Cheryl L’Hirondelle (Cree/Halfbreed; German/Polish) is an interdisciplinary artist, singer/songwriter and critical thinker whose family roots are from Papaschase First Nation / amiskwaciy wāskahikan (Edmonton) and Kikino Metis Settlement, Alberta. Her work investigates and articulates a dynamism of nēhiyawin (Cree worldview) in contemporary time-place to create immersive environments towards radical inclusion and decolonisation. As a songwriter, L’Hirondelle focuses on sharing nēhiyawēwin (Cree language) and Indigenous and contemporary hybrid song forms and Indigenous language sound shapes and personal narrative songwriting as methodologies toward survivance. L'Hirondelle has performed, presented and exhibited nationally and internationally. L’Hirondelle was awarded two imagineNATIVE New Media Awards (2005 & 2006) and two Canadian Aboriginal Music Awards (2006 & 2007). L'Hirondelle also received the 2021 Governor General’s Award in Visual and Media Art. In 2025, she was bestowed an Honorary Doctorate from Queen’s University and the King’s Coronation Medal from the Indigenous Curatorial Collective. Her latest album released in October 2025 is Why the Caged Bird Sings, a collection of songs co-written with incarcerated women, men and detained youth from across the land now known as Canada and is available on all platforms.

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Tarah Hogue is a curator, writer, and cultural worker based in Treaty 6 and 7 territories and the Métis homeland. Her practice is grounded in relational geographies, attending to how people and artworks shape and are shaped by the territories they belong to and move through. She approaches curating as a form of generative inquiry and connection, where otherwise ways of knowing and being can emerge through encounters between artworks, spaces, and publics.

Hogue is currently Adjunct Curator (Indigenous Art) at Remai Modern and has curated independently since 2009 across a range of venues and collaborations. Her recent projects include Carried by rivers, held by lands (Remai Modern), co-curated with Aileen Burns, Johan Lundh, and Maria Lind—a multi-year initiative that brings together artists from across the northern hemisphere to think with place, build solidarities across distance, and pursue collaborative forms of cultural and environmental restitution. She is also co-curator, with Siri Engberg, of Dyani White Hawk: Love Language (Walker Art Center; Remai Modern), a major survey of fifteen years of the Sičáŋǧu Lakota artist’s practice.

Of Michif and Euro-Canadian ancestry, Hogue is a citizen of the Otipemisiwak Métis Government within Alberta.

Dylan Robinson is a xwélmexw (Stó:lō/Skwá First Nation) scholar and artist who seeks to prioritize Indigenous resurgence through writing, curation and inter-arts practice. He is the author of Hungry Listening: Resonant Theory for Indigenous Sound Studies, which received several national and international awards including the best book for the Native American and Indigenous Studies Association and the Wallace Berry award for Music Theory for the Society of Music Theory. Across his writing, he works with the sound of Halq’emeylem language to make space for the resonance and vibrancy of shxwelméxwelh concepts. His curatorial practice includes the Soundings exhibition which toured internationally from 2019—2025, and sxelxéles te tl'etl'áxel / designs for inviting, commissioned by Le Vivier for their new music festival La Semaine du Neuf. Robinson is an Professor and Associate Dean Equity in the Faculty of Arts at the University of British Columbia.

Joseph Naytowhow is an award-winning Plains/Woodland Cree (nehiyaw) interdisciplinary artist from the Sturgeon Lake First Nation Band in Saskatchewan. His generosity and compassion for sharing cultural knowledge makes him a much sought after speaker, performer, facilitator and outdoor educator for adults and children alike, locally, regionally and internationally. A longtime resident of Saskatoon, he has been playing music and telling stories, both tall and short, for over 35 years. In addition to his busy schedule of performances, he has served as a cultural advisor and resident artist/elder to various institutions such as Indian Teacher Education Program in Saskatoon and multiple universities across Turtle Island. Joseph holds a Bachelor of Education degree (ITEP) and is pleased to share his creative life experience, coyote trickster tendencies and cultural knowledge when invited to do so.

Jacqueline Bell is an Alberta-based curator and writer whose work engages contemporary artistic practices that foreground the politics of relationality. She currently serves as Director, Walter Phillips Gallery and Collections at Banff Centre for Arts and Creativity. At Banff Centre she has organized exhibitions, projects and events including Elliptical Lineages (2025); Facing Photographs (2025); Dawn Chorus, Evensong (Bow River Valley) by Lou Sheppard (2024); Listening Devices, a long-term exhibition of sound and score-based works taking place outside of Walter Phillips Gallery (2024–ongoing); Gather Listen Hear (2024), a multi-day multidisciplinary event centred on the relationship between sound and land co-organized with Megumi Masaki and Janine Windolph; Cassils: Movement (2024), co-curated with Carol Stakenas; The Shape of an Echo: Selections from the Permanent Collection (2022); darkness is as deep as the darkness is by Rita McKeough (2020); A materialist history of contagion by Candice Lin (2019); Guidelines by Carmen Papalia with Heather Kai Smith (2019); THE CAVE by Young Joon Kwak with Marvin Astorga, Shawna Dempsey and Lorri Millan, Adrian Stimson and Kim Ye (2018); If the river ran upwards (2018); Everything I Say is True by Kite (2017); and Improvise Everything (2016), co-curated with Justin Waddell.

Duane Mark is an Îyârhe Nakoda language and cultural educator and artist. He has been devoted to the teaching of the Îyârhe Nakoda language and its revitalization efforts, including through his work as an educator at Mînî Thnî Community School, and contributing knowledge to the Stoney Nakoda Language App and Stoney Dictionary, among other efforts. He regularly shares his cultural knowledge in his community and the greater Bow Valley and Calgary areas.

Anders Hunter hails from the Stoney Nakoda Nation of Mînî Thnî, Alberta. With a career spanning over three decades, Anders is a versatile performer, renowned for his talents as a traditional singer and song composer. He has seamlessly integrated his father’s drum group, Eya Hey Nakoda, into numerous collaborative ventures. Anders takes immense pride in his theatrical project, “Making Treaty 7,” where he led his ensemble as both a music group and the co-musical Artistic Director.

Raised amidst ceremonial traditions, Anders is deeply connected to his paternal lineage, with his father and late grandfather serving as spiritual leaders within the community. His deep connection to ceremony has led him to participate in numerous sun dance lodges, sweat lodges, and similar events, gaining valuable experience along the way. Anders is dedicated to mentoring his son and nephews in the cultural practices of the Stoney Nakoda.

In recent times, Anders has been actively engaged with community consultation groups, focusing on land, language, and participating in collaborative partnerships.