Sounding Knowledge: People

Salomé Voegelin is an artist and writer who works with sound’s relational capacity to develop different and plural knowledge possibilities. She writes essays and text-scores for performance and publication. Books include Listening to Noise and Silence (2010), The Political Possibility of Sound (2018) and Sonic Possible Worlds (2014/ 2021). Her forthcoming book Uncurating Sound: Knowledge with Voice and Hands (2022) foregrounds the perfidy of norms and considers the violence of contemporary art.

Voegelin’s practice works through participatory, collective and communal approaches and pursues sonic pedagogies that trouble the lines of knowledge from an uncertain and plural listening. She is a Professor of Sound at the London College of Communication, University of the Arts London.

www.salomevoegelin.net

www.listeningacrossdisciplines.net

www.soundwords.tumblr.com

@soundwords_sv

Werner Friedrichs researches in the field of civic education (Politische Bildung). His focus is on the development of a concept of civic education that is not oriented at imparting knowledge about political institutions, actors and several political procedures. Rather, it is about the question of positioning – as an articulation of political subjectivity. In his conception, the practice of becoming political takes place on the border between space and place. For this, the ways of subjective situatedness must be made tangible, which are produced with the help of things, architectures, movements, facilities, or assemblies. Latest publications include Atopien im Politischen (2022) an Zurück zu den Dingen (2020). In his research projects he cooperates with different artists. With the performer group JAJAJA (Hamburg) he has created Atopic Politics: Immersive sound walk (Bamberg 2019) and Democratic modes of existence (Bamberg and Hamburg 2021/22). With Rimini-Protokoll (Berlin) he has realized the Conference of the absent (Berlin/Dresden 2021). Werner Friedrichs is Academic Director of the Department for Civic Education at the Otto-Friedrich-University Bamberg and Member of the Institute for Didactics of Democracy (Leibniz University of Hannover).

https://www.uni-bamberg.de/didaktik-pug/team/dr-werner-friedrichs/

https://www.researchgate.net/profile/Werner-Friedrichs

Kevin Logan is an artist, researcher, and educator based in London. His work engages cross-disciplinary fields and incorporates installation, sound, moving-image, and performance.

Kevin has exhibited and performed internationally. His audio-visual works have been screened worldwide, including at the Institute of Contemporary Arts, London; the Pompidou Centre, Paris; GlogauAir Art Centre, Berlin; LOOP Festival, Barcelona; Soundcrawl Festival, Nashville, Tennessee; Reelworld Film Festival, Toronto; Videoholica, Varna, Bulgaria; Video Art Festival Miden, Kalamata, Greece; Moozak Festival, Vienna; and the Museum of Contemporary Art, Taipei.

Kevin has designed the sound for several award-winning short films and animations. He has had sound works released on compilation media and broadcast, and currently delivers a monthly hour-long radio show for RTM.FM. He also runs the experimental music Bandcamp label £aBowl Releases.

He has worked collaboratively with a variety of art practitioners and organisations throughout his career and embraces socially engaged practices. He is a founder member of the collective thickear, who formed in London in 2012-2016. Their work engaged concepts of exchange and public transaction, and they have performed participatory works and commissioned pieces throughout Europe.

Kevin studied BA (Hons) Fine Art [1993] and MA Multimedia Arts [1999], both at Liverpool JMU, and MA Sound Arts [2012] at London College of Communication, UAL.

In 2018 he completed a PhD with CRiSAP, at University of the Arts London. This practice-led research explored sonic-thinking through mediation, performance, and pedagogic and curatorial outcomes. His theoretical and experimental texts are published in print and online, and he presents regularly at conferences and symposia.

kevinlogan.co.uk

Abigail Hirsch is artist, curator and educator with an expertise in accessibility. Since completing her Fine Art studies at Goldsmiths, University of London, in 2001 (‘Sound in Relation to Image’, published in NOISEGATE Magazine No 12, 2004), Abigail Hirsch has developed a socially engaged practice with a focus on accessibility in the arts. Partially deaf, her work has been driven by a special interest in sound. She has a track record in creating installations and site-specific work in collaboration with diverse marginalized communities, and mentoring artists with learning disabilities at Action Space supported studio project providing access to fully enable participation in the arts. In 2010, Abigail was invited by the Head of Access at the Royal Academy of Arts, London, to assist with the development of the program, for adults and young visitors with different abilities. Hirsch is a key figure in the development of the Special Educational Needs and Disabilities Access program, and multi-sensory approach at the Royal Academy of Arts. She has completed several commissions creating multi-sensory access resources for other museums, notably ‘Curious Ceramics’, Victoria and Albert Museum’s first sensory back-pack, for visitors with sensory impairments. In addition, Hirsch consults for museums in the area of multimodal education and accessibility. Since 2011 Abigail's activities entail commuting between London, UK and Tel - Aviv, IL
abigail hirsch

