ANNUAL REPORT 2019 We acknowledge and pay our respects to the Country We acknowledge the strength of First Nations that we travel through and share stories on, and in particular people and communities in continuing to practice culture, the Country on which ILBIJERRI Theatre Company is based and connection to Country. – the unceded lands of the Kulin Nations. We acknowledge the resilience and tenacity of First Nations We acknowledge and pay our respects to the Traditional peoples and communities fighting to protect and look after Owners, Elders, Ancestors, and young leaders. Country, Community, Language and Lore, in the face of ongoing colonial interruptions and cultural genocide.

Always was, always will be, sacred Indigenous lands.

Pictured: BLACKWRIGHTS CREATIVE TEAM DURING BLACKWRIGHTS CREATIVE DEVELOPMENTS | Photo: Tiffany Garvie MESSAGE FROM ELDERS IN RESIDENCE

I have been involved with ILBIJERRI for quite a number of years and my role as Elder in Residence has given me the opportunity to be involved in the development and observation of various productions.

One of these productions was BLACK TIES, which I must have seen 4 or 5 times. It took me on a journey – to another level. It is also taking ILBIJERRI to another level. Now, I’m seeing from across the ditch, two First Nations Peoples coming together to create a universal project – a story that plays out across many dimensions and cultures ... a story of love and conflict! It is probably the biggest scale work we’ve seen, which travelled around and New Zealand. I’m Larry Walsh, Taungurung Elder ILBIJERRI Theatre is traditional in the We want to keep pushing ILBIJERRI’s of the Taungurung people, and sense that it tells stories of Aboriginal I am keen to see ILBIJERRI continue to People and their ways of life - ‘cause role in developing and training the next grow to another level and have it move a member of the Kulin Nations. I every time Aboriginal people got generation of performers in Victoria, more into the training area. I welcome am also an Elder in Residence for together they told stories of creation, giving them the same opportunities that the news of ILBIJERRI’s partnership with are afforded to interstate Indigenous ILBIJERRI Theatre Company. daily life, the good and the bad – and VCA/Wilin, so we can continue to grow that’s what theatre does. youth. Programs such as ILBIJERRI’s the pool of young creative energies and Executive Leadership Program are I have worked for the last 30-40 years create new productions. opportunities to elevate this process, in Aboriginal Heritage, Culture and So whilst it’s a modern theatre - its roots as well as employment opportunities. Arts. Over that time I’ve watched are at least 60,000 years old. We’ve just got to keep building – the That’s what the opportunity is – helping the development of our return to the Board, the Elders in Residence, more people to grow. And that’s what we hope reclamation of our Traditional Arts and - Uncle Larry Walsh productions. and envisage – a stronger ILBIJERRI in Cultures, and how the modern Arts have productions, core business, etc. been using some of the traditional ways - N’arweet Dr Carolyn Briggs AM of doing Arts.

Pictured: UNCLE LARRY | Photo Credit: Tiffany Garvie Pictured: N’arweet DR CAROLYN BRIGGS AT BLACKWRIGHTS SHOWCASE | Photo: Tiffany Garvie MESSAGES FROM CHAIR AND ARTISTIC DIRECTOR

