ANNUAL REPORT
2018 Storytelling through dance is our passion. 2018 ANNUAL REPORT 03
DONORS & SUPPORTERS & DONORS DI 2 Statement of of Statement Cash Flows Notes to the Statements Financial ABOUT EDC ABOUT REPORTCHAIR’S PROGRAM of Statement Income Comprehensive of Statement PositionFinancial of Statement Equity in Changes F 2 AR 2
REPORT RECTORS’
REPORTS INANCIAL SPONSORS, PARTNERS, 018
REPORT DIRECTOR’S TISTIC PERFORMANCE 018 ACHIEVEMENTS 018
40 41 52 38 39 CONTENTS 04 06 10 14 16 28 36 37
— Oct 2018) Administration Officer Michelle Barnett — Dec2018) (Part-time, Aug Bookkeeper Elizabeth Lepua Accountant Mitchell FCA Karen EDC ENSEMBLE 2018 Richard Causer Scott Ewen Isabella Hood Jake McLarnon Elise May Alana Sargent Assistant Artistic Director Elise May Guest Michelle Barnett Jag Popham Lizzie Vilmanis Understudy Converge Nadia Milford Tiana Pinnell Marketing and Development Manager Marketing and Development Amy Hyslop (to May 2018) Manager Acting Marketing and Sponsorship Liana Cantarutti (from May 2018) Marketing and Development Coordinator (Part-time, May Company Manager Jade Ellis Ensemble Director Youth Riannon McLean Producer David Gerrand (Part-time, to May 2018) Liana Cantarutti (to May 2018) Consultant Marketing Manager Kirsten Bartholomew
Expressions Dance Company @_EDC @edcaus
07 3257 4222 [email protected] expressionsdancecompany.org.au
E Twitter Instagram ABN: 12 010 545 187 2018 OF DIRECTORS BOARD Chair EXPRESSIONS DANCE COMPANY EXPRESSIONS DANCE of Contemporary Arts Centre Judith Wright 3, 420 Brunswick Street Level QLD 4006 Fortitude Valley T W Facebook Marian Gibney Deputy Chair Tony Denholder Tony Rhyll Gardner Hopkins Roxanne Dare Power Alan Scott 18) (appointed Nov. Natalie Weir Christine Johnstone (to April 2018) TEAM 2018 MANAGEMENT Artistic Director Natalie Weir Director Executive Christine Johnstone (to Apr 2018) Manager General Interim Jan IrvineJan (Part-time, Apr – Oct 2018) Acting General Manager Nick Engler (from Oct 2018) Production Manager Nick Engler (to Oct 2018) EXPRESSIONS DANCE COMPANY DANCE EXPRESSIONS 02 2018 ANNUAL REPORT 05
through human emotion through art underpins our identity dancers underpin our reputation community underpins our capacity organization underpins our delivery Australian culture by enrich Australian culture by In 2018, EDC conducted a pilot program for the In 2018, EDC conducted a pilot program for the To communicating contemporary dance theatre. Our Our Our Our
establishment of a youth ensemble, and realising a establishment of a youth ensemble, and realising Ensemble will long-held ambition, a full-time Youth be launched in 2019. OUR VALUES OUR MISSION
of contemporary
eir (2009 — 2018) in performance and sector and in performance sector TX and City Contemporary Dance LD and future
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s commitment to cultural collaboration is excellence The Company’ EDC has a long-standing commitment to sector Under the direction of Natalie W dance in Australia.in dance Annual performance seasons are presented in Brisbane Annual performance seasons are presented other venues, alongside national and and at QPAC international touring initiatives. development, establishing the Brisbane Contemporary Dance Intensive in 2010 (a two-week intensive program of dance masterclasses lead by highly experienced national and international dance artists). The BCDI (Summer and Winter) now attract young dancers from across Australia and internationally. Expressions Dance Company (EDC) has engaged in creative collaborations with a range of music ensembles and performing arts companies including most recently: Opera Queensland, Queensland Conservatorium — Griffith University, Queensland Ballet, Southern Cross Soloists, Trichotomy Voices. and The Australian Dance Exchange articulated through its Chinese Australian leading Project and ground-breaking partnership with China’s contemporary dance companies Guangdong Modern Dance Company, BeijingDance Expressions Dance Company is committed to and tothe contributing development evolution Company (Hong Kong). ABOUT EDC 2018 ANNUAL REPORT 07
of
for
, after a recruitment process which In the 35 year history of Expressions Dance Company The board is delighted to welcome Amy Hollingsworth as engendered much interest, we announced the appointment of Amy Hollingsworth as the new Artistic Director from January 2019. In December In A 10 years, announced her intention not to extend her 10 years, announced her intention not to extend term with the company; and
ArtisticDirectorforthepast ugust, NatalieWeir, the financial, artistic performance, activities. and outreach education Natalie’s Artistic Director. is only its second (EDC), Natalie Weir tenure has been marked by critical acclaim, growth in audiences, revenues and activities, and the development of a solid foundation for the future. Natalie fostered a respectful, supportive and collaborative ethos which underpins all that the company does. On behalf of the board I again extend to Natalie our sincere appreciation for her important contribution to the company and our very best wishes for her future. Amy was an outstanding new Artistic Director. the company’s candidate, demonstrating the qualities needed to develop and vision for the next decade. Following a deliver the company’s Amy is already smooth handover with Natalie in January 2019, future with enthusiasm. look to the making her mark. We 2018 was a successful year in Dance all Company Expressions as: history The year was significant in the company’s CHAIR’S REPORT 2018 ANNUAL REPORT 09
later in the year) as well later in the year) as well LDTX
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2019 is a most important year for the future of the company. 2019 is a most important staff and I sincerely thank my fellow directors, all EDC as in planning for 2020 and beyond. as in planning for 2020 to developing a compelling and exciting forward plan to developing a compelling and exciting for the company. collaboration with BeijingDance Council and Arts Queensland This year we seek Australia Hollingsworth’s core funding for the period 2021 – 2024. Amy us under her arrival as Artistic Director is well timed, enabling and establish vision artistic leadership to reset the company’s With Amy’s the strategic plan for the first half of the 2020s. look forward enthusiasm, deep thinking and expertise, we supporters and dancers, our collaborators, partners, sponsors, look forward to the audiences for their contribution in 2018. We next era for the company. Marian Gibney Chair
The board was pleased to welcome Alan Scott as a I thank Jan Irvine for her considerable support as Interim I thank Jan Irvine for her considerable support The EDC team of dancers, production and administration director late in the year. Alan’s strategic planning and business Alan’s director late in the year. dance, will be skills, as well as his love of the arts and EDC’s an asset to the company. Our program of gradual renewal will continue in 2019. Arts Queensland and the Australia Council for the Australia Arts Queensland and the partner Catalyst – Arts and Culture Arts; our CADEP funding and Arts, Australian Fund, Department of Communications all of our term training partner QUT; Government; our long sponsors, donors and supporters. FORWARD LOOKING Artistically, 2019 will be a transition year between Natalie Weir and Amy Hollingsworth. Mindful of the demands of the transition between Artistic Directors, the production program is reduced compared to recent years. Of necessity given programming lead times, Natalie has set the performance program for the year, which includes her work The Dinner Party (formerly The Host), in May before which she will be involved in delivering at QPAC it tours regionally in Queensland and interstate. Amy has already embraced her role as Artistic Director and is fully engaged in both of the other productions for the year (Echo in May and the PEOPLE as Artistic Director at Clearly the departure of Natalie Weir end is the most significant change in the company’s year’s I should also single out for mention human resources in the year. who will not Elise May, our principal dancer for many years, Elise has delighted be dancing with the company in 2019. dance for over a decade. EDC audiences with her exquisite given to EDC and look forward thank Elise for all that she has We talents. to finding other ways to engage with her many it is In a time of change General Manager from April to October. in this role and critical to have a strong and experienced hand Jan provided that. an enormous staff and teachers is a small one. They achieve talented amount each year because they are highly motivated, people dedicated to the company and the art form. On behalf of the board I thank each of them sincerely for their contribution in 2018.
