Jany Pons Ballester began her path with a range of creative work and projects: architecture, design, communication, management of company, and cultural and local development and urban awareness projects.

Through her singing work, which she practiced in parallel since 2001, she gradually developed a repertoire of operatic and traditional songs from Europe and the Mediterranean. In particular she trained with Nadine Abad, Mireille Marie, Koitcho Atanassov, Martine Rol, Alan Bennett, Behnam Keryo, Nabila Zein, Catherine Joussellin, and Georges Petit, and also in Kodaly pedagogy. Furthermore she explored practices of theatre from works of Stanislavski, Chekhov, and Grotowski.

In 2011, drawing on experiences acquired in projects design, structuring and implementation, she decided to focus on creating her own tool. Four years later a collective emerged from this approach: the company Keruzha, both artistic proposal and territorial project.

Within the company, she co–develops a repertory mixing a capella singing–narrative, visual arts, and associated performing arts. One of her major thrusts is to create shared narratives, hence the importance of writing in parallel with singing. Each performance is designed as an invitation to travel, a path of sensorial and poetic exploration fed on the curiosity, on the reflection, and on the care to other.

In parallel, artistic proposals are used to fuel co–construction of projects which could help to forge ties and degrees between the cultural arena and the culture in the anthropological sense, and thus favour a cultural migration able to support and to empower approaches of cooperation and innovation.

Furthermore, because of her practice in accompanying people in palliative care for nearly 20 years, she pays a careful attention to vulnerable audiences. She regularly intervenes in retirement homes and in psychiatric sectors, and she punctually provides workshops for Alzheimer's patients.

The partitions of these audiences led her to a reflection on the theme of common humanity, with the bias to not make distinctions between audiences, but rather to make wider the bounds of possible sharings.

The support of the endowment fund InPACT and the price Innov' assos 2019 then allowed her to move on from work with specifics audiences to work with mixed audiences, through collective creations led by territorial cooperations.

Lastly, this breeding ground of multiple meetings nurture the artistic tool and consequently the upcoming creation of new artistic proposals.