A 20-minute duo created and performed by Taylor Yeung and Léa Tremblay Fong. The two artists combine their practices in contemporary dance and waacking with wushu (often called kung fu), including fan techniques. The work is infused with their family histories, elements from martial arts films, and the cultural landscape of Hong Kong.

The soundtrack, created by Frantz Lin, connects traditional Chinese culture with contemporary Western music, complementing their dynamic, comedic, and dramatic theatrical universe.

“La prière de la fleur trans” (translated for understanding as The Prayer of the Trans Flower) is a poetic and performative ritual that weaves voice, breath, and gesture into an embodied offering. Born in a garden, this cycle of poems explores trans memory, queer spirituality, and floral becomings through a sensitive and vibrant language.

In this 20-minute excerpt, Kama La Mackerel shares a living voice, shaped by the intimate, the ancestral, and the sacred, where poetry becomes invocation, seed, and transformation.

*Translation for comprehension, not literal.

Dona-Bella Kassab performs on underground stages and within marginalized communities, where they deploy an artistic practice that is both daring and deeply vulnerable. A self-taught performance artist, they have trained in dramaturgy, acting, dance, performance art, and multimedia art, building an experimental knowledge that runs through their many solo creations, including Le Cycle (Post-Furies 2025), Anartiste (Fringe Montréal 2025), and Songe d’un Jour d’Hiver (Festival Entractes 2024). Their works place the spectator against the wall, confronted with their own emotions and with the clarity of the systems that shape us.

Several collaborations have also marked their practice: Action Ouverte, Post-Furies, Jamais Lu, Entractes, Théâtre de l’Affamée, Nicolas Cantin, Montréal Arts Interculturels, Chanel Cheiban, and the dance company Tout Feu Tout Femme.

The child of refugees and a fluidly non-binary artist, Doni carries in their body and imagination the scars of exile, war, and Western oppressive systems. From these experiences, they have developed their artistic method: Confrontational Shame Healing, in which shame becomes raw material, and Futurist Fabulation, where writing and dramaturgy project toward alternative, utopian futures. Each work is an attempt to share what life and its sensitivities have taught them. It is a regenerative experience, a transfiguration of discomfort, a meeting place between the intimate and the collective, where vulnerability becomes power and where art acts as a lever for awareness and resistance.

Born in Dhaka, Bangladesh, Fahmid Nibesh is an improviser based in Tiohtià:ke/Mooniyang/Montréal. Improvisation, as a creative and generative praxis, fuels and guides his spiritual growth through an otherwise violent and hyper consumptive economic paradigm. He is a multi-instrumentalist influenced by Will Alexander (poet), Anthony Braxton (musician, theorist), Stan Brakhage (filmmaker), Solvey Johnsgaard (visual artist), Susanna Hood (movement/voice) the A.A.C.M (creative music collective), among countless others (including his cats). 

Whether alone with his instruments or in tandem with others, somatic attunement with his environment is at the forefront of his practice. Currently, he is fascinated by how feedback (via contact mic) informs and activates the geometry of objects and his real-time interaction with them.

Born into a world he hates, rapper-producer Frantz Lin is here to vividly unleash millenia worth of anger, disdain, disgust, and pain that he’s been told to keep bottled up so life stays disciplined and harmonious. More into haunting you from an old well than being your k-pop “oppa”, Frantz Lin is the Loki who grew up on Alicia Keys. He is the Zen Master you didn’t know you need, here to slap you repeatedly until you start jolting into enlightenment.

Kama La Mackerel is a multilingual writer, visual artist, performer, educator, literary translator, and ritualist whose work is rooted in a deep commitment to love, justice, and collective empowerment. Drawing on research into insularity, oceanic memory, trans poetics, créolité, and decolonial ecologies, their interdisciplinary practice transforms dominant artistic structures into spaces where decolonial and queer/trans vocabularies can emerge against historical erasure. By crossing and reshaping these forms, they engage interstitial spaces as fertile ground for community-building, resistance, and healing.

Their work has been presented in galleries, theatres, and universities across Canada and internationally. She is the author of Indrazaal et la quête de l’océan (Éditions KATA, 2023) and ZOM-FAM (Metonymy Press, 2020). Originally from Mauritius, they lived in Pune, India, and Peterborough, Canada, before settling in Tiohtià:ke/Montreal in 2012.

Of Québécois and Chinese descent, Léa Tremblay Fong is a choreographer and performer in contemporary dance. She completed an Honours Double Major in Dance and International Development Studies at York University in Toronto, while leading dance projects in Toronto and Palestine. Based in Montréal since 2012, she choreographs directly in the street and within everyday living environments, exposed to impromptu interactions and weaving connections with the community. Her creations explore the memories, tensions, and social bonds at work within our communities; they have been presented notably in Montréal, in Ramallah (2015), and in Taipei (2016).

Naghmeh Shafiei is an Iranian-Canadian singer-songwriter based in Montreal. Singing in English, French, and Farsi, Naghmeh bridges language barriers and weaves cultural connections with diverse audiences through the magic of folk music. Her single ‘Burn’ was featured on CBC Radio and Global Montreal, and her composition in farsi was awarded a residency at Barnhouse Recording Studio. 

A child of war and revolution, Naghmeh uses her musical platform to elevate the voice of the voiceless, and to raise awareness about global issues and social causes. If the Talking Heads and Patti Smith had a love child, and that kid grew up listening to Metallica in Iran, it would probably sound like Naghmeh.

Taylor Yeung (she/her) is a movement artist based in Tiohtià:ke/Montreal, where she has been dancing, teaching, and performing since 2014. Deeply inspired by the music, culture, and values of the disco movement, she specializes in two dynamic dance styles: Hustle and W(x)acking. Taylor’s most recent performances include La Terre Sous Nos Ongles co-created with Léa Tremblay Fong and Manger Nos Racines by Léa Tremblay Fong. Beyond her dance endeavors, Taylor works part-time as a kinesiologist and massage therapist. Her expertise in these fields enriches her exploration of the physicality of expression and the mind-body connection through touch and movement.