Dr. phil. Kerstin Meißner researches, writes and teaches at the intersections of critical pedagogy, cultural practice and educational philosophy. Kerstin's research interests are:

Praxeological and Relational Perspectives on belonging as "becoming-with”
Critical Diversity Studies (focus: Racism Studies, Decolonial Education, Education in the Migration Society, East/German Migration Histories)
Cultural and political education, with special emphasis on socio-ecological-technical transformation and new materialism
Educational potentials of sound, sonic pedagogy, aural literacy
Qualitative social research (focus: discourse and dispositif analysis)
Knowledge production and science communication

kerstinmeissner.net

Michael Gallagher is a Reader in the Faculty of Health and Education at Manchester Metropolitan University. His research is interdisciplinary, exploring sonic methods, sonic geographies, children and young people’s lives in a range of contexts, and theory and methodology in qualitative research. The defining feature of his work is how it draws together elements from diverse influences, as reflected in publications across journals in human geography, childhood studies, sound studies, education, allergy, social work and music. His recent research is animated by a lifelong fascination with audio and other media technologies, linking to activity outside academia in which Michael produces ambient techno music, provides audio mastering services, and writes about music technologies.

www.michaelgallagher.co.uk

Timothy Smith is an artist and researcher working with moving image and sound. His practice explores the intersection of memory, voice, temporality, spectrality, and notions of queer subjectivity. Recent academic research involved detailed analyses of artworks and material practices, identifying a range of subversive strategies implemented by artists intent on amplifying the voices of marginalised communities. These included alternative modes of listening, seeing and feeling that complicate hegemonic notions of history, genre, representation and subjectivity.

Timothy's narrative films have screened at more than 70 international film festivals; winning awards in Milan, Calgary, Oslo and Warsaw. His experimental audiovisual work has screened in London at the BFI London Film Festival, BFI Flare and Fringe! Queer Film Fest; and internationally in Rotterdam, Barcelona, Montréal, Michigan and Washington DC. His most recent film, Queering di Teknolojik was nominated for the 2019 BFI London Film Festival Best Short Film Award and the 2020 Iris Prize. The film won the ‘George Manupelli Founder’s Spirit Award’ at the 2020 Ann Arbor Film Festival and the Best British Short Award at Bristol Queer Vision.

www.lucidfilms.co.uk

Contributor

Eder J. Williams-McKnight is an educator and poet who elevates deep learning and transformational experiences. Her work has included designing and developing curriculum, leading teaching teams, interdisciplinary studies, civic engagement, global literature through the lens of critical pedagogy, DEIBJ leadership, and experience-based learning. Currently, she is a coach for FORGE, a program of the Klingenstein Center of Teachers College at Columbia University, NY, NY.

Contributor

Johannes Salim Ismaiel-Wendt is Professor for Music Sociology and Popular Music Studies at the University of Hildesheim, Germany. He is author of tracks'n'treks. Populäre Musik und Postkoloniale Analyse (2011), post_PRESETS. Kultur, Wissen und populäre MusikmachDinge (2016) and editor of Translating HipHop (2012), Musikformulare und Presets (2018) and Postcolonial Repercussions. On Sound Ontologies and Decolonised Listening (2022). Ismaiel-Wendt is a founding member of the collective ARK [Arkestrated Rhythm Komplexities], a collective for post-representative sound lectures and installations on globally entangled histories of music, sampling cultures and drum machines.

https://www.uni-hildesheim.de/musik/team/professoren/prof-dr-johannes-ismaiel-wendt/

Contributor

Maria Westvall is Professor of Music education at Rhythmic Music Conservatory (RMC) in Copenhagen, Denmark. Her research focuses on music education in a broad perspective, including aspects of intercultural approaches, community music, popular music, and migration and she has directed several research projects on these topics. Maria has presented her research in a number of international contexts, and has been published in books and scientific journals, including Music Education Research, British Journal of Music Education, Journal of Music Teacher Education, International Journal of Community Music, Música em perspectiva, El oído pensante, Intercultural Education, Action, Criticism & Theory for Music Education, Nordic Research in Music Education, Danish Musicology Online, and the Finnish Journal of Music Education. She is currently the director of Copenhagen Centre for Research in Artistic Citizenship (CReArC).

