mer Island and Yirrkala), performing at the Brooklyn Academy of Music’s Harvey Theatre, and partnering with The Australian Ballet at the Théâtre du Châtelet in Paris. In 2013, Deborah was awarded the Helpmann Award for Best Female Dancer for her performance of Terrain, choreographed by Frances Rings in 2012.

In 2013, Deborah made her choreographic and directorial debut for Bangarra's season of Dance Clan 3 with a short dance film, Dive, which pays homage to the pearl shell divers of the Torres Straits. This work led her to co-create I.B.I.S. with Waangenga Blanco for Bangarra’s 2015 Lore program. Since then, Deborah has continued to explore and develop her choreographic and directorial practice, choreographing the groundbreaking Spinifex Gum—a musical collaboration between The Cat Empire’s Felix Riebl and Ollie McGill, and Marliya Choir, an all-female, all-Indigenous group from Cairns conducted by Lyn Williams (AM).

Deborah’s connection to the stage has driven her to recently complete her Masters in Screen Directing at the Australian Film, Television and Radio School. She has cultivated her passion for directing through her work as an assistant director for Sydney Theatre Company on the world premiere of The Long Forgotten Dream (2018) as well as The Beauty Queen of Leenane (1996), and participated in Belvoir St. Theatre’s 2020 Artists at Work program. Informed by her interest in the cross-sectional world of fashion, music and performance, Deborah hopes to continue changing preconceived notions of Indigenous Australian representation and visibility.

Jill Ogai is a soloist with The Australian Ballet. Since joining the company’s corps de ballet in 2012, Jill has performed leading roles across classical and contemporary repertoire. Highlights include the role of Princess Florine in David McAllister’s The Sleeping Beauty (2015, 2017, 2018), Swanhilda in George Ogilvie and Peggy van Praagh’s Coppélia (2018), the role of Psyche in Stanton Welch’s Sylvia (2019) and the Clara in Sir Peter Wright’s The Nutcracker (2019). Jill’s modern repertoire highlights include Twyla Tharp’s In The Upper Room (2015), Gary Stewart’s Monument (2013), Tim Harbour’s Filigree and Shadow (2015, 2018, 2021), William Forsythe’s In the Middle, Somewhat Elevated (2016), and Christopher Wheeldon’s DGV (2016).

Jill’s magnetic performance style and dynamic ability to excel in both classical to contemporary techniques saw her named the winner of the 2019 Telstra Ballet ‘Rising Star’ award. In recent years, Jill has cultivated an impressive highlights record, dancing Stephen Baynes’ acclaimed pas de deux Unspoken Dialogues in New York (2019), and performing Chroma and Dyad 1929 by Wayne McGregor (2020). For the Australian Ballet’s first season back in 2021, New York Dialects, Jill was part of Pam Tanowitz’s creation Watermark (2021), and also danced in George Balanchine’s Serenade (1935) and The Four Temperaments (1946).

Cass Mortimer Eipper was born in Melbourne, where he trained at The Australian Ballet School. An award-winning director, choreographer and dancer, Cass has performed with Sydney Dance Company, West Australian Ballet, and was co-director of the Australian dance/media company, Ludwig.

Cass has created work for leading dance companies including Sydney Dance Company, West Australian Ballet, Queensland Ballet, Australasian Dance Collective (previously Expressions Dance Company), Milwaukee Ballet Company, Trey McIntyre Project, Transit Dance Company and the Sydney Symphony Orchestra. His work has spanned film and stage, and has been performed throughout Australia, Europe, Canada, India and the United States. As a dancer, Cass has worked with, and performed works by, Rafael Bonachella, Alexander Ekman, Jacopo Godani, Gideon Obarzanek, Lightfoot Leon, Adonis Foniadakis, and William Forsythe.

In 2015, Cass was awarded a prestigious Helpmann Award for Best Male Dancer, for his performance in William Forsythe’s Quintett (1993). In 2019, his short dance film, Brute (2018), won Best Dance Film at the Global Short Film Awards Cannes. His other awards include ‘Most Outstanding Performance’ at the 2011 Rome International Choreography Competition for Solo 1.5, which was also presented at the renowned ImPulsTanz Festival, Vienna. He also won the prize for Most Outstanding Choreography at the 2013 West Australian Dance Awards for his collaboration with Emma Sandall on their work Fleck & Flecker.