s reach is a key element of our AC, Power Arts, Brisbane Airport Corporation, Power AC, W Extending the company’ The A to fund the youth ensemble pilot and other youth programs. to fund the youth ensemble pilot and other youth is deeply This campaign was made possible by, and EDC whose Plus1 Australia grateful to Creative Partnerships raised program provided matching funding to money by the company. and staff of City Contemporary Dance Company who, as and staff of City Contemporary the development and worked with EDC on part of CADEP, in a spirit of true cross-cultural performance of 4Seasons collaboration, mutual respect and enthusiasm; Hotel & Alex Perry Billboards, Singapore Airlines, GOA and Core Apartments, Dendy Cinemas, De Bortoli Wines the support of each of these is greatly valued in Yoga; of high quality assisting us to bring the performance program contemporary dance to our local and broader audiences; and Willy T Our sponsors QP campaign All who donated to our “Double Impact for Dance” andthedancers Wong Raymond sao, DominicWong, those mentioned above, I thank all of: our major funding partners e aremostgratefulforthesupportofand,inadditionto FINANCES was a good result, (2017 : $4,432). The 2018 profit ($17,955) though it was Overall revenue increased from the prior year, office fell short below our 2018 targets in some key areas: box of expectations, and cash donations were materially down. strong driver of the ultimate profit, successfully undertaken without reduction in the planned activity or the quality of the continued to build, enhancing the output. Reserves company’s sustainability. company’s drive to increase non-government revenue sources. Increasing our digital presence is vital to this and it is pleasing to see the considerable growth in 2018 in this area. seek a renewal of her contract as Artistic Director did not disrupt the years activities as Natalie remained fully committed to the decisionnotto ugust announcementofNatalieWeir’s company and to ensuring a smooth handover to her successor. I believe that Amy Hollingsworth will quickly develop and share her new vision for EDC, and that the future will be a rewarding experience in which to be involved. In that context, our focus on increasing non-grant revenues is renewed. The focus of Natalie and other staff on cost control was a
. c o n t ong, as part of the Chinese AC which provided exceptional which provided exceptional AC support for both the 4Seasons and Everyday Requiem productions. The delivery of contemporary dance productions carries risk, as audience development is a has been magnificent in supporting EDC slow build. QPAC performances, clearly evidencing its dedication to the continued viability and vitality of this art-form; collaboration with EDC on the Converge season, where audiences were delighted by the talents of our dancers, emerging choreographers and the composers and musicians from the Conservatorium. It is vital to the continued development of each of these art forms, and of our cultural life more broadly, that emerging artists have the opportunity as they did in this production to showcase their work and learn the benefits of collaboration; advanced through a successful pilot program involving advanced through a successful pilot program 30 young dancers. Following the 2018 pilot, the youth ensemble has been established in 2019 as a core element program. of the company’s dancers in choreographer Gabrielle Nankivell’s beautiful dancers in choreographer Gabrielle Nankivell’s Bespoke season; work as part of Queensland Ballets’ the company’s partnership with QUT Creative Industries and BCDI and Focus training intensives; and Australian Dance Exchange Project (CADEP), for the premiere Dance Exchange Australian Playhouse, of 4Seasons; following its season at QPAC’s and 4Seasons then toured to Darwin Entertainment Centre later to the Beijing Dance Festival; showcasing respectively new choreographers and young showcasing respectively new choreographers composers (Converge), a great partnership with the Hong (4 Seasons) City Contemporary Dance Company Kong’s final Signature work for the company and Natalie Weir’s ; (Everyday Requiem) Our production partner QP Queensland Conservatorium — Griffith University for their Education programs continued to flourish, through our Education programs continued to flourish, through was A long-standing goal to establish a youth ensemble In November the EDC ensemble joined Queensland Ballet In November the EDC ensemble joined Queensland The ensemble toured to Hong K The company again delivered 3 Brisbane productions, The company again delivered
2018 PROGRAM output remained high in 2018, including Artistic and educational were warmly received. Specifically: some new initiatives which CHAIR’S REPORT REPORT CHAIR’S I would like to extend EDC’s sincere thanks to: I would like to extend EDC’s EXPRESSIONS DANCE COMPANY DANCE EXPRESSIONS 08 2018 ANNUAL REPORT 11
4Seasons theme Each choreographer interpreted the While each work had its own distinctive style, the I premiered in Hong Kong at the Ko Shan at the Ko 4Seasons premiered in Hong Kong in very different ways, and I believe that for audiences, approaches each to see the different it was exciting choreographer took. three-part program blended the theme of ‘seasons’ beautifully. three-part program blended the theme of ‘seasons’ (Day after Day) A big congratulations to Dominic Wong and Kristina Chan (Summer) for their thought provoking and moving works.
pioneer of contemporary dance Program; thank you Willy Tsao, Chinese Dance Australian Exchange the of proud very am in China, for embracing this collaboration with his three embracing for China, in companies, and thanks to all involved over the years. Willy has tosupport makehis in unwavering been it all happen with a love our through shared vision to meaningfully work together of contemporary dance. It was a privilege to perform with the CCDC dancers to your and it has been audiences. The CCDC dancers are exquisite, a very special collaboration. Theatre, and a big thank you to Managing Director of CCDC for their generosity in and to Willy Tsao Wong, Raymond presenting this program in the new wing of the theatre. , packed with new with, packed new for emerging and established emerging and established for — Griffith University. This was a emplifies EDC’s creative ambition to reach emplifies EDC’s platforms This partnership ex creators, composers and musicians. composers creators, Queensland Conservatorium first-time collaboration with the university which showcased bold and innovative works from contemporary dance creators and music makers who seek to challenge and inspire audiences. new audiences. Converge both engaged contemporary dance younger audience members audiences and also attracted new, with musical interests. Thanks to Professor Scott Harrison, Luff, Peter Director Queensland Conservatorium, Associate Prof. Gerardo and Engagment) and Dr. Deputy Director (Performance Dirie, Head of Compostion for working with EDC on this project. 4SEASONS next production, 4Seasons was part of the Chinese EDC’s (2016–2020) and saw EDC Program Dance Exchange Australian collaborating with City Contemporary Dance Company (CCDC). it is an This collaboration is more than just a dance exchange, of ideas, an intertwining of cultures, and an enormous exchange amount of generosity and respect amongst everyone involved. CONVERGE Our first season was Converge which brought together the 7 dancers from from Expressions Dance Company (EDC), choreographers and China, 12 musicians and 5 composers from the Australia 2018 was a very full year creations, local andcreations, international collaborations and ARTISTIC DIRECTOR’S REPORT DIRECTOR’S ARTISTIC 2018 ANNUAL REPORT 13 WELCOME AMY WELCOME the very Amy Hollingsworth, Director, I wish the new Artistic a new era. Amy has great passion for the best leading EDC into her extensive experience as a dancer, company and brings with and a wide-ranging national and international connections, dancers. With wealth of experience working with and mentoring vision for the future of EDC, her great her strong and exciting of dance programs, talent as both a choreographer and producer that Amy has been appointed to this role, and I am so excited to new heights. extremely confident she will lead the company Natalie Weir Artistic Director
otzas and his extraordinary team It has been an honour to lead this precious company, I would like to thank the board of EDC, in particular A big thanks to John K I feel that I leave EDC in a strong position and hope that The dancers breathe life into this company, and I am The dancers breathe life into this company, May, it was In particular I would like to acknowledge Elise who I also would like to acknowledge Richard Causer and is Alana Sargent also retired from the dance world W the Ensemble in 2018. also chose to step down from full-time dance, to pursue a also chose to step down from full-time dance, return to EDC freelance career and we hope to have Richard the future. as a guest in a similar capacity sometime in I have worked with, and the works we have all created together. their belief in and support of EDC is unparalleled, at QPAC; and I am extremely proud of this ten-year partnership. and I will take with me many great memories of the people Irvine, Jan Chair Marian Gibney, and Interim General Manager, whose help for EDC was greatly appreciated, and the whole EDC team, who kept us moving forward, with integrity grateful to have worked with so many amazing artists. grateful to have worked with so many amazing she focuses now pursuing a career in the digital space where her energy on design, UX and marketing. and passion. THANKS AND FAREWELL 2018 was my 10th year as Artistic Director and it seemed a fitting time for me to step down from the leadership of the company. the legacy of my time there is one of embracing collaboration, valuing integrity, and creating a place of creativity where great art is made without fear. ENSEMBLE to the beautiful dancers who have My thanks go as always Elise May, Richard Causer, worked with EDC this year: Isabella Hood, Scott Ewen, Alana Sargent, Jake McLarnon, Tiana Pinnell, Michelle Barnett, Lizzie Vilmanis, Brian Lucas, and Anastasia Woolmer. Nadia Milford, Jag Popham, she has been disappointing not to have her in my final work, e alsofarewelledScottEwenwhowasamemberof an enormous inspiration for me. Elise decided to step down an enormous inspiration for me. Elise decided as from EDC as a dancer in 2019 taking up a position of Dance at QUT. Associate Lecturer
atricia MacDonald Foundation . c o n t Our BCDI (Brisbane Contemporary Dance Intensive) Our BCDI (Brisbane Contemporary Dance Intensive) T Many thanks to the P and all who contributed to the pilot program through the and all who contributed to the pilot program CPA Plus1 campaign. CPA It is a privilege and an opportunity that requires focus and It is a privilege and an that may be the very commitment. It is a stepping-stone pathway that begins to shape beginnings of an individual creators, dancers who these young people are as individuals, in shaping and performers. EDC is proud of our investment the next generation of dance artists. Our partnership with QUT continues to be of great value, Our partnership with QUT continues to be of dancers. facilitating connection with young and emerging rehearsals, QUT students have access to daily class, dress supports EDC’s and creation periods. This ongoing partnership it was through commitment to develop emerging artists, and to EDC as an this partnership that we welcomed Isabella Hood ensemble member. across the continues to evolve and to attract aspiring dancers also continued to develop our Focus Day, a skills country. We development initiative for high school teachers, a secondment program and in-school workshop activities. ensembleissomethingveryspecial. o beinayouth DEVELOPMENT SECTOR
This was a wonderful experience for the EDC dancers, Unfortunately, dancer Elise May was injured and Unfortunately, dancer Elise May was injured My thanks go to composer and Artistic Director of The My thanks go to composer and Artistic Director is a work that aims to find the extraordinary Everyday Requiem
could not perform. My thanks to Elizabeth Vilmanis (who was could not perform. My thanks to Elizabeth Vilmanis role of the initially rehearsal director) for stepping into the wife so beautifully. with Queensland Ballet. and a big thanks to Amy Hollingsworth for her curation of the program and to Li Cunxin for the opportunity to collaborate YOUTH ENSEMBLE YOUTH In 2018 we undertook a pilot program to explore a suitable model for the establishment of a youth ensemble. Our approach, (former EDC dancer), focused on ably led by Riannon McLean artistry and the art of stagecraft, and working on the versatility and individualism of the dancer to instil a work ethic required for their personal success.