Contributor

Markus Gloe is Professor of Civic Education at the Geschwister-Scholl-Institute for Political Science at Ludwig-Maximilians-Universität Munich. His focus is on researching ways and possibilities of democratic citizenship education. He tries to explore the overlapping with other disciplines (most recently together with Tonio Oeftering: Politische Bildung meets Kulturelle Bildung, Baden-Baden 2021). In addition, the production, use and research of interactive testimonies, VR experiences and digital hubs in the inter- and transdisciplinary project "Learning with Digital Testimonies" (Lediz) are another focus (www.lmu.de/lediz/). He most recently presented a lecture on music and sounds in the context of civic education at the interdisciplinary symposium "Political Music as a Field of Action for Political and Musical Education" at the University of Oldenburg in March 2021.

https://www.gsi.uni-muenchen.de/personen/professoren/gloe/index.html

https://www.researchgate.net/profile/Markus-Gloe

Contributor

Suvani is an artist and researcher based in New Delhi, India. She works with sound, text and intermedia assemblages and has been exploring various modes of transmission such as podcasts, auditory texts, sonic environments, maps, objects, installations, workshops and live interventions. Actively engaged in thinking through the techno-political processes that listening is embedded in, her research interests lie in the speculative capacities of listening, voice, and the histories and politics embedded within the technological processes of production, mediation and perception of sound. Alongside, she has been teaching at several universities and educational spaces where her pedagogical interests conflate with a critical inquiry into the digital and sonic sensorium.

http://www.suvanisuri.com/

https://www.instagram.com/suvanisuri/

Contributor

Born in Yaoundé and currently based in Berlin, Elsa M’Bala aka A.M.E.T. is a sound artist who makes live podcasts as a mixture between DJ’ing and live radio shows, in which field recordings and interviews are shared live with an audience. She performed internationally at Akademie der Künste Berlin (DE); Casino Luxembourg-Forum d'art contemporain (LUX); Dak’Art Biennale (SEN); Gessnerallee Zürich (CH), among others. She made the trailer for the Berlin Biennale 10. A.M.E.T.’s musical journey, and her reflections on race, cultural background, gender and spirituality, challenge preconceptions of how someone’s music should sound based on where they’re from. Her practice breaks with western classical music by creating graphic scores that enable her to include semi tones as it is regular in non western music. By using technology, she amplifies her unique voice and addresses narratives of inclusion and visibility. Her work is also marked by collaborations with musicians, dancers, artists, performers and makers from different backgrounds. Since 2019, Elsa M’Bala also practices as a massage therapist.

Contributor

meLê yamomo is an Assistant Professor of Theatre, and Performance Studies at the University of Amsterdam and author of Sounding Modernities: Theatre and Music in Manila and the Asia Pacific, 1869-1946 . He is Project Leader and PI of Decolonizing Southeast Asian Sound Archives and PI of the project "Sonic Entanglements: Listening to Modernities in Southeast Asian Sound Recordings". meLê is a resident artist at Theater Ballhaus Naunynstrasse where his creations Echoing Europe, sonus, and Forces of Overtones are on repertoire. meLê also curates the Decolonial Frequences Festival and hosts the Sonic Entanglements podcast. In his works as an artist-scholar, meLê engages the topics of sonic migrations, queer aesthetics, and post/de-colonial acoustemologies.

Contributor

Nicole Brittingham Furlonge is Professor and Director of the Klingenstein Center, Teachers College Columbia University. She also serves as Narrative Medicine Core Collaborator at Columbia Medical School and is co-founder of LEARNS Collaborative, a catalyzer for human-centered, equitable change in organizations. A first generation college student, Nicole earned her Ph.D. and B.A. in English from the University of Pennsylvania, and her M.A. from the University of Michigan. Prior to joining Teachers College, Nicole served as Director of Teaching and Learning at the Holderness School. She has taught English and served as English Department Chair and Director of Diversity at several independent schools, including St. Andrew's School (Delaware), The Lawrenceville School, and Princeton Day School. Nicole is the author of Race Sounds: The Art of Listening in African American Literature, published by the University of Iowa Press. Her book demonstrates listening as an essential interpretive and civic act that leads to deeper engagement with others. Nicole has previously served on the boards of People and Stories/Gente y Cuentos and Village Charter School in Trenton, NJ. Currently, she serves on the board of the Center for Transformative Teaching and Learning. Dr. Furlonge’s research examines the intersections between listening, cognitive neuroscience, social justice, and school leadership. She lives in Yonkers, NY with her spouse, Nigel (Klingenstein Center alum), their three children, and their puppy.

