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And We Danced Episode 3 Credits

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AND WE DANCED WildBear Entertainment, ABC TV and The Australian Ballet acknowledge the Traditional Owners of country throughout Australia and recognise their continuing connection to land, waters and culture. We pay our respects to their Elders past and present. EPISODE THREE Executive Producers Veronica Fury Alan Erson Michael Tear Development Producer Stephen Waller INTERVIEWEES Margot Anderson Dimity Azoury Peter F Bahen Lisa Bolte Adam Bull Ita Buttrose AC OBE Chengwu Guo David Hallberg Ella Havelka Steven Heathcote AM Marilyn Jones OBE Ako Kondoo David McAllister AC Graeme Murphy AO Stephen Page AO Lisa Pavane Colin Peasley OAM Marilyn Rowe AM OBE Amber Scott Hugh Sheridan Fiona Tonkin OAM Elizabeth Toohey Emma Watkins Michael Williams SPECIAL THANKS TO David McAllister AC David Hallberg Nicolette Fraillon AM 1 Artists of The Australian Ballet past and present Artists of Bangarra Dance Theatre past and present Orchestra Victoria Opera Australia Orchestra The Australian Ballet School Tony Iffland Janine Burdeu The Wiggles The Langham Hotel Melbourne Brett Ludeman, David Ward ARCHIVE SOURCES The Australian Ballet ABC Archives National Film and Sound Archive Associated Press Getty The Apiary The Wiggles International Arts Newspix Bolshoi Ballet American Ballet Theater FOOTAGE The Australian Ballet Year of Limitless Possibilities, 2020 Brand Film Artists of The Australian Ballet Valerie Tereshchenko, Robyn Hendricks, Dimity Azoury, Callum Linnane, Jake Mangakahia Choreography David McAllister AM Cinematography Brett Ludeman and Ryan Alexander Lloyd Produced by Robyn Fincham and Brett Ludeman Filmed on location at Mundi Mundi Station, via Silverton NSW The Living Desert Sculpture Park, Junction Mine, The Imperial Fine Accommodation, Broken Hill NSW. With thanks to 2019 Under 15s West Broken Hill Football Club Broken Hill Council, NSW Department of Industry - Lands and Water Aurora’s Wedding (1964) Choreography Marius Petipa Additional Choreography Dame Peggy van Praagh Music Pyotr Ilyich Tchaikovsky Scenery Design Warwick Armstrong Costume Design Kristian Fredrikson Lighting Design William Akers Featured Artists Kathleen Gorham and Garth Welch 2 Aesthetic Arrest (2004) Choreography Adrian Burnett Music John Adams Costume Design Jennifer Irwin Scenery Design Peter England Lighting Design John Rayment Alchemy (1996) Choreography Stephen Page Music David Page Costume Design Jennifer Irwin Scenery Design Fiona Foley Lighting Design Joseph Mercurio Vocals David Page, Leah Purcell, Kirk Page, Connie Mitchell and Ningali Electric and acoustic guitar Steve Francis. 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    18COM01A1806 18COM04A1806 FLOWPAGE ZALLCALL 11 21:26:01 06/17/97 ICOMMENTI l’Unità 17 Mercoledì 18 giugno 1997 INDUSTRIA UN’IMMAGINE DA... L’INTERVENTO Zanussi, Visti in Libano e Somalia l’ultima Loi e i suoi parà non erano scommessa una banda di violentatori LUIGI MARIUCCI MAURO MONTALI UTTI i sistemi maturi di rela- LI EPISODI di violenza av- mesiinSomaliaemièsempre zioni industriali si reggonosu venuti in Somalia sono parso (ma questo, ovviamente, tre pilastri: conflitto, con- semplicemente disgustosi. non conta molto) che i nostri sol- T trattazione, partecipazione. G Orrendo, non saprei quale dati tenessero un comportamen- In Italia invece il sistema è zoppo, altra parola usare, è lo stupro sulla to estremamente corretto. Co- poiché il tema della partecipazione ragazza. Spero che la magistratura munque, ero a Mogadiscio duran- è del tutto assente dalla scena delle vadafinoinfondocosìcomeilmini- te il periodo più «caldo» quando, relazioni industriali. Delle diverse stero della Difesa: quella gente ha cioè, furono uccisi, a freddo, i tre sperimentazioni succedutesi in ma- infangato l’esercito e il paese e me- soldati italiani durante un rastrel- teria non è restato pressoché nulla. rita, pertanto, se verranno appura- lamento d’armi nel tristemente Con buona pace dei rituali dibattiti te le responsabilità, una punizione famoso quartiere del Pastificio. in materia di attuazione dell’art. 46 esemplare. Che per una settimana fu perso. della Costituzione non si va infatti al Credo, però, che la brigata para- In quel periodo si consumò la rot- di là delle modeste pratiche di eser- cadutisti Folgore,nelsuocomples- tura con gli americani e con l’am- cizio dei diritti di informazione e so, sia una cosa ben diversa da miraglio Howe, il quale, essendo consultazione previsti dai contratti come è stata rappresentata in a capo della missione «Restore nazionali di categoria.
  • European Influences in the Fine Arts: Melbourne 1940-1960

    European Influences in the Fine Arts: Melbourne 1940-1960

    INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole.