ANNUAL REPORT 2018 MESSAGES FROM ELDERS IN RESIDENCE

DEAR FRIENDS AND FAMILY

As Elder in Residence, I’m proud to see younger faces in the company, both in the Two or three years ago, ILBIJERRI, all of us, went for a camp and we discussed the office and in the theatre. That ILBIJERRI is providing solid ground to stand on and next steps to make sure ILBIJERRI has a long-term, viable future. And we realised one giving our young people confidence is one the things I’m most proud of. of the lacking elements was bringing in the next wave of producers, writers and actors.

Even though it is a small company, ILBIJERRI invests in future generations. With Over this last year we are seeing the new young writers, the new young producers five trainees in the office, ten young people in the ILBIJERRI ensemble, four and the new young actors come through successfully. Some of them are going on emerging creators being supported to develop new work, as well as attachments and to produce their own shows, and are finding other young people to work with in mentorships embedded into all of our shows, ILBIJERRI is going above and beyond to collaborations. ensure that our heritage isn’t thwarted by short-term thinking and short-term funding cycles. Our eye is on the long game and I am proud to be Elder in Residence of a As long as we keep giving them good solid grounding - they will continue to grow, and company that is committed to strengthening our people, so we can tell our stories – I look forward to being a really old man, invited to watch people on film and TV and in our way. theatre productions.

And we also see these young people starting to mentor others coming through. Giving them that confidence to be able to mentor others, is one of the steps ILBIJERRI is taking that I, as Elder in Residence, am really proud of.

Our heritage is not about short term thinking. It’s about what happens after we’re N’Arweet Carolyn Briggs gone.

Uncle Larry Walsh

TANDERRUM Photo: James Henry MESSAGE FROM THE EXECUTIVE

DEAR FRIENDS

With the expansion of a wide range of artist and sector development programs Simultaneously, we have stepped up our commitment to being a First Nations and a dynamic slate of theatre, 2018 offered up a vibrant array of activities company staffed by First Nations people. We are proud to be investing in the future and achievements. We are particularly proud of the ILBIJERRI ENSEMBLE, of the wider performing arts ecology through the employment of five new First BLACKWRIGHTS and the EXECUTIVE LEADERSHIP PROGRAM, alongside the Nations staff members: Davey Thompson (Bidjara/Inningai/Wakka Wakka/Gubbi commission of our two largest scale works to date, BAGURRK and BLACK TIES. Gubbi), Emily-Anyupa Napangarti Butcher (Warlpiri/Pitjanjatjara/Luritja), Laila Thaker (Meriam Mir/Badulaig), Caleb Thaiday (Mer/Erub) and Daniel Riley (Wiradjuri). Looking back over our tracks in 2018 we are proud to have taken our stories across and around the world. Our largest tour to date, WHICH WAY HOME, visited As always, our achievements are both obvious and subtle, as we navigate the demands thirty venues across regional and urban Australia to critical acclaim. and blessings of making black theatre in a white industry.

The year also marked the ending of a beautiful chapter in the ILBIJERRI story as we were incredibly humbled to take JACK CHARLES V THE CROWN on its final swan song, to Auckland Festival (New Zealand) and Shizuoka Arts Centre (Japan), following a magnificent eight years of touring. Creating and touring this work has been instrumental to the success of ILBIJERRI and we are incredibly grateful to Uncle Jack for allowing us to be the guardians of his life story, which has now touched so many people around the globe.

One of our biggest achievements in 2018 has been the continuation of being the only First Nations funded company in Australia with a one-hundred percent First Nations run Board of Directors. We welcomed Erica McCallum (Ballardong) and Eugenia Flynn (Tiwi/Larrakia) to our board and have been blessed to work closely with them in strengthening our governance and strategic planning.

Gavin Somers Lydia Fairhall Rachael Maza President Executive Producer Artistic Director /Co-CEO /Co-CEO

Photos: James Henry MISSION 2018 MAJOR ACHIEVEMENTS ILBIJERRI Theatre Company creates challenging and inspiring theatre by First Nations artists that gives voice to our cultures. JACK CHARLES V WHICH WAY HOME BAGURRK THE CROWN visited 30 venues was supported by the inaugural became our first across Australia – Creative States Commission, the VISION production to tour ILBIJERRI’s biggest largest arts grant of the Victorian Japan and New Zealand. tour yet. Government for a single project.

Our voices are powerful in determining the future of Australia. Our cultures are respected, celebrated and embraced.

WHAT WE VALUE

THE POWER OF FIRST FIRST NATIONS PROTOCOLS NATIONS VOICES AND WAYS OF WORKING We work with First Nations storytellers We respect our people, community and (writers, directors, actors, key creatives, artists by working in accordance with the theatre practitioners) to tell our stories protocols of our own community and those through high quality theatre as a whose country we are working on. continuation of our culture.

SELF- RESPECT DIVERSITY OF DETERMINATION We always give full respect FIRST PEOPLES We ensure First Peoples to our people, Elders, We respect, celebrate drive all key decision culture and country – and and embrace the cultural making processes within to all peoples with whom diversity of First Peoples, ILBIJERRI. we share our land. our stories, our culture and our experiences.

BLACKWRIGHTS CREATION AND ACTIVATION MASTER LAB Photo: Tiffany Garvie OUR WORK WE ARE...

ILBIJERRI Theatre Company is Australia’s leading and longest running First Nations Theatre Company. We create, YARNING WITH THE WORLD present and tour powerful and engaging theatre by First Nations artists that gives voice to our cultures. While we are making and presenting incredible theatre, we LISTENING WITH are also doing a lot of other important work for the future of First Nations people, culture and country. COMMUNITY

SHARING WITH COMMUNITY

NURTURING STORIES

NURTURING VOICES

GROWING UNDERSTANDING

STRENGTHENING SELF-DETERMINATION

BLACK TIES CREATIVE DEVELOPMENT Photo: Julie Zhu YARNING WITH THE WORLD

JACK CHARLES V Jack Charles’ exceptionally engaging, well-told story is all his own. He has us spellbound as we sit around his THE CROWN campfire. In many ways too, it’s the story of Australia. Just not the one we’re used to hearing.” - Crikey

Uncle Jack Charles is an Australian CREATIVE TEAM legend: veteran actor, musician, Koori elder and activist; but for a good portion Director Rachael Maza of his seventy-four years he was also an Co-Writers Jack Charles & John Romeril addict, a thief and a regular in Victoria’s prisons. Performer Jack Charles Dramaturge John Romeril JACK CHARLES V THE CROWN concluded its eight years of touring with Set & Costume Designer Emily Barrie this Asia Pacific tour, taking ILBIJERRI’s Lighting Designer Danny Pettingill work to New Zealand and to Japan for Audio Visual Designer Peter Worland the first time ever. Musical Director Nigel Maclean Percussion Phil Collings Bass Malcolm Beveridge ASIA PACIFIC TOUR 14 March 2018 - 06 May 2018 Performances: 7 Audiences: 1363

The Asia Pacific Tour of JACK CHARLES V THE CROWN was assisted by the Australian Government through the Department of Communication and the Arts’ Catalyst Australian Arts and Culture Fund, as well as through the Australia Council for the Arts. The Japanese leg of the tour was also supported by the Department of Foreign Affairs and Trade, Australian Cultural Diplomacy Grants Program.

JACK CHARLES V THE CROWN Photo: Maria Baranova YARNING WITH THE WORLD “A warmly affirming window on Indigenous family life” - Sydney Morning Herald WHICH WAY HOME

Tash and her Dad have hit the road and NATIONAL TOUR are headed home to country, where the sky is higher and the world goes on 24 May 2018 – 18 August 2018 forever. It’s a long way from the wide Performances: 51 streets and big old houses of Tash’s Audiences: 4,948 childhood, back when she was a black face in a very white suburb. Dad still thinks he’s the King of Cool, but he’s an old fella now. It’s time for Tash to take Footscray Community Arts Centre him home. Riverlinks Westside Altona Theatre In 2018 WHICH WAY HOME toured The Bowery Theatre nationally across six states and territories, bringing this warm, intimate, Latrobe Performing Arts Centre father-daughter story to the home towns Esso BHP Billiton Entertainment Centre and hearts of nearly 5,000 audience Forge Theatre & Arts Hub members. Capital Theatre Bunjil Place Theatre The Potato Shed Gasworks Arts Park CREATIVE TEAM Clocktower Centre Writer Katie Beckett The Lighthouse Mildura Arts Centre Director Rachael Maza Centenary Hall Performers Katie Beckett & Kamahi Chaffey Theatre Djordon King Nautilus Theatre Sound Designer Mark Coles Smith Marion Cultural Centre Set & Costume Designer Emily Barrie The Arts Centre, Port Noarlunga Bunbury Entertainment Centre Lighting Designer Niklas Pajanti Albany Entertainment Centre Dramaturge Jane Bodie Tuggeranong Arts Centre Production Manager Nick Glen & Jake Jobling Orange Civic Playhouse Newcastle Civic Playhouse Stage Manager Kellie Jayne Chambers Seymour Centre Brisbane Powerhouse Tanks Arts Centre Maleny Community Centre