https://www.klingensteincenter.org/people/furlonge

Participant

Ingeborg Okkels is sound researcher and sound designer/artist living in Copenhagen, Denmark. She has a PhD degree in Musicology from Copenhagen University, where she has looked into the relation between music technology, sound perception and listening behaviour. She has been a lecturer and writer on audio-related areas, specializing in electronic music, sound art and soundscape. In 2014 Ingeborg Okkels started her own company called Lydværk, which means soundwork or soundworkshop in danish. In Lydværk she develops and facilitates co-creation workshops related to sound art and sound design, building on sound experience and sound awareness that helps students and clients opening up to new ways of exploring and working with sound in different environments and contexts. Her main field is children's sound education (sonic pedagogy/bildung) and how to broaden their sound awareness through sound experience, listening exercises, field recording and soundscape composition. As a sound designer she has worked with improving hospital ambience (inviting natures own soundscapes into Thisted Hospital areas to sooth both patients and staff), designing self sustaining green info audio-stands in different Nature Parks in Denmark, composing sound art space installations with local school pupils at public square Solbjerg Plads for 32 underground loudspeakers spread all over square (winner of the international architectural prize: Golden Cubes Awards 2020/21).

www.lydvaerk.dk

Participant

Selmar Schülein, PhD candidate at the intersections of relational pedagogy, educational philosophy and civic education, is a research associate at the Chair of General Education at the University of Bayreuth and teaches at the University of Bamberg. In the context of the Anthropocene and the social-ecological-technical transformation, his interdisciplinary research focuses on the educational potentials of urban DIY places characterized by intense human-nature-thing relationships; with special emphasis on postqualitative, new materialist and critical posthumanist concepts. He also works as a journalist and writer, publishing essays and features on socio-political issues for some of the largest quality print media in the German-speaking world.

https://www.uni-bamberg.de/didaktik-pug/team/selmar-schuelein/

Participant

Vincent Weickart is a student of vocational education (Berufliche Bildung), student assistant of the department of vocational education in Bamberg and participant of the colloquium of civic education (Politische Bildung) in Bamberg. His field of interest includes the relations between pedagogy/psychology and politics, as well as sound and politics. He is referent of the "freieunibamberg", an open, self-organised series of lectures, which focuses on politics, social-science, history and pop-culture in a critical perspective.

Participant

Irene Revell is a curator, writer and researcher who works with artists across sound, text, performance and moving image. Much of her work since 2004 has been with the London-based curatorial agency Electra, and she has been closely involved with collections including Electra’s Her Noise Archive and Cinenova: feminist film and video, as a trustee and founder-member of the Cinenova Working Group. Since 2014 she has been Curator/Lecturer on the MA Sound Arts, London College of College of Communication where she recently submitted her AHRC-funded practice-based doctoral thesis 'Live Materials: Womens Work, Pauline Oliveros & the feminist performance score' at CRiSAP. She is currently a Postdoctoral Researcher at the Royal College of Art working on artist Aura Satz' Preemptive Listening project.

Participant

Paul is an audio maker from Blackburn in Lancashire. His PhD project ‘You Sound Like a Broken Record’, was voted in the top ten experimental albums of the year by 'A Closer Listen' magazine 2018. His work explores musical materiality, memory, the personal stories attached to music, and how our relationship with listening and the listened to, changes over time. His last album ‘Cobblestones & Kitchari’ was released in May 2020 on Fractal Meat Cuts. He is currently working as a researcher on the 'Migrant Memory and the Postcolonial Imagination' project for Loughborough University.

www.paulnataraj.uk

Participant

Julia Schauerman is an electroacoustic composer and community artist. Collaboration is central to her practice; Julia has been involved in over 30 collaborations in the last 2 years and works closely with digital art group Genetic Moo. Julia’s interests include composing ecologically themed works and exploring the use of electroacoustic techniques within community arts practice. She is currently artist-in-residence at the Leverhulme Centre for Anthropocene Biodiversity at the University of York, where she is collaborating with LCAB researcher Theo Tomking on a work about sustainable food production and is undertaking a knowledge-exchange research project with the Music Dementia Technology team at the University of Sheffield and Sheffcare Ltd, a care provider. Julia is a member of Creative Research into Sound Arts Practice (CRiSAP). Her PhD research concerns the co-composition of acousmatic music.

Website: https://juliaschauerman.com/

Soundcloud: https://soundcloud.com/juliaschauerman - Outdoor Sounds for Indoor Listening: Is an ever-growing collection of Sheffield field recordings that Julia has been making since March 2020. All WAV tracks are free to download, there are currently 301.

Participant

Sunil Chandy works at the interfaces of theology, sound and music animated by ideas of community, identity and belonging. His PhD, ‘Bible Noise,’ engages these ideas by exploring the ritual of reading aloud the Christian bible through sound practices with special attention given to ignored and hidden voices of women and foreigners. He teaches at two theological colleges focussing on the topics of gathered worship, art and music. He has previously been music director for churches both in India and the UK and was a music mentor for students.

Participant

Nicol Parkinson is an artist and researcher working with sound in the fields of music, live art and performance seeking out the connections and confusions between these forms. Their practice investigates the use of sounding strategies in composition and improvisation as they weave through the corporeal, verbal, temporal, social, political and historical spheres. They are slowly building a vocabulary of material approaches, both visible and obscured, embracing flexibility of form, in an effort to avoid settled definition. Nicol has led workshops in improvisation for the Sound Art MA at LCC and has delivered guest lectures at Queer Noise-Making at Anglia Ruskin and Queer Performance and Sound at Chichester University.

Participant
Marcus Wachter is a graphic designer and musician, recently graduated from Werkplaats Typografie in Arnhem (NL), currently based in and working from Leipzig (GER).
“Marcus’ practice is tied to deep-founded research on anarchism, which informs a body of sound and visual works, often combined with collective participation. His works stem from a dense pool of philosophical argumentation and political theory, which he applies in the context of visual and cultural production.” – Mariana Lobão
https://marcus.werkplaatstypografie.org
https://marcuswachter.com

Participant

Steffen Pelzel is a PhD researcher in the field of social science didactics (Politische Bildung) at the University of Siegen. His project and current research, writings and teachings are focusing on the correspondences of educational theory, critical pedagogy and theories of critique – all in confrontation with a political epistemology of human-nature-relations in the anthropocene.

https://www.uni-siegen.de/phil/sozialwissenschaften/didaktik/team/pelzel/?lang=de

https://www.researchgate.net/profile/Steffen-Pelzel

Participant

Shanti Suki Osman is a Berlin-based artist, educator and researcher working with song, sound and radio, exploring the topics of identities, privilege and power, anti-racism and feminisms. She is research associate and doctoral candidate for Music Pedagogy at Carl von Ossietzky University of Oldenburg in Germany. Her PhD research investigates the experiences of women of colour studying popular music in German Musikhochschulen. Recent sound and radio projects and publications include Alternative Acts (Ballhaus Naunynstr, Berlin 2022); Untraining The Ear: A Perfect Fit (Savvy/Deutschlandfunk Kultur Berlin, 2020/21); Ein dekolonisierendes Zuhören?: drei Arten des Zuhörens (Kontextschule Publikation, Art in Context, University of Arts, Berlin, Forthcoming).

Participant

Lisa Hall is a sound artist exploring urban environments through installations and participatory works - investigating connections with our sonic environments. Collaborative and solo works have included air pollution sonification on bikes, curation of urban sound performances, sonic wilding installations, DIY radio making, and reenactments of sonic trends - projects have been shared at Furtherfield Gallery, V&A, Tate Modern galleries, on BBC radio and in various academic journals and conferences. Lisa is part of an international feminist radio group Shortwave Collective, collaborates with the Bicrophonic Research Institute and works at CRiSAP research centre. Lisa is a PhD student at University of Oxford with SONCITIES research project, exploring the social and participatory dimensions of urban sonic experience through sound arts practice.

lisa--hall.co.uk

Participant

Giada Dalla Bontà is a researcher focusing on unofficial Soviet and post-Soviet art and culture, with an emphasis on sound and the politics of experimental sonic practices. A graduate of Ca’ Foscari University of Venice with an MA degree in Slavic and Russian Cultural Studies, she has been working as an independent researcher, curator and writer, supported by grants from the Moscow NCCA, the V-A-C Foundation, the Valand Academy at Göteborg University, and the Garage Museum of Contemporary Art. Throughout her career, she has worked with Lisson Gallery, Mondrian Foundation, HNI Rotterdam, Venice Biennale, and collaborated with independent art projects and experimental music labels.