Chimene is a Melbourne based performer, teacher and choreographer, and one of just 36 certified teachers globally of the Countertechnique movement system. After gaining a Diploma of Dance Performance at the New Zealand School of Dance, and a Bachelor of Performing Arts at WAAPA as a member of LINK Dance Company, Chimene has developed her craft as both a choreographer and performer with some of the country’s most prestigious institutions and dynamic artists.

Working extensively with Opera Australia on productions including Turandot, Eugene Onegin, Rigoletto, The Ring Cycle, La Boheme and Madame Butterfly, Chimene has performed throughout Australia as well as internationally. She has worked with artists including Nat Cursio, Sheridan Lang, Shaun McLeod, Shian Law, Melissa Jones, Rob McCredie and Geoffrey Watson.

Chimene’s choreographic work spans film, installation and live performance, and has been presented at the National Gallery of Australia, the National Gallery of Victoria, Melbourne Fringe Festival Hub and the Winter in Banyule Festival. She has collaborated with Lauren Langlois on Twenty Forty Six (2017) as part of the Tanja Liedtke Fellowship in Berlin, Omer Backley-Astrachan on WILDEBEEST/The Venus Fly Trap (2018), Lewis Major on S/WORDS (2021) and Stephanie Lake on Multiply (2020). In 2013, Chimene was the Inaugural Choreographic Secondment Recipient at Chunky Move under the Direction of Anouk Van Dijk. Her solo work IN FORMATION II was nominated for a Green Room Award for Concept and Realisation in 2015. In 2021, Chimene will present a work in collaboration with Albert Park College at the Lawler Theatre.

Kristina is an award-winning dancer and choreographer based on Biripi Country in New South Wales. Her acclaimed choreographic practice explores our relationship to nature, environmental change and the impact we are having on the planet.

As a dancer, Kristina’s career has seen her perform in Australia, Canada, Israel, the United Kingdom, the United States and throughout Europe and Asia. She has been a key collaborator with companies and independent artists across Australia. Kristina’s choreographic works include; solo work A Faint Existence for Performance Space Liveworks (2016), Sydney Opera House (2018) and Dance Massive (2019), MOUNTAIN for Campbelltown Arts Centre (2018), Summer for City Contemporary Dance Company in Hong Kong (2018), Conform for New Breed Sydney Dance Company (2015), Pacific Sydney Dance Company PPY (2016), Grave (2015) and Leaning into the Liminal (2019) for Catapult Dance, Crawling Through Mud for Newcastle Art Gallery (2019). This work has been made possible through company

commissions, artist residences at Critical Path, Bundanon Trust, Arts House, Readymade Works and Catapult Dance, and grants from Australia Council for the Arts and Create NSW. Kristina’s latest work Brightness is due to premiere in 2022.

Kristina has been awarded a Helpmann Award for her performance in Narelle Benjamin’s In Glass (2011) and two Australian Dance Awards for Tanja Liedtke’s Twelfth Floor (2006) and construct (2009). In 2017, Kristina received the Peggy Van Praagh Choreographic Fellowship, which took her research and development to Japan. Most recently, Kristina received the Regional Arts Australia Fellowship 2020, which saw her work with young people affected by the 2019/20 bushfires in performance workshops and develop a new work, I Saw The Animals Leave.

Izzac was born in Warialda, New South Wales. His dance career began in 2011, when he impulsively signed up for a regional dance camp at Lake Keepit. Early encouragement from his time there ignited an irrepressible and natural joy for dance. At 14 years old, Izaac moved to Brisbane to study full-time at the Australian Dance Performance Institute. The next year, he completed an Advanced Diploma in Performing Arts and auditioned successfully for Sydney Dance Company’s Pre-Professional Year—a unique opportunity for aspiring professional dancers aged 18–24 years to experience full-time training with Sydney Dance Company.

In Izzac’s second year of the program, he was offered an apprenticeship with the main company. His debut performance was in Sydney Dance Company’s 2016 double bill season of Untamed, in which he danced in Rafael Bonachela's Anima (2016) and Gabrielle Nankivell Wildebeest (2014). While working with Sydney Dance Company as a full-time professional member between 2017-2018, Izzac toured Australia and the United States, and performed in repertoire including Rafael Bonachela's 2 One Another (2012), Ocho (2017), and ab [intra] (2018). In 2019, Izzac relocated to London to continue pushing himself and his craft, joining Company Wayne McGregor between 2019-2020.

Born in Ipswich, Queensland, Rudy enjoyed a luminous 11-year career with The Australian Ballet performing leading roles in both classical and contemporary works. After graduating from The Australian Ballet School Rudy joined The Australian Ballet in 2006, rapidly rising to the rank of Senior Artist.

Rudy’s performances were regularly critically acclaimed. His roles spanned the spectrum of the company’s diverse repertoire, from classical works in roles such as Prince Siegfried in Graeme Murphy’s Swan Lake (both in Australia and leading the company in London on tour) Lescaut in Sir Kenneth MacMillan’s Manon, Prince Siegfried in Stephen Baynes’ Swan Lake, Count Danilo in Ronald Hynd’s The Merry Widow and Onegin in John Cranko's Onegin.

Rudy’s mastery of contemporary dance saw works created on him by Wayne McGregor in Dyad1929 (2009) and Tim Harbour in Filigree and Shadow (2016), and perform masterpieces such as Wayne McGregor’s Chroma (2006), Twyla Tharp’s In The Upper Room (1986), Jiří Kylián’s Bella Figura (1995) and Forgotten Land (1981), Christopher Wheeldon’s After The Rain (2005) and DGV (2006), Glen Tetley’s Gemini (1973) both in Australia and representing the company in New York, and Stephen Page's Rites (1997). Known for his versatility, artistry, athleticism and sensibility, Rudy was nominated for the prestigious Telstra Ballet Dancer of the Year Award in 2007 and 2011.

Josie is a contemporary dancer who has performed extensively in Australia and internationally. After graduating from Queensland Dance School of Excellence in 2013, Josie continued her training within Sydney Dance Company’s inaugural ‘Pre-Professional’ year-long course. Following an apprenticeship with the company, Josie joined Sydney Dance Company in 2016, spending three years performing works by Rafael Bonachela and working with creatives such as Alexander Ekman, Gideon Oberzanek, Melanie Lane, Antony Hamilton, Gabrielle Nankivell and Katina Olsen.

In 2019, Josie joined Australasian Dance Collective and received nominations from Dance Australia’s Critic Choice Awards for ‘Dancer to Watch’ and Australian Dance Awards for ‘Outstanding Performance by a Female Dancer’ for her performance in Natalie Weir’s The Dinner Party. Josie appeared in Cass Mortimer Eipper’s short film Liminal and Jack Lister’s Still Life, the latter of which won ‘Best Australian Dance Film’ at the Inspired Dance Film Festival 2021. As well as performing with Project Animo in 2022, Josie is set to perform with Stephanie Lake Company in the world premiere of Manifesto at Adelaide Festival in March 2022.escription goes here

Madeleine is one of Australia’s most treasured classical ballet dancers, having spent 18 years with The Australian Ballet performing around the world as one of its leading Principal dancers. Raised in Perth, Madeleine started dancing at the age of six, moving to Melbourne at 15 to join The Australian Ballet School. She graduated to the company in 1997, quickly ascending through the ranks to become a Principal Artist in 2004 after her performance as the title role in Giselle.

Madeleine has worked with choreographers including Stephen Baynes, Graeme Murphy, Alexei Ratmansky, Stanton Welch, Stephen Page, Gideon Obarzanek and Tim Harbour. She has performed the leading roles in all the major classical repertoire, and was featured in the film Mao’s Last Dancer (2009) in which she played the role of Lori Langlinais. Known for her fearless technique, heartfelt performances, versatility and vivacious personality, Madeleine won the People’s Choice Award at the 2006 Telstra Ballet Awards, and a Green Room Award in 2005.