QUEENSLAND BALLET — BESPOKE EDC collaborated with Queensland Ballet, performing Lastly, as part of their Bespoke season. The six EDC dancers joined company dancers, their with six of Queensland Ballet’s Artists and the PreProfessional Program’s Young 12 Jette Parker 2018 cohort in a work created by Gabrielle Nankivell. for such beautiful music Gordon Hamilton, Voices, Australian to make this and to all of the collaborators who came together for coordinating the Wallace work happen. Thanks to Wendy group This wonderful wonderful senior members from WaW. and offers mature women a safe place to come together healthy ageing experience the joy of dance and to celebrate in the 21st Century. EVERYDAY REQUIEM EVERYDAY which for 2018 was Everyday Requiem The last performance Initiative from the Major Festival’s received seed funding of the initial concept, then again in in 2016, for investigation 2017 for creative development. My thanks to Brisbane Festival 2017 for creative development. My thanks to and the MFI for this support. ARTISTIC DIRECTOR’S REPORT REPORT DIRECTOR’S ARTISTIC in the ordinary. Blending two art forms, song and contemporary in the ordinary. Blending two art forms, song moments of our dance, this is the story of ordinary everyday – seen through the lives, that make up the rich tapestry of living the end of his life. eyes of an ordinary man, as he approaches EXPRESSIONS DANCE COMPANY DANCE EXPRESSIONS 12 2018 ANNUAL REPORT 15 USERS 83% WERE NEW USERS 19,470 WEBSITE In 2018, the website was visited by: In 2018, the website was
FACEBOOK LIKES FACEBOOK 1,197 4,153 (2% increase from last year) TWITTER FOLLOWERS (51% increase from last year) (10% increase from last year) ENEWS SUBSCRIBERS (22% increase from last year) 7,882 3,329 INSTAGRAM FOLLOWERS INSTAGRAM SOCIAL MEDIA STATS 2017 to 2018: Number & % growth from
AUDIENCE 44 WORKSHOPS 221 976 PERFORMANCES 13,211 WORKSHOP PARTICIPANTS WORKSHOP PERFORMANCE & PERFORMANCE & STATS PARTICIPATION 2018 ACHIEVEMENTS2018 2018 PERFORMANCE PROGRAM 2018 ANNUAL REPORT 1919
XS Entertainment this bold... and exciting new program breaks fresh ground in contemporary dance ... miss it. don’t Scenestr a thrilling... combining work high-energy movements … stillness beautiful with suspension.and Backstreet Brisbane REVIEWS dance... and music all working brilliantlyvery together ... thought provoking. Cut Common deeply satisfying... a special ... experience. Dance Australia exhilarating.... As always, the dancers Expressions’ give a powerful performance. MUSICIANS (QCGU) Cliff Laura An Nguyen Dario Scalabrini Sasha Walker Jessica Goodrich Samantha Chiu Akari Prior Sarah Hooton Michael Gibson Bryn Keane Crystal Smith Bryer Steven Joe Chow Shani Raman Director Rehearsal Sally Wicks Production Manager Nick Engler Manager Stage Ariana O’Brien Lighting Designer Ben Hughes Costume Designer Alana Sargent Costume Maker Gayle MacGregor Maintenance Wardrobe Frances Pyper Production Electrician Chris Goeldner
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Tiana Pinnell COMPOSERS (QCGU) Isabella Gerometta Jones Tanya Jarvis Miller Parkhurst Padraig Michal Rosiak EDC partnered with the EDC partnered with the — Queensland Conservatorium Griffith University (QCGU) to present Converge, a dynamic choreographic platform for national and international dance artists presenting four new works: Lake), Ceremony (Stephanie Imposters (Richard Causer), Isochronism (Jake McLarnon), and Aftermath (Xu Yiming). Converge continues EDC’s long-standing tradition of original collaborations between live musicians, composers and dancers. DANCERS Richard Causer Scott Ewen Isabella Hood Elise May Jake McLarnon Alana Sargent Jag Popham Anastasia Woolmer Nadia Milford 10 South Bank Conservatorium Theatre, CONVERGE EXPRESSIONS DANCE COMPANY DANCE EXPRESSIONS 18 2018 ANNUAL REPORT 21 REVIEWS ..beautifully... performed by the ensemble. Undoubtedly a success.triumphant Backstreet Brisbane masterful... collaboration ... nothing short magic of End Magazine West CCDC DANCERS Ivan Chan Felix Ke Bobo Lai Lam Peggy Lee Ka-ki Shirley Lok Natalie Mak Noel Pong Qiao Yang Malvina Tam Tsang Terry Tse Tseky Bruce Wong Yu Yve Directors Rehearsal Lizzie Vilmanis, Sally Wicks, Bruce Wong Production Manager Nick Engler Manager Assistant Stage Jessica Schutt Lighting Designer Lawnmanray Visual and Stage Costume design Cindy Ho Pui-shan Sound Design Anthony Yeung Production Lighting Technician Chris Goeldner Wardrobe Assistant Frances Pyper Darwin Entertainment Centre Darwin Entertainment Playhouse QPAC, Brisbane Playhouse QPAC, Ko Shan Theatre, Hong Kong Theatre, Hong Shan Ko 30 June,
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Tianqiao Theater, Beijing Dance Festival 30 July, Tianqiao Theater, 4SEASONS & CADEP 1 14 29 EDC and City Contemporary Dance Company (CCDC, united to present Hong Kong) 4Seasons, a trilogy, with unique each choreographer’s interpretation of the seasons. Summer, choreographed by Kristina Chan is an imagined dystopian future engulfed by extreme temperatures and oppressive atmospheres. It is concerned with global warming and its related effects. Day after Day, choreographed explores by Dominic Wong, the notion that life is filled with alternate departures and reunions, like the changing seasons. 4Seasons, choreographed by is inspired by the Natalie Weir seasons of life. Four couples are at different stages in their the eternal youth lives together, of Spring, the storm clouds the beauty and of Summer, and the tenderness of Autumn ageing of Winter. EDC DANCERS Richard Causer Scott Ewen Isabella Hood Elise May Jake McLarnon Alana Sargent EXPRESSIONS DANCE COMPANY DANCE EXPRESSIONS 20 2018 ANNUAL REPORT 2323 Dance Australia So many transformative moments occur during the 75 minute work, just as they this do in a life is ... musta show you see ... Blue Curtains Brisbane The first night audience leaptto their feet in a standing ovation ... a stunningly beautiful that work pierces the sadness heart with joy, and ultimately celebration ... XS Entertainment REVIEWS hasThere always been much to enjoy and admire about Weir’s impressive. voice … choreographic The Australian an incredibly... poignant and resonant physical piece and ... deeply emotional … Limelight at Weir her very bestIt’s ... absorbingtotally ... THE AUSTRALIAN VOICES THE AUSTRALIAN Sophie Banister Samuel Boyd Isabella Gerometta Hocking Rebecca Jamie Moffatt David Upcher Choreography Natalie Weir Musical Director / Composer Gordon Hamilton Director Rehearsal Elise May & Lizzie Vilmanis Lighting Designer David Walters Associate Lighting Designer Christine Felmingham Designer Bill Haycock Production Manager Nick Engler Manager Stage Ariana O’Brien Head Electrician Chris Goeldner Costume Maker Frances Pyper Assistant Wardrobe Lindsay Wilkins 20 October
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Natalie Weir’s final signature final signature Natalie Weir’s work for EDC. is a poignant and Everyday Requiem uplifting story of life told through dramatic and distinctive Natalie Weir’s choreography alongside the atmospheric acapella vocals of Voices. The Australian DANCERS Richard Causer Scott Ewen Isabella Hood Jake McLarnon Jag Popham Alana Sargent SPECIAL GUESTS Dancers WaW Wallace Dance Liaison: Wendy WaW Jan Addison Felicity Begley-Mills Desleigh Byrne Capelin Steve Nereda Denington Julie Denniss Gary Frontin Beverley Giles Beverley-Anne Jansen Brian Lucas Judy MacSporran Maddern Paula Martin Robyn Shona McKenzie Samson Lynne Lizzie Vilmanis Anni Webster Christine Wickson 12 QPAC Cremorne Theatre, EVERYDAY REQUIEM EVERYDAY EXPRESSIONS DANCE COMPANY DANCE EXPRESSIONS 22 2018 ANNUAL REPORT 25
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EDC’s ensemble was invited as guest EDC’s artists to perform in Queensland Ballet’s 2018 Bespoke season, featuring in a new work by choreographer, Gabrielle Nankivell. QUEENSLAND BALLET — BESPOKE 9 HONG KONG AUSTRALIA AUSTRALIA HONG KONG — BUSINESS ASSOCIATION QLD CHAPTER, ANNUAL BUSINESS AWARDS Brisbane The W, 5 October EDC Ensemble members, Jake McLarnon and Scott Ewen were invited to perform event, at the HKABA Qld Chapter Awards Marian Gibney providing a with Chair, major cultural brief overview of EDC’s collaboration, the Chinese Australian Project 2016-2020. Dance Exchange
21ST AUSTRALIAN AUSTRALIAN 21ST AWARDS DANCE 8 September EDC was invited to participate in the with Ensemble members 2018 Awards, and Scott Ewen Jake McLarnon performing, Isochronism. Richard Causer EDC ensemble member, received a nomination in the Outstanding by a Male Dancer category Performance for Behind Closed Doors. STONNINGTON JAZZ FESTIVAL JAZZ STONNINGTON 12 May EDC ensemble members: Richard Causer, and Michelle Barnett Jake McLarnon performed: A Glimpse Behind , at the Closed Doors + Trichotomy popular Melbourne based Jazz Festival. Elise May also travelled to the Festival to represent EDC.
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Assistant Artistic Director, Elise May was Assistant Artistic Director, invited to participate in The Speakers’ and Ensemble members Jake Panel, and Isabella Hood provided McLarnon Coaching session. a Repertoire SPECIAL PROJECTS SUPERCELL CONTEMPORARY SUPERCELL CONTEMPORARY FESTIVAL DANCE 15 & 17 February EDC was invited to participate in the 2018 Supercell program, presenting a of a new work performance, an excerpt for Lake choreographed by Stephanie forthcoming Converge the company’s offered were also season. Workshops to Festival participants. EDUCATORS AUSDANCE QLD CONFERENCE 5 May Elise May presented Ensemble Member, Note address and workshop. a Key ROYAL ACADEMY OF OF ACADEMY ROYAL 20 DANCE CONFERENCE DANCE 27 May
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Elise May, senior dancer at EDC travelled Elise May, senior dancer to Beijing to teach at the Beijing Dance Camp. During the camp, Elise taught more than 200 dance students over 16 sessions in 5 days; participated in talks presentations, and collaborated on choreography for a gala performance of student work at the conclusion of the program. Dominic Wong, Assistant Artistic Director, Assistant Artistic Director, Dominic Wong, CCDC, spent 4 weeks in Brisbane, working with EDC Ensemble to develop a new work, Day After Day for the forthcoming 4Seasons triple-bill program in June. Simultaneously, Kristina Chan, worked with the CCDC Company in creating her part of the Hong Kong, 4Seasons triple-bill, Summer. WORKSHOPS Brisbane and Darwin June at conducted workshops Dominic Wong whilst in the EDC and Promenade Studios Brisbane, and EDC and CCDC Ensemble members conducted workshops during the Darwin (4Seasons) season. Beijing 30 July Senior EDC Ensemble member, delivered a workshop Richard Causer, for 47 young dancers as part of the Beijing Dance Festival. WORK IN DEVELOPMENT WORK Brisbane & Hong Kong 23 April RESIDENCY Beijing Dance Festival 20 CADEP EXPRESSIONS DANCE COMPANY DANCE EXPRESSIONS 24 2018 ANNUAL REPORT 27 59
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Gabrielle Nankivell Lewis Tony Anastasia Woolmer (Nathan Tight & Core Yoga Chanthalah Webster-Tight) Riannon McLean Daniel Jaber Lisa Wilson Olsen Katina Prying Eye (Lizzie Vilmanis) Jeffery Erica Rose Charles Ball Fiona Cullen Olsen Katina Ruby Donohoe (in addition to the EDC ensemble) BRISBANE CONTEMPORARY BRISBANE CONTEMPORARY INTENSIVE DANCE Dates: 1) Summer (Week 2) Summer (Week Winter QUT Dance EDC Studio, Venue: Grove Kelvin Z9, Studios Summer: Number of Participants Winter: Number of Participants Employment: from around Australia TEACHERS GUEST (Admin & Marketing) (Marketing) ADELAIDE COLLEGE OF THE ARTS (ACA) ADELAIDE COLLEGE OF Maddie Trotter Amelia Walmsley COMPANY SYDNEY DANCE PRE-PROFESSIONAL YEAR (SDC PPY) Claire Griffin Scarlett Atkins NEW ZEALAND SCHOOL OF DANCE (NZSD) Samuel Gilovitz Olivia Foley INDEPENDENT ARTISTS/GRADUATES Ashley Joppich Chloe Lappin Claudia Hastings Grace Buchanan Sasha Brampton Takeuchi Reina Wood Rachael Jordan Bretherton Caitlin Harvey Julia Lamke Pickering Layla Naomi Hibberd STUDIO WORK EXPERIENCE WORK STUDIO Grace Lewis Elorri Ocafrain EXPERIENCE ADMIN WORK Ruby du Preez-Parks Charlotte Thiesfield Clara Morgan Erin Riley Seren Everest INTERNSHIPS Maddison Campbell Breanna Fenton
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(in addition to the EDC ensemble) (Extended Secondment) EDC S 13 A tudio ugust 2018 Charles Ball Courtney Scheu Nadia Milford Amelia Stokes DANCE SECONDMENTS DANCE 24 Secondments from dance training and institutions across Australia New Zealand joined us for a week. Opportunities were also given to independent artists/graduates. QUEENSLAND UNIVERSITY (QUT) OF TECHNOLOGY Jessica Dick Brock Fiedler Caitlin Dabron Hood Lucy ACADEMY AUSTRALIAN WESTERN OF PERFORMING ARTS (WAAPA) Olivia Hendry Thomas Mullane CONTEMPORARY DANCE DANCE CONTEMPORARY WORKSHOPS at the EDC delivered workshops that were request of individual schools customised according to the learning needs of the class. Number of Participants: Number of Workshops: Number of Schools: TEACHERS FOCUS Professional development program for dance teachers focusing on Dance and Technology. Dates: Venue: Attendance: Number of schools represented: DANCE SECTOR DEVELOPMENT SECTOR DANCE
NZSD and QUT scholarship placements will take place in NZSD and QUT scholarship placements will W NZSD have offered 2 scholarship placements to 2 dancers NZSD have offered 2 scholarship placements to offer this EDC has also partnered with QUT to be able same scholarship opportunity to 1 of our ensemble members. same scholarship opportunity to 1 of our ensemble program to one EDC offered a full scholarship to BCDI Summer of our ensemble members. and we are very eager to hear about these April and May 2019, experiences from our students. our CPA Memorial Foundation, and all who donated to MacDonald thePatricia e wouldliketoacknowledge Ensemble Pilot Plus1 campaign, for making the Youth Program the success it was. SCHOLARSHIP OPPORTUNITIES & OUTCOMES enough to be approached by NZSD were lucky We of Dance) head of contemporary, (New Zealand School Steeds-Houston. Paula program who show great talent Ensemble Pilot of our Youth as their next step and promise and who would consider NZSD connection and towards full time training. This is a very exciting as they partner with we look forward to growing this relationship us into the future.
Throughout the program youth ensemble students had Throughout the program youth ensemble students W
work. Bringing the ensemble together and encouraging work. Bringing the ensemble together and encouraging and communication to work together for task work maintain their choreography allowed students to focus and saw real growth in personal growth and development. We confidence in our students as each of our sessions allowed personal input and an environment which supported and nurtured the dancers of tomorrow. well as the exposure to leading industry professionals as relationship EDC Company dancers. Encouraging a close a sustainable with the company was very important to create and environment to ensure the students felt connected on the development emphasis was placed supported. Strong and progressive of both classical and contemporary techniques and group tools for refining choreographic skills for solo Richard with 2 short works choreographed by Jake McLarnon, outcomeofasmallstudioshowing e workedtowardsan Causer and Riannon McLean. 2018 EDC ENSEMBLE YOUTH a resounding Ensemble Pilot Program was The 2018 EDC Youth initiative saw us audition 57 candidates success. This wonderful aged from and we welcomed 30 beautiful young women pilot program over the course ran our 14–18 years of age. We of 8 weeks with a total of 12 sessions. YOUTH ENSEMBLE YOUTH PILOT PROGRAM EXPRESSIONS DANCE COMPANY DANCE EXPRESSIONS 26 DIRECTORS’ REPORT 2018 ANNUAL REPORT 31
s Where the The Red (2013), The Red (2011), When Time Stops J
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R s signature works for EDC include to assist curriculum-based assignments; to assist curriculum-based Brisbane Contemporary Dance Intensive (BCDI); Brisbane Contemporary and high quality resource material In-schools workshops EDC’ Secondments; and Professional Development programs for teachers. withQUT; s partnership In December the company was delighted to announce the A There were no other significant changes in the state of affairs A Natalie’ The Board expressed their appreciation for Natalie’ Heart Is (2010), (2017), Shoes (2014), 7 Deadly Sins (2015), Behind Closed Doors (2018). Other highlights include and Everyday Requiem (2012), While Others Sleep, Raw (2010), Don’t, The Lament Carmen Sweet (2013) and The Host (2015). after a successful decade as the company’s Artistic Director. Artistic Director. after a successful decade as the company’s artistic leadership, the company achieved Under Natalie’s and nominations, significant recognition through national awards Dance and 10 Australian including 10 Helpmann Award nominations. Award appointment of Amy Hollingsworth to the artistic leadership of EDC taking up the position of Artistic Director in January 2019. choreographer, experience as a dancer, With over 20 years’ director and industry advocate, as well as in film and dancer education, Amy is highly regarded for her passion and dance industry. Amy joins leadership within the Australian EDC following 3 years as the Creative Associate and Ballet Mistress at Queensland Ballet where her talent as a curator and choreographer was particularly evident through the successful 2017 and 2018 Bespoke seasons. a director of the company. Novembermeeting,AlanScottwasappointed t theBoard’s of the company during the financial year. SIGNIFICANT CHANGES IN STATE OF AFFAIRS SIGNIFICANT CHANGES IN STATE Director Christine Johnstone left the company In April, Executive following her resignation. t theendofyearEDCsaidfarewelltoNatalieWeir enormous contribution to EDC. Her artistic vision has been embraced by audiences, collaborators and partners alike and her values have created a culture that nurtures and respects artists. Natalie leaves a brilliant and enduring legacy.
Everyday — EDC continued to significantly
— In October a season of
After a successful season in Brisbane (at the After a successful season in Brisbane (at the Queensland Performing Arts Centre) and performances Queensland Performing 4Seasons was presented in June at the in Hong Kong, Darwin Entertainment Centre. The Youth Ensemble — With assistance from Creative The Youth Double Impact the company’s and Australia Partnerships donor campaign, the company developed and launched Ensemble, facilitated by Youth the pilot program of EDC’s choreographer and former EDC dancer, Riannon McLean, Ensemble comprised 31 young The EDC Youth teacher. dancers aged 15 to 18 selected from across South-East Queensland for their solid contemporary technique and unique artistry. Dance Sector Development dance sector contribute to the development of Queensland’s through a variety of initiatives and programs including it’s well established: — EDC united with City Contemporary Dance 4Seasons — EDC united with City a to present 4Seasons Kong) Company (CCDC, Hong by Artistic Director Natalie triple bill with choreography and emerging Australian (CCDC), Dominic Wong Weir, 20 world choreographer Kristina Chan. The work united ground-breaking and China in a class dancers from Australia composer moment for dance featuring music by celebrated The Four Seasons. Max Richter melded with Vivaldi’s Everyday Requiem Chinese China Project — As part of the company’s Project, Dominic Wong, Dance Exchange Australian City Contemporary Dance Assistant Director of Hong Kong’s Company (CCDC), joined the company for a residency in April to choreograph a new work as part of 4Seasons. In to join CCDC for May, the company travelled to Hong Kong the presentation of 4Seasons. And, in June, CCDC joined the In July company in Brisbane to perform 4Seasons at QPAC. the EDC ensemble travelled to China where that work was performed at the Beijing Dance Festival. was presented by the company with the Requiem in the Cremorne Arts Centre (QPAC) Queensland Performing Director, Artistic Theatre, Brisbane. Choreographed by EDC’s dance ensemble performed alongside EDC’s Natalie Weir, with Voices astounding acapella vocals by The Australian guests. Dance as special senior dancers from WaW
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s commitment to its signature — work that speakss commitment to its signature s Board to meet its leadership and s database for strategic audience engagement K with an adequate human resource structure of humanity and connects emotionally with its audience of humanity and connects Converge — In March the company presented Converge at the Queensland Conservatorium Theatre in partnership with the Queensland Conservatorium Griffith University. long tradition of original Converge continued EDC’s collaborations between live musicians, composers and dancers. The production featured new choreography works Xu Yiming, EDC dancers Richard from Beijing Dance LDTX’s and acclaimed contemporary Causer and Jake McLarnon, Lake. dance maker Stephanie individuals and who invest themselves in EDC to create individuals and who invest themselves in EDC ground-breaking work governance accountabilities create new work Allow our audiences to get closer to the art streams Build sustainability by growing existing income Build capacity by finding new income streams Support EDC’ S L artists Support Brisbane-based independent dance Support school-based and tertiary based dance Encourage our community’ Inspire, extend and attract young dancers. Maintain EDC’ Sustain an ensemble of dancers who are passionate T A Continue to build EDC’ Build EDC’ andcapacity organisationalsustainability trengthen EDC’s ead andmentoremergingchoreographers ake ourworktotheworld ttract outstanding,establishedchoreographersto To achieve these objectives, EDC has adopted the achieve these objectives, EDC has adopted To following key strategies: during 2018 included: REVIEW OF OPERATIONS the Natalie Weir, Under the leadership of Artistic Director, company succeeded in achieving its principal objectives through talent presenting a program that highlighted the company’s for collaboration and showcased the stunning talent of the dancers and choreographers. company’s ey performanceandsectordevelopmentactivities
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(resigned 24 April 2018) ;
(Deputy Chairperson) (Chairperson) ;
(resigned 31 December 2018). ;
(appointed on 22 November 2018) eir EDC’ The directors have been in office since the start of the The directors have been in office since the Capacity — A flourishing and dynamic company here for the future. Artform development — Inspired future dancers, choreographers and audiences. — Powerful contemporary dance — Powerful Artistic Excellence theatre that resonates with audiences, and is globally recognised for its unique aesthetic. Development — A company that connects to Audience its community; its place and its audience. Natalie W T Rhyll Gardner R Dare P Alan Scott Christine Johnstone Marian Gibney
ony Denholder Hopkins oxanne ower
s goalsare: reports an operating surplus of $17,955 for the year ended reports an operating surplus of $17,955 turnover 31 December 2018 (2017: $4,432). The company’s of $1.87 million for the year reflected the significant activity turnover during the year and was an increase on 2017’s of $1.84 million. ACTIVITIES PRINCIPAL The principal activity of the entity during the financial year was culture by communicating human emotion to enrich Australian through contemporary dance theatre. Expressions – The Queensland Dance Theatre Limited Expressions – The Queensland Dance Theatre Dare Power was appointed company secretary from the was appointed Dare Power previously held 15 May 2018 replacing Christine Johnson who February 2017 the position of company secretary from 14th until her resignation on 24 April 2018. RESULTS OPERATING otherwise stated. financial year to the date of this report unless SECRETARY COMPANY or since the end of the year are: or since the end of the DIRECTORS in office at any time during, The names of the directors For The Year Ended 31 December 2018 Ended 31 December For The Year DIRECTORS’ REPORT DIRECTORS’ EXPRESSIONS DANCE COMPANY DANCE EXPRESSIONS 30 2018 ANNUAL REPORT 33
8 8 8 6 2 9 9 0
NO. ATTENDED NO. 6 2 9 9 9 9 9 0 NO. ELIGIBLE TO ATTEND Bachelor of Business — Accountancy, ICAA Professional Bachelor of Business — Accountancy, ICAA Professional firm Asmosys. Alan Scott is Principal of the business advisory ALAN SCOTT experience in business consulting Alan has over 30 years’ models, with specialties in business strategy, business change management, facilitation and risk management. after a 28 year Alan commenced Asmosys seven years ago eight years, career with Deloitte. As a Deloitte partner for Deloitte Private practice Alan managed Queensland’s group. building on over ten years in the Deloitte Consulting high-profile Throughout his career Alan has worked with and Rail NSW State clients such as Brambles, Woolworths, many clients in the arts or Alan has also advised Telstra. Brisbane Powerhouse, creative sectors including QPAC, Alan currently serves on the Board of Boite and AGDA. La McDonald House Charities SEQ and Chairs the Risk Ronald Committee in that board capacity. Alan joined the Board on 22 November 2018. and Hong Kong Ballet. Natalie was appointed to the EDC and Hong Kong board in board in January 2009 and resigned from the December 2018. has worked extensively throughout Australia, creating throughout Australia, has worked extensively major classical and the country’s many works for most of Natalie has also created contemporary dance companies. companies such as American Ballet works for international Theatre, Houston Ballet, Singapore Dance Theatre Year Graduate Year
Natalie Weir Alan Scott Dare Power DIRECTOR NAME Denholder Tony Rhyll Gardner Marian Gibney Hopkins Roxanne Christine Johnstone MEETINGS OF DIRECTORS 9 meetings of Directors were held. During the financial year, were: Attendances
erforming Arts (Queensland ustralian Institute of Company Directors; Master ustralian Institute of Company Directors; Master eir was the Artistic Director of EDC for ten years Associate Diploma in P Natalie W Graduate A Dare currently holds the post of Group Administration NATALIE WEIR NATALIE from 2009 to 2018. She is an internationally renowned choreographer who has been choreographing professionally for more than 20 years. In that time she has created over 150 works. She was a founding member of Expressions Dance Company and was offered her first choreographic commission by Expressions at the age of 18. She has since created at least 10 works for the company. Natalie delivery of, the extensive touring strategy. From 2010 to the extensive touring strategy. From 2010 to delivery of, at arTour, Coordinator Tour 2013, she was the National body, securing peak tour coordination Queensland’s budgets of over four million, to tour funding and managing regional Queensland productions to metropolitan and managed her Christine also locations throughout Australia. enabling small to medium own consultancy, Service Station, access companies, particularly those in the arts, to easily Christine effective marketing and communication solutions. resigned from the board in April 2018. POWER DARE (EMBA) (Australian of Business Administration, Executive Film and Graduate School of Management); Master of (Bond University); Bachelor of Arts (Hons), Television (University of Queensland) Manager for his family business — urban development he has key and civil construction company BMD — where information responsibilities including business systems, is also General technology and corporate administration. He Arts production and a Performing Manager of PowerArts, investment company with altruistic goals. Dare has several Arts experience as a director in the Not-For-Profit years’ sector having served previously on the boards of QPIX and the Queensland Arts Council. Currently, Dare sits board of trustees. Dare was appointed to on the QPAC the EDC Board in November 2016, and is on the Market Development Committee. University of Technology)
ecutive having worked ecutive Director in January 2017, ecutive Director in January 2017, Christine joined EDC as Ex R Marian is an experienced legal ex CHRISTINE JOHNSTONE CHRISTINE Bachelor of Arts — Photography (Queensland College of Art) and became a member of the Board in February 2017. and Previously Christine has held the position of Touring Program Coordinator at Queensland Theatre, Regional where she jointly devised, and was responsible for the Board in February 2015 and commenced her tenure as Board in February 2015 and commenced her EDC Chair in March 2015. HOPKINS ROXANNE Bachelor of Business — Management (Queensland University of Technology) extensive experience has Roxanne and Ticketing) at QPAC. in marketing, ticketing, customer service, and fundraising. She has held senior management positions with South Bank Operations and Macquarie Leisure Corporation, Youngcare, and World), Limited (Dreamworld and WhiteWater was appointed to the Brisbane Marketing. Roxanne Board of EDC in October 2017. MARIAN GIBNEY Institute of Company Directors, Member of Australian BA/LLB (Hons) (University of Queensland) where Ltd with companies including ANZ and MIM Holdings transactions she has dealt with a diverse range of significant she sector, and major operational events. In the not-for-profit in setting has had extensive experience as a board member fundraising and reviewing organizational strategy, including with and stakeholder engagement strategies, together governance and monitoring organisational performance. include the National Museum board appointments Past Queensland Art Gallery Foundation Board, of Australia, and Tarong University of Queensland Foundation Board the EDC Energy Corporation. Marian was appointed to Directors, was awarded the Finsia prize for excellence in the Finsia prize for excellence Directors, was awarded and she is a former finalist in the financial services in 2008 board in Rhyll joined the Awards. Businesswomen’s Telstra and Risk Committee. Audit 2013 and is Chair of the
Director—Visitation(Marketing istheExecutive oxanne
. c o n t ecutive Director and Management Rhyll is a Non-Ex T Consultant. She has had a successful executive career in Consultant. She has had a successful executive financial services over 25 years in strategy, marketing, finance, risk and people at General Management and CEO level including start-ups, turnarounds and challenger brands. Rhyll has also had over ten years of board and committee experience across finance, arts, retail, social services, and education sectors. She is currently also a director of Foresters Community Finance, Social Investment Australia and Innovation & Business Skills The Blue Space Pty Ltd, Ltd, Her prior directorships have included Queensland Australia. School and YWCA. Margaret’s Symphony Orchestra, St. Institute of Company She is a Graduate of the Australian RHYLL GARDNER MBA (INSEAD), Master of Arts (Macquarie Executive University), Master of Applied Finance (Macquarie University), Bachelor of Commerce (University of Queensland), Bachelor FFin. of Economics (University of Queensland), GAICD, as a lawyer since 1993. He is a member of the Queensland as a lawyer since 1993. He is a member of the Society and is a Solicitor in the Supreme Court of Law and the Supreme Queensland, the High Court of Australia is a Board Member of the Tony Australia. Court of Western to Queensland Symphony Orchestra and was appointed is currently Deputy the EDC Board on 1st March 2005. Tony Risk Committee. and Chair of EDC and a member of the Audit TONY DENHOLDER TONY Bachelor of LLB (Queensland University of Technology), Civil Laws (Oxford)
havingpracticed ony isapartnerwithAshurstAustralia, INFORMATION ON DIRECTORS INFORMATION FUTURE DEVELOPMENTS to explore and management and board continue EDC’s to enable the company to be more implement new strategies years. This includes developing sustainable over the coming including new new non-government funding income streams continues to partnerships and collaborations. The company the operational review and implement changes in respect of to ensure close and financial management of the company The purpose of monitoring of its results, reserves, and cash flows. plan. strategic such initiatives is to deliver on the company’s For The Year Ended 31 December 2018 Ended 31 December For The Year DIRECTORS’ REPORT REPORT DIRECTORS’ EXPRESSIONS DANCE COMPANY DANCE EXPRESSIONS 32 2018 ANNUAL REPORT 35
AUDITOR’S INDEPENDENCE INDEPENDENCE AUDITOR’S DECLARATION declaration under Auditor’s independence the Australian Charities and section 60-40 of Commission Act 2012 Not-For-Profits LIMITED THEATRE OF EXPRESSIONS — THE QUEENSLAND DANCE THE DIRECTORS TO: during the year ended belief, I declare that, to the best of my knowledge and 31 December 2018, there have been: independence requirements as set out in the (i) no contraventions of the auditors’ Act 2012 in relation to the audit; and Charities and Not-for-profits Commission Australian of professional conduct (ii) no contraventions of any applicable code in relation to the audit. AUDIT PKF HACKETTS Liam Murphy Partner 1 April, 2019 .