The National Tour of WHICH WAY HOME was supported by the Victorian Government through Regional Arts Victoria and Creative Victoria and by the Australian Government through Australia Council for the Arts, Playing Australia, Regional Performing Arts Touring Fund.

WHICH WAY HOME Photo: Snehargho Ghosh YARNING WITH THE WORLD

MY URRWAI

Co-produced by Belvoir & Performing Lines in association with ILBIJERRI Theatre Company and Sydney Festival.

Ghenoa Gela – little sister, daughter, BELVOIR | SYDNEY FESTIVAL granddaughter, comic, teacher, fighter, gold medallist, air guitarist, charmer, TV 19 January 2018 - 04 February 2018 star, mainlander, walking political statement – has made a show. This is your invitation into the complex CREATIVE TEAM political, social, colonial and cultural Creator/Performer Ghenoa Gela expectations she navigates every day. Director Rachael Maza Ghenoa is a recipient of both the Dramaturge & Movement Consultant Kate renowned Keir Choreographic Award Champion and the Deadly Funny Melbourne International Comedy Festival Award. Composer Ania Reynolds Laughter and deep reflection go hand Lighting Designer Niklas Pajanti in hand in this unique and intimate story Set & Costume Designer Michael Hankin told through movement and words. MY URRWAI, supported by a stellar team including director Rachael Maza and dramaturge Kate Champion, is a revealing reflection on and celebration of cultural and familial inheritance and an unflinching comment on race relations in Australia.

“It’s not so much a coming of age story of a young woman, it’s more of a coming of age story of all of us and how far we have to go in our understanding of the First Peoples. Ghenoa knows herself; it’s the rest of us as a nation that have the growing up to do.” - On the Town

MY URRWAI Photo: David Charles Collins LISTENING WITH COMMUNITY

“The only thing that can keep hep C viral is us and how VIRAL we view it. We need to overcome it, instead of using it as a weapon of judgment and shame.” - Excerpt from script of VIRAL

Ally lives up in the flats. Things aren’t COMMUNITY TOUR the best right now but she has big plans. She just wants a better life for her baby. 10 Sep 2018 – 27 Sep 2018 Performances: 17 Ally is ready to make a life-changing decision. But does she have the strength Audience: 820 to see it through? And is her community ready to support her? If life wasn’t complicated enough, Ally CREATIVE TEAM is being filmed for an explosive new documentary. One thing’s for sure – Writer Maryanne Sam things are about to go viral. Director Kamarra Bell-Wykes VIRAL was created and delivered Performers Laila Thaker, Jesse Butler & through a holistic engagement process Blayne Welsh including community workshops and Choreographer Carly Sheppard yarning circles and toured community Set & Sound Designer small sound centres, schools and prisons throughout Victoria and South Australia. Costume Designer Jacinta Keefe Producer Commissioned by the Victorian Davey Thompson Government as a health intervention, Production Coordinator Caleb Thaiday VIRAL is a highly topical theatre work Stage Manager Mary Quinsacara that deals with the complexities and nuances that exist for First Nations Community Consultation Facilitators communities when dealing with hep C. Shiralee Hood & Kamarra Bell-Wykes Facilitation Consultation & Training Free Theatre

Development of VIRAL and Performances of VIRAL within Victoria were supported by: Victorian Government through the Department of Human Services and Hepatitis Victoria, the Lord Mayor’s Charitable Foundation and City of Melbourne. Performances of VIRAL within South Australia were supported by: the Victorian Government through the Department of Human Services and by Aboriginal Health Council of South Australia, Hepatitis SA and the Lord Mayor’s Charitable Foundation. ILBIJERRI would like to thank community members from Bendigo and District Aboriginal Co-operative (BDAC), Star Health and Loddon Prison Precinct for their vital contribution to the development of this project.

