Andrew Batt-Rawden (he/him) is an artist currently living in the Northern Rivers region of NSW. Following graduation from the Sydney Conservatorium of Music (composition), he established the new music collective Chronology Arts with Alex Pozniak. The collective was dedicated to supporting artistic and career development of composers and performers interested in new music, and the organisation commissioned hundreds of emerging composers at a time when there were few strong proponents for new voices. Andrew also directed and produced several festivals of art-music (Aurora Festival, Bellingen Music Festival, New Wave:Sound) and facilitated interdisciplinary collaborations during this period.

In addition to Andrew's career as an artist, he has extensive experience in arts administration, beginning at The Song Company as the Special Projects Manager, where Andrew worked in philanthropy, communication, data management, and producing roles for live concerts and recorded media. Andrew has also had experience working in administration for the Tom Bass Sculpture Studio School, Legs on the Wall, and Critical Path. He also has a background in publishing (Limelight Magazine).

Career highlights include being the inaugural Gallop House composer in residence, being a state finalist for Young Australian of the Year and creating/performing with director/choreographer Dean Walsh in various works. More recently, Andrew created music for the production of "Plant A Promise" by Henrietta Baird for the 2025 Sydney Festival.

Andrew is deeply interested in human nature, both the internal experience of it and in its relationality to environments. Andrew has worked artistically (as a composer, maker, performer or facilitator) in art-music, dance and contemporary performance including in diverse communities contexts. Andrew is passionate about fostering social cohesion by bringing together people of diverse backgrounds to demonstrate creative collaboration to audiences as well as other artists.

Andrew's practice has been profoundly influenced by training at the Sydney Conservatorium, pursuits in dance, and life experiences which have also led him to become a peer support counsellor for male survivors of child sex abuse with SAMSN (Survivors and Mates Support Network) and is consolidating his backgrounds in mental health, performing arts and directing/facilitating by undertaking a Masters in Therapeutic Arts Practice at MIECAT (Melbourne Institute of Experiential Creative Arts Therapy). 

Andrew identifies with queer and neurodiverse-ability. He lives and works between the lands of the Widjabul people of the Bundjalung nation (Lismore) and the lands of the Gadigal people of the Eora nation (Sydney).

Joshua Freedman is a mover and maker, working between dance and performance art. Josh grew up in Sydney, on unceded Gadigal land, and has been dancing and performing for as long as he can remember. Having trained at Rambert School, Josh worked briefly in Europe before returning to Australia in 2021. As a freelance dancer, Josh has worked with Christopher Bruce, Thick&Tight, London Fashion Week, Raghav Handa, Sue Healey & Chloe Fournier, among others.

An emerging dance maker, Josh has produced and created several full length shows, as well as working commercially for schools, community groups, tv, and music. Recent projects include; ‘Sweet Fleshed, Loose Skinned & Highly Perfumed’ for Sydney Fringe, ‘Dialogues with my Butt’ for The Flying Nun, and ‘From, Amongst, Within’ for Canberra Dance Theatre.

Josh also performs as nightlife alter ego ‘Jiggy’, in club, festival, theatre, and gallery spaces across east coast Australia. This involves both traditional and experimental forms of drag, cabaret, and striptease. Josh is passionate about blending queer performance lineages with established dance and theatre forms, aiming to be a conduit for silliness and absurdity in all things.

Carolyn Eccles (she/her) is a performer and facilitator living in the Blue Mountains. Originally training as a Director with Zen Zen Zo Physical Theatre Company, she continues to explore the boundaries of movement, somatics and improvisation, deepening her studies through the Suzuki method with the SITI Company (New York), Contact Improvisation with Strings Attached and the Grotowski method with Stephen Wangh, Butoh in Berlin with Tiziana Longo. She studied Meisner with Scott Williams, ashtanga yoga with BodyMindLife and Indian dance and storytelling in the Uttrakhand region of Northern India. She trained in Object Theatre and Scenography with Spare Parts Puppet Theatre. For 5 years she toured 7 solo and company shows nationally as a theatre in education and festival performer before moving to Canberra. She continues to perform as an associate artist for physical theatre company Lingua Franca, as one half of the visual arts practice darkroom and f. She has been an arts educator for family and schools programming with multiple organisations including Kaldor Public Art Projects and National Portrait Gallery. In 2015 she completed a Graduate Certificate in Arts & Community Engagement at VCA with a focus on physical theatre practice in regional areas. Carolyn is an artist and facilitator in multi-artform improvisation projects with Chronology Arts and a co-facilitator for workshops, developments and performances for Dean Walsh’s project for young neurodivergent people; Weird Nest.