c o n t
AUDITOR’S INDEPENDENCE DECLARATION AUDITOR’S as independence declaration The copy of the auditor’s Charities required under section 60-40 of the Australian set out at and Not-for-profits Commission Act 2012 is The company is incorporated under the Corporations Act 2001 The company is incorporated by guarantee. If the company is and is a company limited Marian Gibney Chair / Director 1 April, 2019 For The Year Ended 31 December 2018 Ended 31 December For The Year of association state that each member wound up, the articles a maximum of $20 each towards is required to contribute 31 At meeting any outstanding obligations of the company. 17 (2017: 14). December 2018 the number of members was page 31. Signed in accordance with a resolution of the Board of Directors: DIRECTORS’ REPORT REPORT DIRECTORS’ EXPRESSIONS DANCE COMPANY DANCE EXPRESSIONS 34 2018 ANNUAL REPORT 37 — — — 4,432 4,432 4,432 4,432 4,432 (11,136) 2017 $ (62,873) (54,653) (730,731) (977,425) 1,841,250 — — — 17,955 17,955 17,955 17,955 17,955 (9,456) 2018 $ (84,061) (54,877) (726,318) (981,858) 1,874,525 3 2 1(a) NOTE
Other comprehensive income for the year, net of tax Other comprehensive income for the year, Surplus for the year Other comprehensive income REVENUE IN AUD EXPENDITURE Employee benefits expense comprehensive income for the year Total Surplus attributable to members of the entity income attributable to comprehensive Total members of the entity Depreciation expense Marketing and promotion Income tax expense Occupancy expense Surplus before income tax Other expenses The accompanying notes form part of these financial statements. STATEMENT OF COMPREHENSIVE INCOME STATEMENT 2018 Ended 31 December For The Year ANCE THEATRE LIMITED ANCE THEATRE THE QUEENSLAND D
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EXPRESSIONS ABN 12 010 545 187 FINANCIAL REPORTS 2018 ANNUAL REPORT 39 — — 4,432 4,432 17,995 17,955 180,973 185,405 203,360 TOTAL $ — — 4,432 4,432 17,955 17,995 180,973 185,405 203,360 RETAINED RETAINED EARNINGS $ EARNINGS $ NOTE Total Comprehensive Income Total Balance at 31 December 2018 Balance at 31 December 2017 Total Comprehensive Income Total Comprehensive income Surplus for the year Other comprehensive income Other comprehensive income Comprehensive income Surplus for the year Balance at 1 January 2017 Balance at 1 January IN AUD The accompanying notes form part of these financial statements. STATEMENT OF CHANGES IN EQUITY STATEMENT 2018 Ended 31 December For The Year 10,016 14,238 15,888 15,888 2017 $ 43,889 43,889 38,409 24,998 415,896 185,405 459,785 274,380 380,882 258,492 205,845 185,405 185,405 — — 1,872 17,048 41,783 41,783 21,242 29,652 356,141 2018 $ 541,304 564,418 402,841 402,841 606,201 203,360 203,360 203,360 7 4 8 9 6 5 10 10 NOTE TOTAL EQUITY TOTAL Provisions Other current liabilities Liabilities Current Total Non-Current Liabilities Provisions LIABILITIES Current Liabilities and other payables Trade Liabilities Non-Current Total LIABILITIES TOTAL NET ASSETS EQUITY earnings Retained Other current assets Current Assets Total Non-Current Assets Plant and equipment Non-Current Assets Total ASSETS TOTAL Trade and other receivables Trade ASSETS Current Assets Cash and cash equivalents IN AUD
For The Year Ended 31 December 2018 Ended 31 December For The Year STATEMENT OF FINANCIAL OF POSITION STATEMENT The accompanying notes form part of these financial statements. EXPRESSIONS DANCE COMPANY DANCE EXPRESSIONS 38 2018 ANNUAL REPORT 41
22.5% / 33% DEPRECIATION RATE DEPRECIATION ALENTS s carrying amount is written down immediately to s carrying amount is written down immediately Plant and equipment CLASS OF FIXED ASSET CASH AND CASH EQUIV EMPL Contributions are made by the entity to an employee The depreciation rates used for each class of The depreciation rates used for each class of An asset’ by Gains and losses on disposals are determined
comparing proceeds with the carrying amount. These gains or comparing proceeds with the carrying amount. income. losses are included in the statement of comprehensive When revalued assets are sold, amounts included in the revaluation reserve relating to that asset are transferred to retained earnings. depreciable assets are: its recoverable amount if the asset’s carrying amount is greater its recoverable amount if the asset’s than its estimated recoverable amount. The assets’ residual values and useful lives are reviewed, and residual values and useful The assets’ period. adjusted if appropriate, at the end of each reporting (C) liability for employee Provision is made for the company’s benefits arising from services rendered by employees to the BENEFITS OYEE end of the reporting period. Employee benefits have been measured at the amounts expected to be paid when the liability is settled, plus related on-costs. superannuation fund and are recognised as expenses when incurred. (D) Cash and cash equivalents include cash on hand, deposits held at call with banks, other short-term highly liquid investments with original maturities of three months or less, and bank overdrafts. Bank overdrafts are shown within short-term borrowings in current liabilities on the statement of financial position.
Plant and equipment measured on the cost basis less Plant and equipment is losses. depreciation and impairment Depreciation assets, is depreciated The depreciable amount of all fixed life useful on a reducing balance basis over the asset’s is held to the entity commencing from the time the asset ready for use.
cept for the cash flow AX
INCOME T The financial statements, ex The financial statements were issued on the date of signing Expressions – The Queensland Dance Theatre Limited Expressions – The Queensland Dance Theatre PLANT AND EQUIPMENT
is an Australian Public Company limited by Guarantee, is an Australian incorporated and domiciled in Australia. NOTES TO THE FINANCIAL TO NOTES STATEMENTS 2018 Ended 31 December For The Year 1: NOTE GENERAL INFORMATION AND BASIS AND BASIS GENERAL INFORMATION OF PREPARATION information, have been prepared on an accruals basis and are based on historical costs unless otherwise stated in the notes. The accounting policies that have been adopted in the preparation of this report are as follows: Declaration by the directors of the company. the Directors’ POLICIES ACCOUNTING (A) No provision for income tax has been raised, as the company from income tax under Division 50 of the Income is exempt Assessment Act 1997. Tax (B) Each class of plant and equipment is carried at cost or fair value as indicated, less where applicable, any accumulated depreciation. The financial statements are a special purpose financial report The financial statements requirements of that has been prepared in order to satisfy the Act Charities and Not-for-profits Commission the Australian BASIS OF PREPARATION in accordance The financial statements have been prepared applicable Accounting Standards with the mandatory Australian Charities and to entities reporting under the Australian significant Not-for-profits Commission Act 2012 and the the directors which accounting policies disclosed below, needs of members. have determined are appropriate to meet the Such accounting policies are consistent with those of previous period unless otherwise stated. 2012. The directors have determined that the company is not 2012. The directors have determined that the who are dependent a reporting entity because there are no users company is a on its general purpose financial reports. The under not-for-profit entity for financial reporting purposes Accounting Standards. Australian 273 1,944 13,304 (7,623) 2017 $ (21,200) 558,778 (20,927) 388,505 380,882 1,096,915 (1,644,333) — 1,697 (7,350) (7,350) 167,772 2018 $ 160,422 1,188,911 380,882 603,458 541,304 (1,626,294) 11 4(a) NOTE Cash and Cash Equivalents at the End of the Financial Year Cash and Cash Equivalents at the End Net Cash used in Investing Activities Net increase (decrease) in cash held of the financial year Cash and cash equivalents at beginning CASH FLOWS FROM INVESTING ACTIVITIES FROM INVESTING CASH FLOWS for plant and equipment Payments Proceeds from sale of assets Net Cash generated from Operating Activities Net Cash generated from Operating Payments to suppliers and employees Payments CASH FLOWS FROM OPERATING ACTIVITIES OPERATING FROM CASH FLOWS subsidies receipts Operating grants and customers from Receipts Interest received IN AUD
The accompanying notes form part of these financial statements. For The Year Ended 31 December 2018 Ended 31 December For The Year STATEMENT OF CASH FLOWS STATEMENT EXPRESSIONS DANCE COMPANY DANCE EXPRESSIONS 40 2018 ANNUAL REPORT 43
NEW A
(O) FOR CCOUNTING STANDARDS the new or amended Australian Accounting Standards. Standards. Accounting the new or amended Australian to significantly impact are not expected These Standards the company. APPLICATION IN FUTURE PERIODS APPLICATION Board has issued new Accounting Standards The Australia and Interpretations that and amended Accounting Standards reporting periods. have mandatory application dates for future of any of The company does not anticipate early adoption receipt of the grant. Where the amount received is in respect receipt of the grant. Where 12 months over a period that exceeds of services to be provided or the conditions will only be satisfied after the reporting date the reporting date, the liability is more than 12 months after discounted and presented as non-current.
THER PAYABLES CCOUNTING ESTIMATES AND JUDGMENTS CCOUNTING ESTIMATES ECONOMIC DEPENDENCE DEFERRED INCOME TRADE AND O CRITICAL A COMP
(M) Expressions — The Queensland Dance Theatre Limited is Arts Queensland for Government’s dependent on the State a significant amount of its revenue used to operate the business. In late 2016 the company successfully secured 4 year As a operational funding for the company from 2017-2020. result, at the date of this report the Board of Directors has no reason to believe Arts Queensland will not continue to support Expressions — The Queensland Dance Theatre Limited. (N) The liability for deferred income is the unutilised amounts of grants received on the condition that specified services are delivered or conditions are fulfilled. The services are usually provided or the conditions usually fulfilled within 12 months of (J) figures comparative Standards, Where required by Accounting conform with changes in presentation have been adjusted to FIGURES ARATIVE year. for the current financial (K) and other payables represent the liability outstanding Trade and services at the end of the reporting period for goods period that received by the company during the reporting a current liability remains unpaid. The balance is recognised as days with the amount being normally paid within 30 of recognition of the liability. (L) incorporated The directors evaluate estimates and judgments knowledge into the financial statements based on historical assume a and best available current information. Estimates are based on reasonable expectation of future events and both externally current trends and economic data, obtained and within the company. Estimates Key Impairment The company assesses impairment at the end of each reporting period by evaluating conditions and events specific to the company that may be indicative of impairment triggers.
