Mayumu  Minakawa has been trained in various dance styles since young age. She has graduated from "Saitama School of Arts" in 2004 (Japan). Alongside her dance education Mayumu was also trained in Mime and physical theatre. in 2010 she received the "Hamburg Encouragement of Cultural Exchange Award". Mayumu has danced in various projects in collaboration with many Choreographers including: Ján Ďurovčík, Ryohei Kondou, Shounosuke Ookura, Matthew Bourne, Kim Sung Yong, Ishibashi Yoshimasa, Cirque Du Soleil and more. Since 2013 Mayumu has been dancing with Inbal Pinto and Avshalom Pollak Dance Company and has been working as their Assistant and Rehearsal Director in the production "The Cat That Lived 1000000 Times". More on her work at www.mayumu.net.

Tom Weksler has been practicing Capoeira, Martial Arts and different forms of acrobatic disciplines from a young age. Tom graduated in 2009 from “The Workshop For Dancers and Choreographers in Haifa”. Since 2010, Tom has been dancing with “Inbal Pinto and Avshallom Pollak Dance Company” and performed with the comapny’s productions in many theatres and festivals around the world. Tom is currently performing around the world the performance “Collective Loss Of Memory” - choreographed by “Rootlessroot” (Jozef Fruček and Lind Kapetnea) and produced by “Dot504”. 
Tom's movement workshops have taken place in Tel Aviv, Amsterdam, London, Tokyo, San Francisco, Berlin, Guadelajara, Bratislava, Copenhagen  and more.
 

Duston Spear has been an exhibiting artist since 1982 with her first New York show at the Soho Center (an affiliate of the Aldrich Museum). That initial series, named ‘Who’s Afraid of Art History?’, sampled an Edgar Degas portrait of 'The Bellelli Family’ with a combination of humor and homage. Spear cites being in the drum core of the Woman's Action Coalition (WAC) in the early 90’s as the best time for girl painters; band practice was held in Phyllis Kind’s gallery, while her two daughters waited while doing their homework. The 3 Women in Black project grew out of that political re-awakening, in response to the war against women which was so integral to the brutality in the Balkan war during the early 1990s. In this project, Spear created three iconic black dresses, redolent with the imagery of war, mourning and widowhood. These were donned by many people during their lifespans, in many contexts including weekly vigils outside the United Nations, outside the NY Public Library, and in Belgrade at the height of the conflict. Spear's loft served as a gathering point for a collective of artist-activists that joined their creative forces against the war. The project was extensively covered: MS Magazine wrote about them, MTV interviewed them, and they created a site-specific installation at NYU's Grey Art Gallery. Spear’s paintings of grunged-out 19th century silhouetted women were the basis for her mid career exhibit, ‘Battledress’, at the Weatherspoon Art Museum. Her artists books, articles and the original costumes are now housed in that Unversity’s Special Collections.  Another series of paintings that involved physically braiding her older daughter’s hair turned into 'That Big Yellow Braid', a public art commission for Creative Time, that addressed both private and universal teenage issues at Manhattan’s Family Court. Her younger daughter’s battle with a life threatening illness caused her to move with her family out of the city. Spear began showing again in 2003  in Tribeca, with ’Topographies’, making a calligraphic battlefield out of Stephen Crane’s Civil War poems. For her next solo show, READ, at Sara Tecchia Roma New York in Chelsea, Spear graffitied over her own paintings to amplify the political statement.  That same year she began teaching art in the College Program at Bedford Hills Correctional Facility, a maximum security women's prison. Spear incorporated the poetry of one of her students, former Weather Underground radical Judy Clark in a short film, 'Red Thread: The Prisoner and the Painter'. Now with her most recent series of paintings, HIVES, and before that with HERD, we experience a fully realized painter, a woman who speaks to a complicated life encoded in paintings built on experiences, mistakes, good calls and actions. More at www.duston.spear.name.