VIRAL Photo: Tiffany Garvie SHARING WITH COMMUNITY

TANDERRUM

TANDERRUM is a ceremony bringing ELDERS together the Wurundjeri/ Woiwurrung, Boon Wurrung, Taungurung, Wadawurrung Wurundjeri/Woiwurrung Aunty Di Kerr & Aunty Irene Morris and Dja Dja Wurrung language groups of Boon Wurrung the Eastern Kulin Nation— a ceremony of N’Arweet Carolyn Briggs & Aunty Fay Stewart-Muir celebration that reaches across Aboriginal Taungurung time. Aunty Bernadette Franklin, Aunty Jacqui Stewart & Uncle Stephen Walsh This sacred ceremony had been hidden Wadawurrung since European invasion, until six years ago Aunty Marlene Gilson, Aunty Judy Dalton-Walsh & the Eastern Kulin brought Tanderrum back Aunty Naomi Surtees to central Melbourne to open the Festival. Dja Dja Wurrung Since then this cross-cultural moment has Aunty Fay Carter & Uncle Tom Baksh become an essential and living element of the Festival and a Welcome to Country for local and international artists and audiences. STEERING GROUP Wurundjeri/Woiwurrung Aunty Di Kerr, Aunty Irene Morris & Mandy Nicholson Boon Wurrung MELBOURNE FESTIVAL N’Arweet Carolyn Briggs 3 October 2018 Taungurung Performances: 1 Aunty Bernadette Franklin, Angela ten Burren, Uncle Mick Harding & Mark ten Buuren Participants: 193 Wadawurrung Audience: 3,500 Tammy Gilson, Corrina Eccles & Barry Gilson Livestream online audience: 5,500 Dja Dja Wurrung Aunty Fay Carter, Wendy Berick & Kayla Baksh

CREATIVE TEAM LEAD SINGERS Final Song Arrangement and Composition Wurundjeri/Woiwurrung Dr Lou Bennett Mandy Nicholson, Jacqui Wandin & Brooke Wandin Narrator Uncle Jack Charles Boon Wurrung Jodie Seiuli & Bonnie O’Leary Artistic Director Rachael Maza Taungurung Producer Jermaine Beezley Uncle Mick Harding, Cory Harding Mitch Harding & Production Manager Jake Jobling Namarra Walsh Assistant Production Manager Caleb Thaiday Wadawurrung Stage Manager Brock Brocklesby Barry Gilson & Corrina Eccles Dja Dja Wurrung Wendy Berick

TANDERRUM was presented by Melbourne International Arts Festival. TANDERRUM was supported by the Australian Government through the Indigenous Languages and Arts Program, as well as by Creative Victoria and City of Melbourne. TANDERRUM was performed by five language groups of the Eastern Kulin Nations and directed by their Elders and the TANDERRUM Steering Group.

TANDERRUM 2018 Photo: James Henry NURTURING STORIES

IN DEVELOPMENT IN DEVELOPMENT HEART IS A WHOSE GONNA WASTELAND LOVE ‘EM?

Following the success of a sold out 2017 CREATIVE DEVELOPMENT A night of hilarious tragedy that only a killer humour can survive. Malthouse season, ILBIJERRI’s reimagined production of John Harvey’s epic love September – December 2018 On the anniversary of their mother’s death, three estranged siblings – Kel, Cyn and Ray – story will be directed by leader in First are reunited to once and for all put their demons to rest. What ensues is a night of tragic Nations theatre, Rachael Maza, with comedy, where no one is quite sure who-done-it or who’s been done. original songs by soulful songwriter CREATIVE TEAM WHOSE GONNA LOVE ‘EM? explores the experiences of a First Nations Australian family, Lydia Fairhall. This production of HEART framed by legacies of intergenerational trauma, ongoing cycles of dysfunction and IS A WASTELAND will build on all of Writer John Harvey against-the-odds resilience. WHOSE GONNA LOVE ‘EM? searches for answers in the the elements so deeply loved in its first Director Rachael Maza grey area of the crime scene where Blak and White Australia meet. iteration – the ability of the writer to show humanity as it is, engaging with universal Dramaturg Mark Pritchard Developed through an innovative First Nations practice of devising and site-specific themes of love and connection, without Song Writer/Composer Lydia Fairhall creation, and accompanied by an original score, WHOSE GONNA LOVE ‘EM? merges text, dismissing the essence of characters ritual and movement to deliver a unique hybrid language of Australia’s contemporary that are inherently and undeniably First First Nations diaspora and experience. Nations.

