Qiujiang Levi Lu/卢秋江 is an experimental musician, media artist, and composer based in the United States. Lu invents electroacoustic instruments that use the human body as a vessel for transhumanist, embodied sound. They extend the body with cyborg-like augmentations, such as an intraoral microphone speaker feedback system, and an amplified laptop instrument.

Lu’s performances unfold as choreographed, ritual-inflected improvisations that bring Chinese lineages into conversation with contemporary noise and embodied technology. Their work moves through themes of body dysmorphia, queerness, and spirituality that draws audiences into a physical kind of listening where sound feels intimate, unstable, and sometimes unsettling.

A Second Prize winner of the International Electronic Music Competition (2023), Lu’s work has been presented internationally at venues and festivals including MATA Festival, Send + Receive, High Zero, IRCAM Forum, Kallelse Festival, and e-flux. They have received commissions from TAK Ensemble, Popebama, Luke Helker, and Ensemble Decipher, and support including an EY Emergent Futures Fellowship and an incubator member at NEW INC. Lu has been an artist-in-residence at ISSUE Project Room, Harvestworks TIP, and ElektronmusikStudion Stockholm, and is a lecturer in music at the University of Pennsylvania. They have also presented guest lectures, workshops, and performances at institutions including NYU, Carnegie Mellon University, Stanford University CCRMA, Princeton University, USC, Oberlin Conservatory, and Parsons School of Design.

www.levilu.com

DoYeon Kim is an internationally acclaimed artist known for her expansive and pioneering performances and compositions and for introducing the gayageum, an ancient Korean zither, into contemporary music. Trained extensively in jazz and improvisation as well as in the canon of classical Korean music including sanjo, jeongak, and modern gugak, DoYeon channels history, literature, and an ever-evolving sense of the human spirit in a musical language entirely her own through her original compositions, powerful solo performances, and collaborations with artists around the world. Recognized as one of 7 Musicians Pushing Ancient Asian Instruments Into The Future (Grammy.com, 2021), she has received the Van Lier Fellowship (2023) and been nominated for a Korean Grammy Award (crossover category, 2018). Most recently, she was selected as a Next Jazz Legacy awardee (2025), further solidifying her presence in the contemporary jazz scene.

In the course of her traditional training in Korea, DoYeon won numerous competitions including the Dong-A Ilbo Traditional Music and the National Gugak Center Korean Music Competitions. Seeking to bring Korean traditional idioms into conversation with global contemporary music, she later pursued degrees in contemporary improvisation and jazz from the New England Conservatory and from the Berklee Global Jazz Institute—both programs to which she was the first student ever admitted to play a Korean traditional instrument. Following her graduate studies, DoYeon has served on the faculty at the New England Conservatory and The New School, and as a guest lecturer at several universities worldwide including Harvard, Franz Liszt Academy, and Universidad Nacional De Colombia.

DoYeon regularly leads her own music projects, working with ensembles of diverse size and composition, and she frequently collaborates with composers, performers, and artists of all disciplines. She currently serves as an invited composer for the Delirium Musicum string orchestra (2025), Music Director for the ACCX Music Festival Gwangju (2025), and music director and conductor for the Gyeonggi Sinawi Orchestra (2023). She has performed and recorded alongside such notable musicians as Tyshawn Sorey, Mark Dresser, Kris Davis, Peter Evans, Matt Mitchell, Anna Webber, Joe Morris, Tony Malaby, Mat Maneri, Cooper-Moore, and many others. www.doyeonmusic.com

 Rohan Chander (a.k.a BAKUDI SCREAM) is a media artist and electronic musician based in the United States. Described as “hypersensory” (Washington Post), “remarkably alive” (The Wire Magazine), and of “transcendent metamorphosis” (I Care If You Listen), Chander’s work considers questions of postcoloniality in the diaspora through hindoo historical research and speculative fiction. Built on the creative practices of DJs and long form composition, his work manifests as cyberpunk performance art pieces with costumes, dance, music, and light.

Rohan’s ensemble work has been commissioned by organizations such as the Barlow Endowment for Music Composition, Los Angeles Philharmonic, and Matt Marks Impact Fund. His works have been performed by Yarn/Wire, International Contemporary Ensemble, Alarm Will Sound, Chromic Duo, So Percussion, Vicky Chow, and at the Donaueschingen Festival. BAKUDI SCREAM won the 2022 Gaudeamus Prize for Music Composition for his debut solo album, FINAL SKIN on Cantaloupe Music. He has received fellowships from the Folger Shakespeare Library, the California Council for the Arts, and support from Mid Atlantic Arts, REDCAT NOW, The Foundation for Contemporary Art, the Ernst von Siemens Foundation, the Netherlands-American Foundation, and others.

Rohan is active as an electronic and keyboard artist, and has performed notably on several works by GRAMMY and Pulitzer nominated composer Ted Hearne, including ‘over and over vorbei nicht vorbei’ with Komische Oper Berlin, ‘Place’ at the LA Phil and CAL Performances, ‘The Source’ at Festival Musica Strasbourg, and ’Dorothea’ at Carnegie Hall. www.rohanchander.com