Ryuichi Fujimura is an independent dance artist based in Sydney. Since the mid 1990’s, he has studied contemporary dance technique as well as improvisation and choreography in Australia and overseas. Over the last twenty years, Ryuichi has collaborated with both emerging and established artists/companies in various dance, theatre, opera, site-specific performance and film projects. Notable collaborations include working alongside Xavier Le Roy, Justin Shoulder, Alan Schacher, Vicki van Hout, Latai Taumoepeau, Jim Sharman, Kate Champion and Tess de Quincey. He began his own choreographic practice in 2013 and has since created a number of performance works. His recent career highlights include the Melbourne (Dancehouse, April 2023) and Sydney (Sydney Dance Company, August 2023) seasons of HERE NOW, an evening length solo show, a solo performance at Seoul International Dance Festival 2023, ‘Pink Regenesis of the Curse’, a site-responsive durational performance in collaboration with WeiZen Ho at White Bay Power Station for Biennale of Sydney in April 2024, ‘Club Origami’, a dance show for young children presented by Sydney Dance Company in July 2024 and ‘Today I feel a soft breeze’, a 24 hour durational dance marathon performance for Bleach* Festival on the Gold Coast in August 2024. In recent years, he has expanded his practice to include interdisciplinary collaborations with artists from various disciplines, such as Mel O’Callaghan, ArtHitecs, Alicia Frankovich, Hamed Sadeghi and Justeene Williams. Photo by Lucy Le Masurier

https://www.ryuichifujimura.com/

Mitch Riley is a versatile artist, interpreting and devising works in opera, theatre, music, clowning and puppetry. He recently returned to Australia after more than 8 years based in France.

Recent work includes the role of Enkidu in the world premiere of Jack Symonds’ opera Gilgamesh, directed by Kip Williams, as well as a collaboration with the renowned French string quartet Le Quatuor Béla to create L’Homme est une fleur, a theatrical adaptation of music by György Kurtág combining physical theatre, pantomime burlesque and clowning. He also took part in performances by Chronology Arts, an emergent experimental multi-disciplinary collective based in Sydney.

After vocal studies at the Sydney Conservatorium of Music, Mitch began his career with the Sydney Chamber Opera, performing works by Pascal Dusapin (O Mensch!, Passion), György Kurtág (...pas à pas - nulle part...) and Peter Maxwell-Davies (The Lighthouse), and giving world premieres of operas by Jack Symonds (Notes from Underground, I've Had Enough, Climbing Toward Midnight), Elliott Gyger (Fly Away Peter), Michael Smetanin (Mayakovsky) and Huw Belling (Victory over the Sun). He also performed regularly in the Opera Australia chorus.

Mitch’s interest in the way music opens a particularly rich space for storytelling and expression through movement and gesture led him to study at the Jacques Lecoq International Theatre School in France, renowned for its work around the body of the actor and the mask. Whilst in France, Mitch also studied clowning with Vincent Rouche and Hervé Langlois, puppetry and object theatre with artists from the Compagnie Philippe Genty, La Nef and Les Anges au Plafond, and Balinese dance-theatre with Frederic Tellier.