CREATIVE DEVELOPMENT CREATIVE TEAM This creative development was co-produced by ILBIJERRI Theatre Company and February – December 2018 Brown Cabs. Writer Kamarra Bell-Wykes Dramaturge Melodie Reynolds Dramaturge Alexis West

This creative development was supported by City of Melbourne, Arts House and the Australian Government through the Indigenous Languages and Arts Program.

HEART IS A WASTELANDTANDERRUM DEVELOPMENT 2018 Photo: Photo: Neda James Rahmani Henry NURTURING STORIES

IN DEVELOPMENT BLACK TIES

Two families, two cultures... Too much! CREATIVE DEVELOPMENT When Māori corporate hotshot Hera and October – December 2018 Aboriginal consultancy entrepreneur Bila locked eyes at a Cultural Awareness session, it was love at first sight. BLACK TIES is a collaboration between Ambitious, career focused and driven by ILBIJERRI Theatre Company and Te Rēhia their need for control, Bila and Hera have Theatre. their perfect future all mapped out. But there is one thing they can’t control – their families… CREATIVE TEAM Relatives are arriving from both sides of the ditch for the wedding and reality Co-Writers Albert Belz, John Harvey, is sinking in – and sinking fast. Will this Kamarra Bell-Wykes & Tainui Tukiwaho international love story bring two strong Co-Directors Rachael Maza & Tainui cultures together? Or will it divide their Tukiwaho families and countries and blow Hera and Bila’s world apart? Producers Nina Bonacci, Amber Curreen & Laila Thaker

This Creative Development was a partnership with Te Rēhia Theatre and was supported by AsiaTOPA, Arts Centre Melbourne and the Australian Government through the Department of Communication and the Arts’ Catalyst Australian Arts and Culture Fund.

BLACK TIES CREATIVE DEVELOPMENT Photo: Julie Zhu NURTURING STORIES

IN DEVELOPMENT BAGURRK

Bagurrk is a major scale theatre production CREATIVE AND that uses one family’s story to illuminate lived CULTURAL TEAM experiences that are shared by First Nations people internationally. The story follows the matriarchal line N’Arweet Carolyn of Boon Wurrung woman Louisa Briggs, merging Briggs, Caroline Martin, the stories of her ancestors and decedents into Rachael Maza, Lydia Fairhall & a multi-generational women’s story of resilience Kamarra Bell-Wykes that will contribute to contemporary conversations around colonisation, #MeToo and #BlackLivesMatter. This concept development is First Nations women have always been leaders and supported by the Victorian trailblazers, fighting for justice and empowering their Government Through Creative communities. Their stories of power and resilience Victoria: Creative States are only now starting to be properly recognised in Commission. public discourse. Through national and international touring, Bagurrk will connect First Nations people across the globe, encouraging them to share stories of matriarchal resistance from their own families and communities.

THE CRAB AND THE MANGROVE TREE (WORKING TITLE)

ILBIJERRI Theatre Company is partnering with CREATIVE TEAM Brisbane-based Akas (Grandmothers), Black Drum Productions and Queensland Performing Story Facilitator John Harvey Arts Centre to create a new Torres Strait Islander Director Rachael Maza children’s work. This show will speak about a young person living in the city and their connection back Producers Nancy & to their Homelands as shared through the stories Lydia Fairhall from their Aka (Grandmother). Incorporating the Kala Kawa Ya language of Saibai Island, along with English, The Crab and The Mangrove Tree draws on traditional and contemporary stories and choral singing to create an immersive and interactive theatrical story space for children.

Photo: Cultural permission from N’Arweet Carolyn Briggs. Pictured: Louisa Briggs and child TANDERRUM 2018 Photo: James Henry NURTURING VOICES

PROFESSIONAL DEVELOPMENT PROGRAMS FOR FIRST NATIONS ARTISTS

BABOOP-AL MOONDANI (MOTHERS EMBRACE)

BABOOP-AL MOONDANI (Mothers Embrace) was a three-month long program of performing arts workshops that honoured First Nations artists who are also mothers. Monica McDonald, Elaine Crombie, Nazaree Dickerson and Eva Grace Mullaly were supported to write and develop their skills as theatre makers and had their work showcased with a reading and panel discussion held at the Northcote Town Hall on 31 July 2018. Two of the mothers supported in this program, Monica McDonald and Nazaree Dickerson, have subsequently been supported to further develop their work through the ILBIJERRI BlackWrights Creators Program.

BABOOP-AL MOONDANI was supported by City of Darebin.

BLACKWRIGHTS

BLACKWRIGHTS is an artist development program aimed at bringing new First Nations work to the stages of Australia. The program, initiated in 2018, creates a culturally safe and nurturing space that empowers First Nations artists to share our stories through theatre. BLACKWRIGHTS consists of two program streams - the Creators Program and our Master Labs series.

CREATORS PROGRAM BLACKWRIGHTS MASTER LABS The BLACKWRIGHTS Creators Program The BLACKWRIGHTS Master Labs are a is a paid opportunity for First Nations series of hands-on theatre workshops artists to develop new work with intensive for First Nations artists and creatives. support from ILBIJERRI over a twelve- Master Labs in 2018 were facilitated by month period. Richard Barber and Pongit Saphakhun of Free Theatre Melbourne and Dramaturge extraordinaire Louise Gough.

This program was supported by the Australian Government through the Indigenous Languages and Arts Program and City of Melbourne. BABOOP-ALTANDERRUM MOONDANI 2018 Photo: Photo: Tiffany James HenryGarvie NURTURING VOICES

PROFESSIONAL DEVELOPMENT PROGRAMS FOR FIRST NATIONS ARTISTS

DEADLY FRINGE

Co-produced by ILBIJERRI Theatre Company and Melbourne Fringe Festival. Deadly Fringe unearths and nurtures brand new works by First Nations artists. In its second year (2018), Deadly Fringe featured new work from three outstanding First Nations artists: Declan Furber Gillick (Arrernte), Sandy Greenwood (Gumbaynggrir, Dunghutti and Bundjalung) and Sermsah Bin Saad (Nyikina) supported by two deadly First Nations producers: Caleena Sansbury (Narrunga, Ngarrindjeri and Kaurna) and Laila Thaker (Badulaig, Meriam Mir).

LIYAN MATRIARCH BIGHOUSE Creator and Performer Sermsah Bin Writer and Performer Sandy DREAMING Saad Greenwood Writer and Performer Declan Furber In association with Theatre Director Oliver V. Cowley Gillick Research Institute Matriarch is a dynamic one woman Director Mark Wilson What is your next destination and show that illuminates the strength Mr. Anand – has your client spent how are you going to get there? and resilience of four generations what could reasonably be called a What will guide you? of Gumbaynggirr women from significant portion of any one week the 1940s to the present day. This performance explored the idea of the last two years at school? Or is Indigenous actress, Sandy of following the stars – through the it the case that your client attends Greenwood, weaves a compelling medium of dance, theatre, song school when he feels like it, to utilise story that explores cultural identity, and poetry – and is about the trials the free lunch service when none of the intergenerational effects of and tribulations of getting lost and his so-called family will house, feed the Stolen Generation and what it finding yourself. or clothe him? means to be a fair-skinned black We as Aboriginal people have woman in modern Australia. RACE. CLASS. SEX. DRUGS. followed the stars for 100,000 VIOLENCE. INCARCERATION. years but today most people POVERTY. rely on a GPS. We get lost when THE PSYCHIC MAELSTROM OF the system breaks down and as COLONISATION. humans we forget to trust our own natural navigation instincts and Also presented as part of Critical knowledge from the system that Mass. has always been embedded in our bodies.

LIYAN Photo: Melbourne Fringe 2018, Duncan Jacob TANDERRUM 2018 Photo: James Henry NURTURING VOICES

PROFESSIONAL DEVELOPMENT PROGRAMS FOR FIRST NATIONS ARTISTS ILBIJERRI ENSEMBLE

The ILBIJERRI Ensemble, initiated in 2018, is a program of participatory theatre workshops open to First Nations young and emerging artists in metropolitan Melbourne. Based at the Arts Centre Melbourne and delivered by ILBIJERRI Theatre Company, the program created opportunities for participants to learn a range of performance and theatre skills whilst connecting with their peers and building self-confidence. The workshops culminated in a showcase performance at The Channel, Arts Centre Melbourne.