Upon retiring, Madeleine studied floristry, began teaching ballet to students, professional dancers and adults of all levels, and enjoyed coaching and touring with The Australian Ballet’s ‘Storytime’ program designed to reach out to the younger audience members.

Born in Mendoza, Argentina, Laura is an internationally-acclaimed ballet dancer, who has performed with some of the most prestigious companies in the world. After discovering ballet at the age of seven, Laura relocated to France when she was 13 years old to study at  L’Institute Superieur d’Art on a full scholarship. During her school years, Laura won numerous awards and international competitions including a Gold Medal at the International Ballet Festival of Havana , a Gold Medal at the Luxembourg International Competition and Best Artist Award at the Varna International Competition in Bulgaria. 

Upon completion of her studies, Laura joined the American Ballet Theatre Studio Company in New York, where she danced for nine months before joining the main company, where she remained for five years. In search of different styles, and wanting to expand her horizons, Laura returned to Europe where she worked with Dutch National Ballet and Staatstheatre Nurnberg, before joining The Royal Ballet of Flanders as a Principal Artist in 2010. During her time in Belgium, she was appointed Guest Principal Artist of the Slovenian National Ballet.

In 2017, Laura was invited to be a Guest Principal Artist at the Queensland Ballet. A permanent [position was quickly offered, and Laura remained with the company until her retirement in December 2020. Her career has seen Laura perform the principal roles in all the major classical ballets, and work with highly-acclaimed choreographers and collaborators from around the world, including Wayne McGregor, David Dawson, William Forsythe, Marcia Haydee, Alexander Ekman, Christopher Wheeldon, Cynthia Harvey, Natalia Makarova and Liam Scarlett.

Born and raised in Melbourne, Andrew spent over two decades dancing with The Australian Ballet. After training at The Australian Ballet School, Andrew joined the company in 2000, and was promoted to Principal in 2011. His first performance as Principal was at the Sydney Opera House on the opening night of the company’s triple bill British Liaisons, in which he danced in Christopher Wheeldon’s After The Rain (2005) and Sir Kenneth Macmillan’s masterpiece Concerto (1966).

During his time with The Australian Ballet, Andrew performed leading roles within the company’s classical and contemporary repertoire, including Lescaut in Kenneth MacMillan’s Manon, the Prince in Peter Wright’s The Nutcracker (1990), Prince Siegfried in Stephen Baynes’ Swan Lake (2012) and the Cavalier in George Balanchine’s Ballet Imperial (1941). Known for his collaborative style and unique versatility as a dancer, Andrew has also been involved in the creation of numerous new works including Stephen Baynes’ Constant Variants (2007) and Tim Harbour’s Wa (2008), and performed regularly in The Australian Ballet’s Bodytorque seasons. His strength in contemporary dance was seen in virtuosic performances in works such as Wayne McGregor’s Chroma (2006), Twyla Tharp’s In The Upper Room (1986), Christopher Wheeldon’s DGV (2006), and Jiří Kylián’s Forgotten Lands (1981).

Andrew toured with The Australian Ballet to Tokyo, Shanghai, Auckland, New York, Paris, London and Los Angeles. In 2021, he retired from The Australian Ballet, joining Project Animo to pursue a new creative expression.

Charmene is a multi-award winning dancer, choreographer and rehearsal director. Her performing career has seen her dance with various companies including Sydney Dance Company, Chunky Move, Tasdance, Dancenorth, Lucy Guerin Inc and Armitage Gone! Dance in New York. She has collaborated with and performed the works of numerous national and international choreographers including Rafael Bonachela, Tanja Liedtke, Antony Hamilton, William Forsythe, Gideon Obarzanek, Alexander Ekman, Stephanie Lake, Emmanual Gat, Jacopo Godani, Melanie Lane, Gabrielle Nankivell, Andonis Foniadakis and Sue Healey amongst others.