After another year of growth that continues to inspire us, ILBIJERRI’s home is based on the lands of the Woi Wurrung and Boon Wurrung of the Kulin it is with great pride that we look back at 2019. Nation, and we pay our respects to their ancestors and Elders. I’d also like to pay my respects and deepest gratitude to ILBIJERRI’s Elders-in-residence: Uncle Larry Walsh (Taungurung) and It was a year of change for CONVERSATIONS WITH N’arweet Dr Carolyn Briggs (Boon Wurrung) whose graciousness, wisdom, humour and guidance ILBIJERRI and we are very THE DEAD. Our First keep us spiritually strong. grateful to Gavin Somers, Nations producers show us who stepped down after every day with their talent In 1991 ILBIJERRI was born out of a passion to create a platform for Black voices, to be able to 6 years as the Chair of the and potential that our see and hear our stories and our narratives on the stage; to practice the basic human right of Board and to Lydia Fairhall, EXECUTIVE LEADERSHIP self-determination in all aspects of our lives. Including the stories we tell and how we tell them. who moved on from her role PROGRAM is a core part of as our Executive Producer. our operations. It’s this same fire and passion illustrate my point - there is BLACKWRIGHTS program They have given us a that continues to burn at the still only one First Nations - creating opportunities for heart of ILBIJERRI today. professional set designer writers/theatre makers to company that continues The year finished with develop new works informed by to thrive, building on its production ramping up to working in Australia. 2019 has been another big black ways of working. strong foundations laid over get ready for opening night year for ILBIJERRI Theatre In the absence of a peak many years. Our financial of one of our most exciting Company, as it continues on body and as one of only We will continue to play performance continues and biggest projects yet, its trajectory of growth riding three self-determined First an advocacy role, where to impress with increased BLACK TIES. ILBIJERRI the wave of what I believe is a Nations theatre companies relevant, as is demonstrated revenue and a healthy joined forces with Te shift in the Australian psyche, in Australia, we embrace our by our partnership with the Kareena Gay, Chair surplus in 2019. Most Rēhia Theatre Company manifested in a growing responsibility, to both the Australian Performing Arts importantly, we have been from across the ditch in demand to engage with the community and the sector. Market and the establishment privileged to share amazing Aotearoa/New Zealand and stories of this Country from of the First Nations Advisory First Nations theatre with it reminded us all of the an Indigenous perspective. Hence, ILBIJERRI is much Group - building inroads into the world, including BLOOD power of collaboration, the more than just a theatre international markets for ON THE DANCE FLOOR, MY strength in unity and the The year started with an company. We are committed Australian First Nations work URRWAI, VIRAL and SCAR endless potential of First international tour of BLOOD to the development and up- and participating in the Tri- TREES. Nations stories. What a ON THE DANCE FLOOR and skilling of the next generation Nations dialogues between fitting way to end the year. ended with rehearsals for of theatre makers, but it’s only Canada, New Zealand and We know emerging First our biggest show to date: as our capacity has grown Australia. Nations playwrights, - Kareena Gay, Chair BLACK TIES – an all First that this has become possible. Last but not least I’d like producers and artists are Nations collaboration with I am most passionate and to acknowledge and thank our future, and in 2019 we Maori theatre company Te proud of this work. the extraordinary team that saw what can happen when Rēhia Theatre – a show that make everything happen: you invest in that future. would go on to have sell-out This year we have been able seasons at major festivals to implement several new the incredible staff of Our BLACKWRIGHTS ILBIJERRI, the Board and all playwrights showed us in both Australia and New programs specifically focused Zealand. on growing the sector: the amazingly talented and just how powerful and dedicated artists, creatives beautiful their voices are Despite our successes, one The EXECUTIVE LEADERSHIP and technical teams we have with a showcase of their of the challenges for the PROGRAM -creating two new the honour of working with. original works at Melbourne company, and the performing positions for Producers to receive Festival. Our ILBIJERRI arts sector as a whole is, training and support for a future - Rachael Maza AM, Artistic ENSEMBLE team showed us although the demand for our in arts management; Director/CEO the strength of our young work has increased, the pool Rachael Maza AM, people by carrying the of skilled and experienced The ILBIJERRI Ensemble Artistic Director/CEO heavy weight of history in First Nation artists, creatives - creating opportunities for and producers has not. To aspiring actors and theatre makers, aged 15 to 25; Pictured: KAREENA GAY and RACHEL MAZA | Photo: James Henry 2019 MAJOR MISSION WHAT WE VALUE ACHIEVEMENTS