This program was supported by Helen Macpherson Smith Trust, Annamila Foundation, Arts Centre Melbourne and the Lord Mayor’s Charitable Foundation.

GROWING UNDERSTANDING

ARTS IN EDUCATION MARGUK

In 2018 ILBIJERRI’s long running MARGUK program delivered educational resources to accompany the VCE Playlist-listed WHICH WAY HOME national tour, as well as educational resources tailored to international school students watching JACK CHARLES V THE CROWN at Auckland Festival and Australia Now Festival in Japan. Workshops were delivered in response to demand in Cairns, Canberra, Geelong and Melbourne. ILBIJERRI creatives also continued to deliver a range of advocacy in the First Nations Arts in Education space, including guest lectures at VCA and working closely with Monash University Drama Unit and Drama Victoria on a Protocols Document to inform delivery of First Nations cultural content by drama teachers in high schools.

MARGUK was supported by Gandel Philanthropy and the Lord Mayor’s Charitable Foundation.

ILBIJERRITANDERRUM ENSEMBLE 2018 Photo: Photo: James Darren Henry Gill STRENGTHENING SELF-DETERMINATION

ELDERS IN RESIDENCE GLOBAL FIRST NATIONS EXECUTIVE LEADERSHIP PROGRAM RELATIONSHIPS PROGRAM In 2018 ILBIJERRI began our inaugural In 2018 ILBIJERRI maintained and At the core of ILBIJERRI’s mandate Included is a structured professional Elders in Residence program. Our Elders, strengthened its connection, relationships is to mentor and develop the next development program where two N’Arweet Carolyn Briggs and Uncle and strategic activity within a global First generation of First Nations artists and Associate Producers have received: Larry Walsh, contribute to ILBIJERRI’s Nations context including: arts administrators who can then take up 1. A paid opportunity to work over an strategic, artistic and cultural direction, leadership positions across the sector. This 1. Attending First Nations dialogues extended period under the guidance with a particular focus on nurturing future is an exciting and unique opportunity for at APAM, Kia Mou and First Nations of leading producers with outstanding generations. First Nations emerging producers wishing Dialogues in New York City. skills and relationships. to progress their career and leadership 2. Commencing an international First skills to the next level. 2. Fully-paid fees to complete Company Nations to First Nations collaboration Institute of Directors Course. with Te Rēhia Theatre, on the work 3. Attendance at key national and BLACK TIES. international markets. Attendance at CINARS in Montreal, ISPA 4. One-on-one external mentoring tailored and First Nations Dialogues in New to individual professional needs. York was supported by the Australian Government through Australia Council 5. Participation in five skills labs and for the Arts. Attendance at APAM in workshops in arts law, networking, Brisbane was supported by the Australian Excel, financial management, grant Government through Australia Council writing and management. for the Arts as well as the Victorian This program is supported by Ian Potter Government through Creative Victoria. Foundation and the Victorian Government through Creative Victoria.

BLACKWRIGHTS DRAMATURGY MASTER LAB Photo: Tiffany Garvie TANDERRUM 2018 Photo: James Henry FINANCIALS

2018 2017 INCOME & $ $ INCOME EXPENDITURE Event Income 456,950 570,862 STATEMENT Philanthropy & Donations 63,948 84,330 Other Income 17,828 40,149 Government Grants 1,114,285 964,216 Funds Received & Transferred 0 40,000 TOTAL INCOME 1,653,011 1,699,557

EXPENSES Salaries, Wages & Fees 1,095,605 1,156,962 Presentation & Touring 232,530 312,927 Other Programs 131,448 67,909 Marketing 61,835 42,446 Infrastructure Costs 125,851 110,003 TOTAL EXPENSES 1,647,269 1,690,247

NET SURPLUS 5,742 9,310

2018 2017 STATEMENT $ $ CURRENT ASSETS OF FINANCIAL Cash & Cash Equivalents 1,927,408 1,003,427 POSITION Trade & Other Receivables 437,099 111,770 Other Current Assets 38,512 20,995 TOTAL CURRENT ASSETS 2,403,019 1,136,192

TOTAL NON-CURRENT ASSETS 0 0 TOTAL ASSETS 2,403,019 1,136,192

CURRENT LIABILITIES Trade & Other Payables 44,859 67,355 Short-Term Provisions Payable 202,717 77,475 Income in Advance 1,866,339 708,000 TOTAL CURRENT LIABILITIES 2,113,915 852,830

