Rani Nair (SE)
Rani Nair works in dance and choreography. She is interested in ideas of post-colonial conflicts and the body in social bindings. Her interest in the development and expression of identities in dance has prompted her to study various dance practices and experiment with hybrid dance forms. Last year she finished the Mejan Residents, a post-master course at the Royal Institute of Arts in Stockholm, Sweden. 

Nair’s performance Future Memory, is a second order performance, dealing with her inheritance of Dixit dominus created by Jooss for the charismatic Indian dancer Lilavati. Future Memory has toured to Ignite festival India, Singapore International festival of Arts and to ImulsTanz Vienna during 2015. 

She has been a member of the queer feminist art collective Ful, whose latest project has been “Europa Europa”, created in collaboration with electronic duo The Knife. “Europa Europa” is an anti-nationalistic cabaret about the inhuman migration politics of Europe.

Zoë Poluch (CA/SE)
These days, Zoë Poluch (CA/SE) wonders how and what a local practice can be, compelling her to decipher what ‘local’ and ‘practice’ really want. The practice at stake is choreography, the field in which she completed a masters degree in at DOCH in 2010. Zoë has not developed one distinct choreographic interest or signature, but instead experiments with the different shapes of publishing, dancing, organizing symposia, performing, collaborating, choreographing, reading and talking. Making performances has surfaced most recently as the best excuse to bring together and forth a group that can actively approach and challenge “how to work”, questioning both the conditions to make work and have work encounters an audience. One activity that resiliently attracts her, at times mysteriously, is dancing. She looks forward to the far future, perhaps 2070, when she will inaugurate a dance company for powerful people over 70 years old and tour all the big stages of the world. In the past, she studied, trained and worked in Canada and Belgium and could be found dancing and acting on big and small stages all over. Recently, this has included her own work, a solo called “Example”, performing with The Knife’s “Shaking the Habitual” concert/show, “On Air” with Nadja Hjorton, dancing in “Splendour” by Stina Nyberg and regurgitating history together with the choreographic project Samlingen. 

Björn Säfsten (SE) 
aims to expose physical dilemmas, deliberately creating situations where the thoughts of the performer are exposed, opened up to the viewer. The work fools around with the notion of language - striving to confuse and divert the viewer from the regularity of bodily reading. The body is seen as a multiplex of wills, desires och directions, moving away from a notion of a bodily and mental entity. Changing the notion of the body and and the embodiment of the object and the relation between the two entities are central in research and presentation. 

With Stockholm as a base he runs Säfsten production a plattform for choreographic creation and experimentation. A intertwinement of theory and practice that manifests it selves through artist joining forces in speculation and critical formation within the fields of choreography, politics, language and Identity production. A platform for experimentation, a plattform for a changing constellation of artist and a base for continuous artistic research within the field of choreography.  

Peter Mills (UK/SE)
Mills was educated at DOCH and the MA program in choreography 2012-14 under under the direction of Jefta van Dinther and Frédéric Gies. He was previously educated at the Rambert School of Ballet and Contemporary Dance, BA Hons IIi in Ballet and Contemporary Dance at The University of Kent. Peter Mills filters through some sort of alter ego PETER which is both an artist persona, art object and state. Except being a choreographer he is engaged in many activist contexts. He has worked with Dansens Hus, Emma Tolander and ÖFA collective, Frederic Gies (DOCH), No Borders Stockholm, Aktion mot Deportation (Action against deportation), Simon Vincenzi, Tim Spooner, Myriam Van Imshoot , Litó Walkey, Benjamin Pohlig, Michiel Vandeveld, Paz Rojo, Love Källman, MA Teak (FI), MDT Stockholm, MAKOR DOCH and more.

Mustafa Kaplan (TR)
Mustafa KAPLAN started taking dance classes from Geyvan McMillan in Istanbul, where he had moved to study Electronics Engineering at Yıldız Technical University. Although he graduated, he never worked as an engineer. After dancing in the Modern Ballet Company between  1989-1992, he worked at the City Theater of Istanbul as a choreographer and dancer for about ten years. He is the co-founder of dance and performance companies such as Yeşil Üzümler, Dans Fabrikası, Taldans Company and Çatı Contemporary Dance Artists Association. 

Ilyas Odman (TR)
Odman combines contemporary dance with acrobatics and mime-theatre. He is the co-founder of the Copycats collective with which he created the performances Countdown, Yowsah Yowsah Yowsah and Holy Holy Holyæ.He has toured Europe with three of his own productions: tired(2005), glassteps (2006), oggi niente (2010) and happy happy together (2014/15). He performed in Jérôme Bel’s The Show Must Go On at the iDANS Festival in Istanbul in 2011. Odman began to dance at METU Dance Theatre at 1998 and has been the choreographer, trainer between the years 2000-2002. At the same year, he began to attend dance classes in Ankara Modern Dance Turkey where he worked with teachers such as Alparslan Karaduman, Bürge Öztürk, Paul Clayden, Jan Pusch, Chevy Muraday, Dilek Dervişoğlu, Stephanie Parent, Martin Sonderkamp, Talin Büyükkürkçiyan, Rubato, Alexandre Abellan, Handan Ergiydiren and Karin Ponties. In 2001, he established “underNine dance and movement project”with whom he performed internationally. Odman is also teaching in Osmangazi University and Atölyedans İstanbul. Through his career, he has collaborated with artists from different disiplines such as Bahadır Dilbaz, Karine Ponties, Ethem Özgüven, Umay Umay, Yüksel Aymaz.

Filiz Sizanli (TR) 
After graduated from Istanbul Technical University's Department of Architecture in 1997, SIZANLI participated in various projects of Theater Research Laboratory of Istanbul Municipality Theater. In 2000 she was among the co-founders of Çatı Contemporary Dance Artists Association in a collective artist group. Between 2001-2005, she worked with Mathilde Monnier at Centre Chorégraphique National de Montpellier (CCN) as state artist, besides working on different projects with Emmanuelle Hyunh, Mustafa Kaplan, Yann Marussich and Julie Nioche. In 2003 she found Taldans together with Mustafa Kaplan.

Bahar Temiz (TR)
Born in Istanbul, Bahar Temiz studied philosophy at the Université de Paris IV-la Sorbonne, followed by studies in dance at Artez Hogeschool voor de kunsten (Arnhem) and choreography at Ex.e.r.ce 09/10 (Centre National de Montpellier). She holds a Masters degree from Université de Paris VIII. Her master’s thesis, "In and Out Sider", was the result of an auto ethnographical research of two weeks spent within The Forsythe Company during the rehearsals of the piece "Sider". She worked as a dancer and performer with Superamas (“Theatre") and in site-specific projects with Erik Kaiel, Willi Dorner and Dylan Newcomb. She presented her solo performance “1+” in Tanzquartier Wien and in Springdance Festival in the frame of the Europe in Motion programme (2011). She has been supported by APAP – Advancing Performing Arts Projects with another solo project “In Love” (2016). She collaborates with dance artists Erinç Aslanboğa, Natalie Heller, Maik Riebort and visual artist Ceylan Dökmen. She is currently working as a performer with Ivana Müller ("Positions", "Edges”).