ILBIJERRI THEATRE COMPANY CREATES CHALLENGING THE POWER OF First Nations artists and arts workers employed - 61 AND INSPIRING THEATRE BY FIRST NATIONS ARTISTS THAT FIRST NATIONS VOICES GIVES VOICE TO OUR CULTURES. We work with First Nations storytellers (writers, CREATIVE DEVELOPMENTS directors, actors, key creatives, theatre practitioners) of original First Nations to tell our stories through high quality theatre as a works - 11 continuation of our culture. BLOOD ON THE DANCE FLOOR toured Canada, with VISION SELF DETERMINATION seasons in four cities, plus We ensure First Peoples drive all key decision making workshops and First Nations OUR VOICES ARE POWERFUL IN DETERMINING THE FUTURE OF AUSTRALIA. processes within ILBIJERRI. community engagements. OUR CULTURES ARE RESPECTED, CELEBRATED AND EMBRACED. Two SOCIAL IMPACT WORKS, RESPECT VIRAL and SCAR TREES We always give full respect to our people, Elders, toured regional and culture and Country – and to all peoples with whom we metropolitan Victoria, share our land. reaching a combined total of 1,944 audience members DIVERSITY OF FIRST PEOPLES across 34 venues. We respect, celebrate and embrace the cultural BLACKWRIGHTS Creators diversity of First Peoples, our stories, our culture and our Program culminated in a experiences. showcase at Melbourne International Arts Festival featuring readings of three FIRST NATIONS PROTOCOLS original scripts. AND WAYS OF WORKING ILBIJERRI Ensemble We respect our people, community and artists by completed its first full year working in accordance with the protocols of our own with a season of community and those on whose Country we are working. CONVERSATIONS WITH THE DEAD at Arts Centre Melbourne as part of Future Echoes festival.

BLACK TIES created in collaboration with Maōri Theatre Company Te Rēhia Theatre and supported by six major arts festivals across Australia and New Zealand.

Pictured: TUAKOI OHIA, LISA MAZA, LANA GARLAND, JACK CHARLES AND MARK COLES SMITH IN REHEARSALS FOR BLACK TIES Photo: Tiffany Garvie Our annual program of activities OUR WORK falls into four streams: Major Works; Social Impact Works; The longest established First Artist Development; Advocacy and Nations theatre company in Sector Development. Australia, ILBIJERRI creates, presents and tours powerful MAJOR WORKS and We give voice to our stories through the nurturing and engaging theatre by First touring of significant productions, such as BLACK TIES and BLOOD ON THE DANCE FLOOR, that inspire and Nations artists that gives move broad audiences, at home and around the world. voice to our cultures. SOCIAL IMPACT WORKS ILBIJERRI is committed to growing We partner with health organisations to create and a sustainable and vibrant tour works such as recent productions of VIRAL and First Nations arts ecology and is SCAR TREES. Informed by community voices, these investing in the next generation of works examine urgent social and health challenges and First Nations theatre makers and are taken back to communities in schools, community industry professionals. Deep listening centres and prisons. with and for community and Country is central to our work. We take seriously ARTIST DEVELOPMENT our role as cultural leaders, continuing Programs that support the professional development to make work that speaks to the of First Nations artists have been a longstanding pillar truth of this Country, sometimes with of ILBIJERRI’s work. In 2019 this was embedded in our humour, but always celebrating the BLACKWRIGHTS and ILBIJERRI ENSEMBLE programs. extraordinary resilience and strength of First Nations peoples. ADVOCACY & SECTOR DEVELOPMENT For nearly 30 years ILBIJERRI has continued to bring the brilliance and We work actively to ensure a future for First Nations sophistication of bold, black voices to theatre that is blacker and bolder, with greater opportunities for more First Nations artists to audiences in country halls, community tell our stories our way. spaces, prisons and major venues, across Australia and the world. ILBIJERRI’s role as the Australian Performing Arts Market (APAM) First Nations Lead, and our participation in the Tri Nations Performing Arts Network (an alliance between First Nations artists and companies in Canada, New Zealand and Australia) support a broadening of opportunities for First Nations performing arts. Meanwhile, our ELDERS IN RESIDENCE program and EXECUTIVE LEADERSHIP PROGRAM foster strong black leadership into the future.