TOTAL NON-CURRENT LIABILITIES 0 0 TOTAL LIABILITIES 2,113,915 852,830

NET ASSETS 289,104 283,362

EQUITY Retained Earnings 283,362 274,052 Current Earnings 5,742 9,310 TOTAL EQUITY 289,104 283,362

TANDERRUM 2018 Photo: James Henry BOARD & STAFF

ELDERS IN RESIDENCE

N’Arweet Carolyn Briggs Uncle Larry Walsh

BOARD OF DIRECTORS

President Gavin Somers Director Eugenia Flynn Secretary Kareena Gay Director Glenn Shea Treasurer Tony McCartney Director Lisa Maza Director Erica McCalman

STAFF

Artistic Director/Co-CEO Associate Producers Rachael Maza Daniel Riley, Davey Thompson, Executive Producer/Co-CEO Emily Butcher & Laila Thaker Lydia Fairhall Production Coordinator General Manager Caleb Thaiday Kathy Morrison Business and Development Manager Creative Director Iain Finlayson Kamarra Bell-Wykes Marketing Manager Senior Producer Kendra Keller Nina Bonacci Finance Manager Jon Hawkes

We would like to thank all members of the 2018 ILBIJERRI team including Fred Chuang (Marketing Coordinator), Jermaine Beezley (Associate Producer), Lisa Parris (Producer) and Lea Rumwaropen (Office Assistant), as well as the many artists, community members and contractors with whom we have worked closely.

2018 ANNUAL REPORT

Graphic Design Tom William Francis Cover Photo Bindi Cole

BLACKWRIGHTS CREATION AND ACTIVATIONTANDERRUM MASTER LAB 2018 Photo: Photo: Tiffany James HenryGarvie PARTNERS & DONORS

KEY PARTNERS

MELBOURNE IS A CREATIVE CITY PROJECT PARTNERS

The City of Melbourne proudly supports major and emerging arts Aboriginal Health Council of South Australia Hepatitis SA Annamila Foundation Hepatitis Victoria organisations through our 2018–20 Triennial Arts Grants Program Arts Centre Melbourne Indigenous Languages & Arts Program Arts House Lord Mayor’s Charitable Foundation African Music and Cultural Festival KINGS Artist-Run Melbourne Symphony Orchestra AsiaTOPA Melbourne International Arts Festival Australia Council for the Arts Melbourne Fringe Festival Aphids Koorie Heritage Trust Melbourne Writers Festival Australian Government, Department of Performing Lines Arts Access Victoria La Mama Communication and the Arts Multicultural Arts Victoria Playing Australia Australian Art Orchestra Liquid Architecture Australian Government, Department of Regional Arts Victoria Foreign Affairs and Trade Next Wave Festival Sydney Festival Australian Centre for Lucy Guerin Inc. Belvoir Te Rēhia Theatre Contemporary Art Polyglot Theatre Brown Cabs Malthouse Theatre Victorian Government City of Darebin BLINDSIDE Melbourne Festival Speak Percussion Victorian Government, Department of City of Melbourne Human Services Chamber Made Melbourne Fringe St Martins Youth Arts Centre Creative Victoria Yalukit Marnang Circus Oz Melbourne International Comedy Victorian Youth Symphony Orchestra Gandel Philanthropy Craft Victoria Festival Helen Macpherson Smith Trust West Space Emerging Writers’ Festival Melbourne International Film Festival Human Rights Arts & Film Festival Melbourne International Jazz Festival The Wheeler Centre DONORS ILBIJERRI Theatre Company Melbourne Queer Film Festival Wild@Heart Community Arts

Patricia Cornelius Christina Gebhardt Craig Semple Deb Dean Christine Kirkpatrick Students of Trinity College, Wesley Enoch Patrick McCarthy University of Melbourne Bruce Fisher Marc Pearson Cathy Truong S Fong Samara Pitt

melbourne.vic.gov.au/triennialarts ILBIJERRI Theatre Company Meat Market 5 Blackwood Street North Melbourne T +61 3 9329 9097 ilbijerri.com.au VIC 3051 F +61 3 9329 9105 facebook.com/ilbijerri AUSTRALIA E [email protected] @ILBIJERRI