. c o n t LEASES PROVISIONS Finance leases are capitalised by recording an asset Finance leases are capitalised by recording L Cash flows are presented on a gross basis. The GST Cash flows are presented IMP
)
I
and a liability at the lower of the amounts equal to the fair and a liability at the lower of the amounts equal of the value of the leased property or the present value minimum lease payments, including any guaranteed residual payments are allocated between the reduction values. Lease of the lease liability and the lease interest expense for the period. legal ownership) are transferred to entities in the economic legal ownership) are transferred to entities in entity, are classified as finance leases. the obligation at the end of the reporting period. (H) assets, where substantially all the risks and of fixed Leases (but not the benefits incidental to the ownership of the asset the shorter of their estimated useful lives or the lease term. eased assetsaredepreciatedonastraight-linebasisover payments for operating leases, where substantially all Lease as are charged the risks and benefits remain with the lessor, expenses on a straight-line basis over the lease term. ( company reviews the end of each reporting date, the At AIRMENT OF the carrying values of its tangible and intangible assets to ASSETS arising from investing or financing components of cash flows from, or payable to, the ATO activities which are recoverable cash flows included in receipts are presented as operating (G) has a legal or Provisions are recognised when the company for which it constructive obligation, as a result of past events, will result and is probable that an outflow of economic benefits recognised that outflow can be reliably measured. Provisions to settle represent the best estimate of the amounts required determine whether there is any indication that those assets have been impaired. If such an indication exists, the recoverable fair value amount of the asset, being the higher of the asset’s less costs to sell and value in use, is compared to the asset’s carrying value over its of the asset’s carrying value. Any excess recoverable amount is expensed to the statement of comprehensive income. from customers or payments to suppliers.
AX (GST) R Donation revenue is recognised upon receipt of monies. All revenue is stated net of the amount of goods and R The company receives reciprocal contributions of income The company receives reciprocal contributions When grant revenue is received whereby the company When grant revenue is received whereby the If conditions are attached to the grant which must be If conditions are attached to the grant which REVENUE GOODS AND SERVICES T
services tax (GST). satisfied before it is eligible to receive the contribution, the satisfied before it is eligible to receive the contribution, until those recognition of the grant as revenue will be deferred conditions are satisfied. incurs an obligation to deliver economic value directly back incurs an obligation to deliver economic value to the contributor, this is considered a reciprocal transaction to the contributor, of financial and the grant revenue is recognised in the statement delivered position as a liability until the service has been the grant is recognised as otherwise to the contributor, income on receipt. amount of GST receivable or payable. The net amount of GST eceivables andpayablesarestatedinclusiveofthe is included with other recoverable from, or payable to, the ATO receivables or payables in the statement of financial position. (F) expenses and assets are recognised net of the Revenues, where the amount of GST incurred is not except amount of GST, Office (ATO). Taxation recoverable from the Australian the delivery of the service to the customers. Interest revenue is recognised using the effective interest rate method, which for floating rate financial assets is the rate inherent in the instrument. evenue fromtherenderingofaserviceisrecognisedupon them by other in the form of contracted services provided to for contracted services rendered to them parties in exchange received is by the company. Income in respect of the services are carried out recognised at fair value on the date the services in the statement of comprehensive income, with a corresponding expense recognised at that date. No cash changes hands in respect of these transactions.
(E) is recognised in the statement of Non-reciprocal grant revenue when the company obtains control of the comprehensive income that the economic benefits gained from grant and it is probable amount of the grant the grant will flow to the company and the can be measured reliably. For The Year Ended 31 December 2018 Ended 31 December For The Year NOTES TO THE FINANCIAL STATEMENTS THE FINANCIAL TO STATEMENTS NOTES EXPRESSIONS DANCE COMPANY DANCE EXPRESSIONS 42 2018 ANNUAL REPORT 45 10,016 10,016 2017 $ 2017 $ 2017 $ 24,998 24,998 380,882 380,882 380,882 380,882 1,872 1,872 21,242 21,242 2018 $ 2018 $ 2018 $ 2018 $ 541,304 541,304 541,304 541,304
ALENTS / IN AUD THER RECEIVABLES / IN AUD THER RECEIVABLES THER ASSETS / IN AUD TRADE AND O O CASH AND CASH EQUIV
R Cash and cash equivalents
(a) as shown in the statement of cash flows Cash at the end of the financial year econciliation ofCash of financial position as follows: is reconciled to items in the statement NOTE 4: NOTE 5: NOTE 6: NOTE Current Cash at bank Current receivables Trade Current Prepayments 77 1,944 7,350 5,844 4,603 46,193 54,018 61,882 74,879 67,555 34,632 70,024 2017 $ 2017 $ 176,186 176,186 29,609 730,731 262,474 205,076 203,899 1,089,550 1,841,250 — 98 . 1,697 7,500 4,278 54,671 38,312 48,037 76,038 69,865 2018 $ 2018 $ 2018 $ 2018 $ 88,550 35,500 238,231 238,231 195,348 193,689 156,894 103,990 726,318 1,049,914 1,874,525 c o n t UD THER EXPENSES / IN AUD REVENUE / IN A O
Production, marketing and injury management Venues Sets and costumes Other production costs Fees and accommodation costs Travel Auditing the financial statements Auditing
General income Operating Activities Total Interest Public subsidies / grants Participation fees Participation Sponsorship and partnerships — In-Kind Membership Merchandising Sponsorship, partnerships and donations — Cash Sponsorship, partnerships and donations Other miscellaneous expenses Expenses Other Total Production costs: Performance contracts Performance NOTE 3: NOTE NOTE 2: NOTE Loss on sale of assets Loss In-Kind Expenses: Auditor’s remuneration: Auditor’s Operating activities productions Ticket Sales for self-promoted
For The Year Ended 31 December 2018 Ended 31 December For The Year NOTES TO THE FINANCIAL STATEMENTS THE FINANCIAL TO STATEMENTS NOTES EXPRESSIONS DANCE COMPANY DANCE EXPRESSIONS 44 2018 ANNUAL REPORT 47 5,791 11,136 7,587 8,447 4,432 4,603 (5,317) 20,171 (6,315) 15,888 (2,822) 2017 $ 2017 $ 13,304 14,238 15,888 — — — 9,456 6,896 10,152 17,995 27,411 12,395 17,048 (9,252) 2018 $ 2018 $ 2018 $ (13,078) 167,772 150,296 OW INFORMATION / IN AUD INFORMATION OW VISIONS / IN AUD PRO CASH FL
Cash flows provided by/(used in) operating activities Non-Cash Transactions in-kind revenue of $238,231 and in-kind expenses During the financial year, of $238,231 have been included within income and expenditure in respect of ‘barter’ contractual arrangements, refer to notes 2 and 3. These transactions are not reflected in the statement of cash flows. Changes in Assets and Liabilities (Increase)/decrease in receivables and other receivables (Decrease)/increase in trade and other payables (Decrease)/increase in other liabilities (Decrease)/increase in provisions Net loss on sale of assets Provision for long service leave Depreciation NOTE 10: NOTE Non-Current Provision for long service leave 11: NOTE Current leave Provision for annual Tax of Cash Flow from Operations with Deficit after Income Reconciliation Surplus/(deficit) after income tax — 7,350 9,995 8,929 19,485 31,995 41,783 (9,456) 2017 $ 2017 $ 2017 $ 43,889 43,889 38,409 139,224 173,850 (95,335) TOTAL $ 205,845 — 787 . 7,350 8,756 20,109 41,783 41,783 (9,456) 43,648 43,889 2018 $ 2018 $ 2018 $ 2018 $ 2018 $ 29,652 146,575 312,493 356,141 (104,792) c o n t PLANT AND PLANT AND EQUIPMENT $ EQUIPMENT $ UD THER PAYABLES / IN AUD THER PAYABLES THER LIABILITIES / IN AUD O TRADE AND O PLANT AND EQUIPMENT / IN A PLANT AND EQUIPMENT
Depreciation expense Carrying Amount at the End of Year Disposals 2018 Balance at the beginning of the year Additions NOTE 9: NOTE NOTE 8: NOTE NOTE 7: NOTE Income in advance Current payables Trade Current Grants received in advance Less accumulated depreciation Less Plant and Equipment Total GST payable Sundry payables Non-Current Plant and Equipment Non-Current Plant cost At
For The Year Ended 31 December 2018 Ended 31 December For The Year NOTES TO THE FINANCIAL STATEMENTS THE FINANCIAL TO STATEMENTS NOTES EXPRESSIONS DANCE COMPANY DANCE EXPRESSIONS 46 2018 ANNUAL REPORT 49
ustralian Accounting Standards as described in Note 1 to the financial ustralian Accounting Standards complying with A of the company as at 31 December 2018 giving a true and fair view of the financial position and of its performance for the year ended on that date. and of its performance for the year ended on statements and the Australian Charities and Not-for-profits Commission Regulation 2013; and Not-for-profits Commission Charities and statements and the Australian
DIRECTORS’ DECLARATION DIRECTORS’ 2018 Ended 31 December For The Year (a) (b) 2. Having regard to those matters referred to in Note 1(m), in the directors’ opinion there are in Note 1(m), in the directors’ 2. Having regard to those matters referred to will be able to pay its debts as and when reasonable grounds to believe that the company they become due and payable. a resolution of the Board of Directors. This declaration is made in accordance with Marian Gibney Chair / Director 1 April, 2019 The directors have determined that the company is not a reporting entity and that this that the company is not a reporting The directors have determined special purpose financial report should be prepared in accordance with the accounting report should be prepared in accordance special purpose financial 1 to the financial statements. policies described in Note The directors of the company declare that: out on pages 33 to 44 satisfy the requirements 1. The financial statements and notes, as set Charities and Not-for-Profits Commission Act 2012 including: of the Australian 8,6187 27,709 2017 $ 38,327 . 6,618 6,320 2,298 2018 $ 2018 $ c o n t
UD ARANTEE ANY DETAILS T-REPORTING DATE EVENTS DATE T-REPORTING LEASING COMMITMENTS / IN A LEASING COMMITMENTS POS COMP CONTINGENT LIABILITIES MEMBERS’ GU
Payable later than 1 year but not later than 5 years Payable NOTE 12: NOTE The company has the following operating lease commitments at the end of at the end of following operating lease commitments The company has the that commenced respect of the rental of a photocopier the financial year in expires on 30 September 2022. on 1 October 2017 and not later than 1 year Payable