She is currently based in Berlin and Copenhagen, where she holds a PhD fellowship at the Department of Arts and Cultural Studies at Copenhagen University in association with the Sound Studies Lab.

http://www.soundstudieslab.org/author/giada-dalla-bonta/

https://artsandculturalstudies.ku.dk/staff/?pure=en/persons/730336

Participant

Hector MacInnes is a sound artist and musician from the Isle of Skye on the west coast of Scotland. He works across various disciplines including production, text, performance, installation and radio, often in the context of social engagement and community co-creation. He is currently an artist in residence with the Culture Collective / Co-Chomann Cultair, working with Highland communities impacted by the criminal justice system, and part of Remembering Together, a network of artists working towards community consultations on the memorialisation of the Covid-19 pandemic. He is working towards a PhD at CRiSAP, undertaking practice-as-research into rurality and remotenesss in the context of sounding and listening.

Participant

Jilliene Sellner is a UK based Canadian sonic artist, PhD researcher and curator. She has performed and had installations in the UK, Turkey, Belgium, Germany, Austria and Switzerland. Sellner’s work considers the irrevocably entwined relationship between colonialism, the environment and culture and emphasises the interconnections between the global South, gender, utility, exploitation, defence, leisure and environmental conservation. Her practice sites itself between collaborative distributed listening, live networked performance and soundscape composition. She is a PhD candidate at Goldsmiths University, London. Heya Collective, which Sellner initiated in 2018, occupies a central role in her practice-led research. The collective of herself and three female sound artists from Turkey, Lebanon and Egypt, engages in collaborative, improvisatory musicking in live networked and in-person performances. Heya’s practice articulates Sonic cyberfeminisms as unknowing in acute auditioning strategies in parallel with sonic response and unknowing of the Other. The collective employ durational practices of listening and sharing soundscapes which impart glimpses of destabilised experience and identity, refracted through glitch, latency and failures of the network, distill sonic intentions into a bodiless yet radical inclusivity.

www.jillienesellner.com

heyasounds.wordpress.com

Participant

Cannach MacBride is a white Scottish artist, writer, and editor. They are undertaking PhD research at CRiSAP on more-than-aural listening, based in plural modes of attention and awareness, as a research methodology and a creative practice for honouring and digesting the depth of political-relational dependencies, offering due care and responsibility towards damage done, and nourishing other possible distributions of need, value, and noticing. With Taraneh Fazeli and Relentless Bodies, they are co-editing Sick Time, Sleepy Time, Crip Time – a field guide, a book about co-creating accessible worlds by centring, rather than including, access in arts, culture, and community organising. They are a core writing tutor at PZI, Rotterdam where they learn and teach about research and writing. From 2018–2020, they were part of a collective that ran a queer community center in Rotterdam called Tender Center.

Sounding Knowledge: People

Sounding Knowledge Network: People

AHRC Network Research Project (2022-2023)

Prof. Salomé Voegelin

Dr. Werner Friedrichs

Dr. Kevin Logan

Abigail Hirsch

Dr. Kerstin Meißner

Michael Gallagher

Dr Timothy Smith

Contributors

Eder J. Williams-McKnight

Johannes Salim Ismaiel-Wendt

Maria Westvall

Markus Gloe

Suvani Suri

Elsa M´bala

Mark Peter Wright

meLê yamomo

Nicole Furlonge

Participants

Ingeborg Okkels

Selmar Schülein

Yosa Peit

Julian Schröter

Vincent Weickart

Hannah Kemp-Welch

Irene Revell

Paul Stan Nataraj

Julia Schauerman

Sunil Chandy

Nicol Parkinson

Marcus Wachter

Steffen Pelzel

Shanti Suki Osman

Lukas Barth

Holger Schulze

Lisa Hall

Giada Dalla Bontà

Hector MacInnes

Jilliene Sellner

Cannach MacBride