He has since worked on a diverse range of projects, including the creation of V-I-T-R-I-O-L by choreographer Francesca Bonato and composer Aurélien Dumont; Maman. Source, Origin, Cause., a play created and directed by Marta Tkaczuk; new operas by Jack Symonds (The Shape of the Earth), Elliott Gyger (Oscar and Lucinda), Bree van Reyk (The Invisible Bird) and Josephine Macken (The Tent) with Sydney Chamber Opera; the creation of compositions by Elvio Cipollone and Gilles Schuehmacher with Ensemble Offrandes; performances of Inside Mr Enderby by Huw Belling with Manchester Collective; and the creation of Perte, a work he directed and co-wrote with the French clown Ruthy Scetbon. In 2022, he again performed O Mensch! by Pascal Dusapin, this time with pianist Vanessa Wagner as part of the Festival Messiaen au Pays de la Meije (France) and the Louth Contemporary Music Festival (Ireland). He has collaborated with Australian artists Justene Williams (Biennale of Sydney, National Gallery of Australia) and Kirsty Kross (Woollahra Gallery at Redleaf). Mitch also rediscovered his love of musicals through his work with Compagnie Oz, a France-based music-theatre company presenting works in English to high-school students throughout the country, giving over 100 performances of the productions Frankenstein and Dracula.

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Stephen Adams is a composer, improvising musician, voice and sound artist with a developing movement practice, and 19 years’ experience as ABC Classic’s Australian Music Curator/Producer (2004-23). At ABC Classic, he established and produced ABC Classic's New Waves podcast, Classic Australia website, the Composer Commissioning Fund, and many other broadcast events, feature programs and recordings. As an improviser, Stephen was featured artist at The Guesthouse, Cork, Ireland (2018) with Karen Power, and Spectrum East, Belgrade (2020) with Richard Barrett. Recent Aust collabs include Weizen Ho (Splinter Magic 2019), Jen Craig (2019 Newcastle Writers Festival), Will Hansen (2019 Microflix Fest), and with The Music Box Project (Duets, 2022, Cut Paste Play, Mar 2024, Sound Picnic at The Coal Loader, Nov 2024, and in 2025 the development of Stephen’s Imaginary Radio Station performance installation). Over the past few years, Stephen ‘s movement work has benefited greatly from improv workshops with Tony Osborne, Tess de Quincey and Weizen Ho. In 2024, Stephen has worked more intensively on integrating these strands of performance in dialogue with Andrew Batt-Rawden and workshops with The Chronology Arts artist collective. 

Over the past four decades Stephen has created music for choirs, chamber ensembles, orchestras, rock bands, and theatre (including score and libretto for an acapella 'opera' Sydney Dreaming Theatre (1992), and electro-acoustic score for Nigel Kellaway and The Opera Project’s The Audience and Other Psychopaths (2001-04)), as well as studio works for radio and other media. He was 2015 APRA/AMCOS Art Music Awards finalist for Afterwards for choir, radios, percussion soloist. Sunset inside the listening room premiered Easter at The Piano Mill 2019. Piano in a field of recordings was selected Aust work at ISCM World Music Days 2022, Auckland. Close to your ears, commissioned for 2024 Sonic Hugs project, premiered on air across Australasia, Europe, and North America. His music is on ABC Classics, Hyperion, Tall Poppies, Wirripang, and Harrigans Lane Collective. He is a represented composer at Australian Music Centre.

Miles Horler is a composer, performer, and music teacher based in Sydney. He graduated from the Sydney Conservatorium of Music in 2013 with a Bachelor of Music (Composition). His work focuses on composing music for the screen, theatre, and experimental improvisation. He is especially interested in exploring the relationship between free expression and detailed craft in improvisation, music, and movement workshops. Miles is a multi-instrumentalist and has been teaching cello and working across several string programs in NSW public schools since 2023.

Miles is currently developing a new work “PREP - The Musical” in collaboration with author, playwright, and screenwriter Laurent Au Clair.

His recent screen work includes composing the soundtrack for Where The World Is Quiet (2025), a documentary short about Australian icon Grace Tame, which is currently an entrant in multiple film festivals around the country. In 2021, he composed the score for Women’s Work, a four-part web series exploring the challenges faced by women in the Australian workforce.

In 2022, Miles formed the avant-garde experimental duo Nurosynk with composer and performer Andrew Batt-Rawden. Their music, rooted in improvisation, explores diverse instrumental combinations and multimedia storytelling. They performed as part of World Pride Festival 2023 and have received grant funding from Create NSW. Their creative practice was further developed through a residency at Brand X Studios.