During her decade with Sydney Dance Company, her dancing earned critical acclaim, including a Helpmann Award in 2012 for Best Female Dancer and an Australian Dance Award in 2013 for Outstanding Performance by a Female Artist, both for her performance in Rafael Bonachela's 2 One Another, and another Helpmann Award in 2014 for Best Female Dancer for her performance in Bonachela’s 2 in D Minor.

Charmene’s first choreographic work Do We for Sydney Dance Company’s New Breed season in 2014 was also performed in Perth by Co3 Company. As Assistant Choreographer, she has worked with Gideon Obarzanek on creating Us50 (2019) which celebrated Sydney Dance Company’s 50th birthday. In September 2019, Charmene commenced a new role as Sydney Dance Company’s first Rehearsal Associate, supported by the company’s Dancers’ Circle and the Nelson Meers Foundation. Charmene also continues to perform and develop her choreographic practice.

Aleisa is an award winning Sydney-based production designer. She has worked with leading Australian and international performing arts companies including Opera Australia, Singapore Dance Theatre, Komische Oper Berlin and Sydney Dance Company, with which she has collaborated since 2014. As part of her work for Sydney Dance Company, Aleisa has designed costumes for Rafael Bonachela’s Impermanence (2021), Lux Tenebris (2016) and Anima (2016), Melanie Lane’s WOOF (2019) and props for Antony Hamilton’s Forever & Ever (2018), and has designed costumes for the company’s annual New Breed season, collaborating with artists such as Prue Lang, Katina Olsen, Cass Eipper and Lee Serle.

In 2020, Alesia was the Production Designer for Amrita Hepi’s video/installation work Monumental, which showed at Gertrude Contemporary, and Costume Designer for Loughlan Prior’s Ouroboros for Singapore Dance Theatre. She is the recipient of the 2014/2015 Hephzibah Tintner Fellowship for Production Design, and the 2016 Berlin New Music Opera Award from The Opera Foundation for Young Australians.

Kat is a Melbourne-based theatre and costume designer. Originally trained as an architect, Kat worked in architecture practices in Adelaide and Tokyo before moving into theatre and costume design. She graduated from the VCA with a Masters in Production Design (2008) and a Postgraduate Diploma in Production Design (2006), receiving the Trina Parker Scholarship (2008) and Sir George Tallis Design Award (2006). In 2018, Kat was a participant in the Women in Theatre Program at Melbourne Theatre Company.

Working across dance, theatre and video art, Kat’s has worked with companies and organisations including Melbourne Theatre Company as Costume Designer for Torch the Place (2020) and Associate Designer for Golden Shield (2019); Belvoir St Theatre as Set and Costume designer for Mother (2018); Open House Melbourne as Costume Designer for the Eugenia Lim’s 2018 exhibition The Australian Ugliness; Red Stitch Theatre as Set and Costume Designer for This Year’s Ashes (2014; The Australian Ballet as Design Associate to Gabriela Tylesova on their landmark 2015 production of The Sleeping Beauty.

George is an emerging young Brisbane based composer, classically trained in both piano and violin. He began composing on the piano at the age of ten and has continued ever since. His compositions have been used by Queensland Ballet, Charlotte Ballet and choreographer Juliano Nunes. His music has been transposed for viola, performed by Ljupcho Trajanoski. In 2020, for Queensland Ballet’s 60 Dancers, 60 Stories body of work, George created music for dancers Paige Rochester and Mali Comlekci’s work.

George’s work draws on the most complicated and primitive emotions found in the human psyche, fascinated by the similarities between these emotions and how to express this through music. Inspired by the minute details of small habits and the larger framework they sit within, George’s compositions explore the complexities of being human.

Bryony is an award-winning Australian composer. Her classical rigour and an insider perspective has cemented her as one of the most sought-after screen composers in the country. After completing a Postgraduate Diploma in Music Composition for Film and Television with 1st Class Honours from the University of Melbourne’s Conservatorium of Music, Bryony attended the inaugural Composers’ Program at the Australian National Academy of Music.