Pictured: BENJAMIN FEI, KALARNI MURRAY AND CALEB THAIDAY IN CONVERSATIONS WITH THE DEAD | Photo: Jeff Busby MAJOR WORKS

BLOOD ON THE DANCE FLOOR We hold memories in our blood. It connects us. It defines us.

A choreographer, dancer and writer from CANADIAN TOUR the Narangga and Kaurna nations of South 24 January – 23 February 2019 Australia, Jacob Boehme was diagnosed with HIV in 1998. In search of answers, he PERFORMANCES: 12 reached out to his ancestors. Through a AUDIENCES: 1,568 powerful blend of storytelling, projection Danceworks, Calgary and movement, Boehme pays homage Fei & Milton Wong, Vancouver to their ceremonies whilst dissecting the The Theatre Centre, Toronto politics of gay, Blak and poz identities. La Nouvelle Scène, Ottawa

BLOOD ON THE DANCE FLOOR received The Canadian tour of BLOOD ON THE a 2017 Green Room Award for Best DANCE FLOOR was supported by the Production. In 2019 BLOOD ON THE Australia Council for the Arts, City of DANCE FLOOR toured Canada, with Melbourne and Creative Victoria. seasons in major centres across the Country. The tour also included a range of CREATIVE TEAM cultural exchange activities with Canadian Writer & Performer Jacob Boehme First Nations artists and communities. Director Isaac Drandic ILBIJERRI is proud to have supported the Choreographer & Rehearsal Director journey of this award-winning work, from Mariaa Randall writer’s lab through to the international Sound Designer James Henry stage. Spatial Designer Jenny Hector Video Artist Keith Deverell Costume Designer Kelsey Henderson Movement Coach Rinske Ginsberg “…the show feels like a Dramaturges Chris Mead & Mari Lourey heart-to-heart with a bloke PRODUCTION TEAM you’ve gotten to know Production Manager John Byrne Stage Manager Caleb Thaiday incredibly well.” Tour Consultant Fenn Gordon – GEORGIA STRAIGHT: Janet Smith Tour Producer ILBIJERRI Theatre Company

Pictured: JACOB BOEHME IN BLOOD ON THE DANCE FLOOR | Photo: Dorine Blaise MAJOR WORKS

MY URRWAI Produced by Performing Lines in association with ILBIJERRI Theatre Company.

Ghenoa Gela – little sister, daughter, NATIONAL TOUR granddaughter, comic, teacher, fighter, 26 March – 31 August 2019 gold-medalist, air-guitarist, charmer, Castlemaine Festival, Castlemaine, VIC TV-star, mainlander, Frankston Arts Centre, Frankston, VIC walking political statement – has made Bunjil Place, Narre Warren, VIC a show. This is your invitation into the Shoalhaven Entertainment Centre, complex political, social, colonial and Shoalhaven, NSW cultural expectations she navigates BMEC Bathurst, Bathurst, NSW every day. Bleach* Festival at Home of the Arts, Gold Coast, QLD Ghenoa is a recipient of both the NORPA, Lismore, NSW renowned Keir Choreographic Award QPAC, Brisbane, QLD and the Deadly Funny Melbourne Walter Reid Cultural Centre, International Comedy Festival Award. Rockhampton, QLD Laughter and deep reflection go hand Desert Harmony Festival, Tennant Creek, in hand in this unique and intimate NT Darwin Festival, Darwin, NT story told through movement and Godinymayin Yijard Rivers Arts & Cultural words. MY URRWAI, supported by Centre, Katherine, NT a stellar team including director The Arts House, Wyong, NSW Rachael Maza and dramaturge Kate The Q, Queanbeyan Performing Arts Centre, Champion, is a revealing reflection Queanbeyan, NSW on and celebration of cultural and The Engine Room, Capital Venues, Bendigo, VIC “It’s not so much a familial inheritance and an unflinching Hothouse Theatre, Wodonga, VIC coming of age story comment on race relations in Australia. Festival Unwrapped, Sydney Opera House, of a young woman, Sydney, NSW it’s more of a coming Following a successful premiere season at Sydney Festival in 2018, MY URRWAI of age story of all toured nationally in 2019. CREATIVE TEAM of us and how far Creator/Performer Ghenoa Gela we have to go in our Director Rachael Maza understanding of the Dramaturg & Movement Consultant First Peoples. Kate Champion Ghenoa knows herself; Composer Ania Reynolds it’s the rest of us as a Lighting Designer Niklas Pajanti Set & Costume Designer Michael Hankin nation that have the growing up to do.” - On the Town