The registered office and principal place of business of the company is: Expressions — The Queensland Dance Theatre Limited Centre of Contemporary Art 3, Judith Wright Level QLD 4006 VALLEY FORTITUDE 420 Brunswick Street NOTE 15: NOTE No adjusting or significant non-adjusting events have occurred between the reporting date and the date of authorization. 16: NOTE NOTE 14: NOTE been incurred by There are no contingent liabilities that have the company in relation to 2018 and 2017. NOTE 13: NOTE Act 2001 The company is incorporated under the Corporations company is wound and is a company limited by guarantee. If the member is required up, the articles of association state that each meeting any to contribute a maximum of $20 each towards 31 December 2018 outstanding obligations of the company. At the number of members was 17 (2017: 14). For The Year Ended 31 December 2018 Ended 31 December For The Year NOTES TO THE FINANCIAL STATEMENTS THE FINANCIAL TO STATEMENTS NOTES EXPRESSIONS DANCE COMPANY DANCE EXPRESSIONS 48 2018 ANNUAL REPORT 51 We communicate with those charged with governance regarding, with those charged with governance regarding, communicate We the planned scope and timing of the among other matters, audit findings, including any significant audit and significant control that we identify during our audit. deficiencies in internal PKF BRISBANE AUDIT Liam Murphy Partner 1 April, 2019
s use of ustralian the audit in order to design audit procedures that are the audit in order to design audit procedures the purpose appropriate in the circumstances, but not for of the of expressing an opinion on the effectiveness internal control. Company’s As part of our audit in accordance with the A As part of our audit in Our conclusions are based on the audit evidence obtained future events report. However, up to the date of our auditor’s or conditions may cause the Company to cease to continue as a going concern. the financial report, including the disclosures, and whether the financial report represents the underlying transactions and events in a manner that achieves fair presentation. financial report, whether due to fraud or error, design and financial report, whether due to fraud or error, risk, and obtain perform audit procedures responsive to those to provide audit evidence that is sufficient and appropriate a material a basis for our opinion. The risk of not detecting for one misstatement resulting from fraud is higher than as fraud may involve collusion, forgery, resulting from error, the override of intentional omissions, misrepresentations, to internal controls. and and the reasonableness of accounting estimates related disclosures made by the Company. on the the going concern basis of accounting and, based audit evidence obtained, whether a material uncertainty exists related to events or conditions that may cast as a ability to continue significant doubt on the Company’s going concern. If we concluded that a material uncertainty exists, we are required to draw attention in our auditor’s report to the related disclosures in the financial report or, if such disclosures are inadequate, to modify our opinion. Evaluate the overall presentation, structure and content of Identify and assess the risks of material misstatement of the Identify and assess the relevant to Obtain an understanding of internal control policies used Evaluate the appropriateness of accounting Conclude on the appropriateness of the Company’
and professional judgement we exercise Standards, Auditing also: scepticism throughout the audit. We maintain professional
In preparing the financial report, the directors are responsible In preparing the financial report, the directors Those charged with governance are responsible for going ability to continue as a for assessing the Company’s concern, disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless the directors either intends to liquidate the Company or to cease operations, or has no realistic alternative but to do so. financial reporting process. overseeing the Company’s RESPONSIBILITIES FOR THE AUDIT AUDITOR’S OF THE FINANCIAL REPORT Our objectives are to obtain reasonable assurance about whether the financial report as a whole is free from material an and to issue misstatement, whether due to fraud or error, assurance report that includes our opinion. Reasonable auditor’s is a high level of assurance, but is not a guarantee that an audit Standards Auditing conducted in accordance with Australian will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered aggregate, they could individually or in the material if, reasonably be expected to influence the economic decisions of users taken on the basis of the financial report. EMPHASIS OF MATTER — BASIS OF ACCOUNTING — BASIS OF ACCOUNTING EMPHASIS OF MATTER opinion, we draw attention to Note 1 Without modifying our which describes the basis of accounting. to the financial report, been prepared for the purpose of The financial report has financial reporting responsibilities under fulfilling the directors’ Act 2012. Charities and Not-for-Profits Commission the Australian suitable for another As a result, the financial report may not be of this matter. purpose. Our opinion is not modified in respect RESPONSIBILITIES FOR DIRECTORS’ THE FINANCIAL REPORT for the preparation The directors of the Company are responsible fair view and have of the financial report that gives a true and in Note 1 determined that the basis of preparation described the requirements to the financial report is appropriate to meet The directors’ Act and the needs of the member. of the ACNC as the responsibilities also includes such internal control preparation of directors determine is necessary to enable the misstatement, a financial report that is free from material whether due to fraud or error.
s financial ustralian Accounting Standards to ustralian Accounting Standards W complying with A In our opinion the financial report of Expressions — In our opinion the financial report of Expressions giving a true and fair view of the Company’ the extent described in Note 1, and Division 60 of the Charities and Not-for-profits Commission Australian 2013. Regulation position as at 31 December 2018 and of its financial position as at 31 December 2018 and of its financial performance for the year ended; and
The Queensland Dance Theatre Limited has been prepared The Queensland Dance Theatre Limited has Charities and in accordance with Division 60 of the Australian Not-for-profits Commission Act 2012, including: sufficient and appropriate to provide a basis for our opinion. e believethattheauditevidencewehaveobtainedis b) a) REPORT ON THE FINANCIAL REPORT REPORT ON THE FINANCIAL REPORT OPINION of Expressions — have audited the financial report We company”), The Queensland Dance Theatre Limited (“the positions as at which comprises the statement of financial income, 31 December 2018, the statement of comprehensive of cash flows statement of changes in equity and statement statements, for the year then ended, and notes to the financial policies, and including a summary of significant accounting declaration. the directors’ Independent auditor’s report to the report to the Independent auditor’s — the Queensland members of Expressions Limited Dance Theatre INDEPENDENT AUDITOR’S INDEPENDENTAUDITOR’S REPORT BASIS FOR OPINION Auditing conducted our audit in accordance with Australian We those standards are further Our responsibilities under Standards. of the for the Audit Responsibilities described in the Auditor’s are independent of section of our report. We Financial Report the Company in accordance with the auditor independence Charities and Not-for-profits requirements of the Australian Act) and the ethical requirements of Commission Act 2012 (ACNC APES Board’s the Accounting Professional and Ethical Standards 110 Code of Ethics for Professional Accountants (the Code) that We Australia. are relevant to our audit of the financial report in have also fulfilled our other ethical responsibilities in accordance with the Code. EXPRESSIONS DANCE COMPANY DANCE EXPRESSIONS 50 PARTNERS & DONORS 2018 ANNUAL REPORT 55 CREDITS DESIGN Designfront PHOTOGRAPY Front cover: David Kelly Inside front cover: Lin Xiaoyi 3: Dylan Evans Page Wei 4: Tan Page 6: Unknown Page Wei 7: Tan Page Wei 10: Tan Page 12: Chu Page 14: David Kelly Page 16: David Kelly Page Chuang 19: FenLan Page 20: David Kelly Page 21: Dylan Evans Page 23: David Kelly Page 24: Morgan Roberts Page 25: David Kelly Page 26: Morgan Roberts Page 27: Morgan Roberts Page 28: David Kelly Page 36: Dylan Evans Page 52: David Kelly Page 56: David Kelly Page
2018 2018 GENERAL DONORS and above $1,000 Andrew Battersby Marian Gibney Richard Scott than $1,000 Less Anonymous Coleman Alexandra English Family Foundation Rhyll Gardner Kelly Kathie Conrad Macrokanis Elizabeth Morris C J Parker Megan Ralf Less than $1,000 Less Barnett Lyndall Margaret Bennett Sheena Burnell Sheryl Cornack Connor Davies Docherty Teresa Gary Frontin Hansen Kellie David Hardidge Hopkins Roxanne Amy Hyslop Novita Jurry Anthony Keane Anthony Kung Shannon Lord Amanda Ludlow Elizabeth Morris O’Dea Karen Sandra Pearce Annie Potter Dare Power Nina Psaltis Andrew Robertson Angela Roff Allan Smith Topping Katie Anne Williamson
Memorial Foundation DONORS 2017—2018 FOR DOUBLE IMPACT CAMPAIGN DANCE BY (SUPPORTED PLUS1) CPA and above $1,000 Allen Anne and Peter Andrew Battersby Melissa Blight Denholder Tony Rhyll Gardner Marian Gibney Lowther Lori MacDonald Ken MacDonald Patricia Mitchell Karen Sophie Mitchell Honor Morningstar TRAINING PARTNER WELLNESS PARTNER Expressions Dance Company is assisted by the Commonwealth Government Expressions Dance Company is assisted by the Commonwealth Government Arts, its arts funding advisory body Council for the through the Australia VENUE PARTNER, VENUE PARTNER, CONVERGE SUPPORTERS ACCOMMODATION PARTNER INVESTMENT PARTNERS Expressions Dance Company receives financial assistance from Expressions Dance Company receives financial assistance from the Queensland Government through Arts Queensland
OUR PARTNERS INTERNATIONAL AIRLINE AIRLINE INTERNATIONAL PARTNER PRODUCING PARTNER PARTNERS SEASON MEDIA PARTNER Expressions Dance Company acknowledges and thanks our 2018 partners, sponsors and supporters: EXPRESSIONS DANCE COMPANY DANCE EXPRESSIONS 54 “This strong company produces some extraordinary performances, matching the best seen on QPAC stages.”
THE AUSTRALIAN EXPRESSIONS DANCE COMPANY Judith Wright Centre of Contemporary Arts Level 3, 420 Brunswick Street Fortitude Valley QLD 4006
T 07 3257 4222 E [email protected] W expressionsdancecompany.org.au
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ABN: 12 010 545 187