Judith Hamann is a composer and performer born in Narrm/Melbourne, currently based in Berlin. Described by The Guardian as an “extraordinary Australian cellist”, and as a composer who “destroys the fiction of the musician who lives and works outside conventional parameters and puts in its place a series of compositions that are fundamentally humane” by The Wire Magazine. Their work includes performance, electro-acoustic composition, site specific generative work, and micro-tonal systems in a process-based creative practice. In recent research, Judith examines the acts of shaking and humming in their instrumental practice as formal and intimate encounters. They consider this in relation to what they call a de-mastering of bodies, both human and non-human, and further contextualise these acts with settler-colonial heritage and pedagogy. Judith holds a Doctor of Musical Arts from University of California, San Diego, and has performed widely with festivals across the globe, been published by numerous labels and collaborated with artists such as Sarah Hennies, Pascale Criton and Yvette Janine Jackson.