Byrony’s published soundtracks include 2040, Lambs of God, Please Like Me, Cloudstreet, Don’t Tell, Berlin Syndrome, Barracuda, A Month of Sundays, Noise, Felony, Summer Heights High, Angry Boys and The Happiness Box. Her chamber opera, Crossing Live, won the 2007 Green Room Award for Best New Australian Work. She has also won accolades from the Film Critics Circle of Australia for ‘Best Original Score’ for Berlin Syndrome and Noise. In 2019, Bryony’s scores for both 2040 and Lambs of God won AACTAS. Her score for Barracuda was awarded ‘Best Music for a Mini-Series or Telemovie’ at the 2017 APRA AGSC Screen Music Awards.

In 2019, Bryony composed the music for Josh Thomas’ new series Everything’s Gonna Be OK for Freeform in the United States. With the time afforded by the halt to all planned screen work for 2020 as a result of Covid-19, Bryony wrote a string quartet with accompanying footage entitled Australia Fair? Volume I, and Lockdown Birdsong, a duet for violin and piano. In 2021, she will compose for the second series of both Everything’s Gonna Be OK, Josh Thomas’ Canadian podcast How to be Gay, and the ABC documentary Back to Nature.

James is a Sydney-based composer with a multi-disciplinary practice spanning live performance, film, dance, animation and games. He has worked collaboratively with companies locally and internationally to produce soundtracks, forming ongoing artistic relationships with artists locally and abroad including Bethesda, Jane Campion, Victoria Hunt, Adult Swim, The Australian Ballet, Sydney Dance Company, William Yang, George Khut, Matthew Day, Hans Van Den Broeck (SOIT), POST, and Urban Theatre Projects.

James holds a Visual Arts Degree from Sydney College of the Arts and a Masters Degree in Acoustic Physics from Sydney University. Melding these backgrounds together, James has extensive experience working in multi-artform processes. His own process often involves creating music in synchronicity with the development of the project itself, creating a strong connection between the material and the sound.

Marco is an artist and award-winning sound maker who works with sound to explore contemporary culture, experience and expression. Born in Auckland, Marco’s work for theatre and dance has been presented internationally by LIFT Festival (UK), Vienna Festwochen (Austria), Holland Festival (Holland), Theatre der Welt (Germany) and Melbourne International Arts Festival (Australia). He has performed around the world in solo and collaborative performances, which explore live sampling, electronics and home-made software. His recent 3 month residency in Beijing saw Marcus research a concept of sonic portraiture from both human and animal subjective experiences.

Marco’s recent projects include Memoir for the River and the Dictator for Lilian Stiener (The Substation, Dance Massive 2019), Die! Die! Die! Old People Die! (Ridiculusmus, Arts House 2018), Eavesdropping (Liquid Architecture, Ian Potter Museum 2018) Artist in Residence at Arts House (2018), Binaural Portraiture Beijing (2018), and We All Know What’s Happening with Samara Hersch and Lara Thoms ( Arts House 2017). He currently also teaches at RMIT University for the College of Design and Social Context.

Louis Frere-Harvey is a Perth-based electronic music producer, composer and percussionist who works across multiple creative disciplines including dance, film and contemporary music. Louis’ degree in Classical Percussion Performance, as well as his skill set as a DJ, led to half a decade of touring and performing both nationally and internationally with original music under the duo Command Q. Louis has since collaborated with multiple award-winning choreographers including Mitchell Harvey, Brooke Leeder, Robert Tinning, Sally Richardson, Michael Whaites and Sue Peacock.
Louis has been the recipient of multiple residency programs including Minderoo Foundation’s Inaugural Artist in Resident 2021, Tasdance AIR 2018, Lake Studios Berlin AIR 2019, MANPAC AIR 2019, STRUT Dance’s SEED Residency 2021. Louis has composed In collaboration for Structural Dependency, Perth Festival 2021; RADAR Fremantle Biennale 2019; In Cahootz, Fringe Award Winner 2020; In Good Company, Brooke Leeder and Dancers 2021; WELL Link Dance Company 2020. In November 2021, Louis collaborated on Mitch Harvey Company’s debut MINDCON, co-presented as recipients of CO:3’s inaugural Pathways Program.