Pictured: GHENOA GELA IN MY URRWAI | Photo: David Charles Collins SOCIAL IMPACT WORKS

“Deadly. Keep the strong storytelling that makes us think and feel stronger.” – Audience Member

VIRAL

Ally and Kev live up in the flats, they’ve Created through an in-depth engagement VIRAL 2019 tour was supported by CREATIVE TEAM got their own little place, a brand new process, including community workshops the Victorian Government through baby and dreams for the future. Life and yarning circles, VIRAL was remounted Writer Maryanne Sam the Department of Health and Human Director Kamarra Bell-Wykes should be good but sometimes life has for a second regional tour in 2019, Services, with additional assistance Performers Jesse Butler, Blayne Welsh, its own plans. Just ask Merv; he hasn’t following its inaugural tour in 2018, and from Hepatitis Victoria, Victorian Nikita Tabuteau & Shannon Hood been feeling too good lately. Years of once again performed in community Aboriginal Community Controlled Health Set & Sound Designer small sounds tough luck, bad choices and hard living centres, schools and prisons. Organisation (VACCHO), and Victorian Costume Designer Jacinta Keefe have finally caught up with him. He’s Aboriginal Health Service (VAHS). dreaming of one final chance to make VIRAL is a highly topical health things right. As though that’s not messy intervention theatre work comissioned ILBIJERRI would like to thank community enough, they’re all being filmed for some by the Victorian Government, and members from Bendigo and District PRODUCTION TEAM documentary! #ITSCOMPLICATED Department of Health and Human Aboriginal Co-operative (BDAC); Star Lead Producers Lisa Parris Services. Health; Loddon Prison Precinct, and the Associate Producer Emily Anyupa Butcher One thing’s for sure, things are about to 2018 cast of VIRAL (Jesse Butler, Laila Production Manager Caleb Thaiday go VIRAL.... VICTORIAN TOUR Thaker and Blayne Welsh) for their vital Community Engagement Manager Richie Hallal 19 August – 6 September 2019 contributions to the development of this project. PERFORMANCES: 17 AUDIENCE: 1,241 Pictured, left to right: SHANNON HOOD, NIKITA TABUTEAU & JESSE BUTLER IN VIRAL | Photo: Tiffany Garvie SOCIAL IMPACT WORKS

SCAR TREES

Kirra-Lee and Bryce are at the servo. Created in 2019 with the support of CREATIVE TEAM VICTORIAN TOUR The jerry can is half-full. One phone’s flat Victorian Aboriginal Child Care Agency Writer Declan Furber-Gillick 28 October – 15 November 2019 and the other one’s out of credit. Garren’s (VACCA) and the Victorian Government Dramaturg and Director Kamarra Bell-Wykes on his BMX. The shit one. He knows all through Creative Victoria and VicHealth, Performers Dion Williams, Maurial Spearim PERFORMANCES: 17 about what it can do, and its limits. He SCAR TREES premiered at Northcote AUDIENCE: 703 & Racheal Oak Butler knows the tracks he doesn’t want to go Town Hall and toured throughout Victoria. down. Fightin’ an’ that. He knows there’s Set and Sound Design small sound other ways. There’s gotta be other ways. Costume Consultant Jacinta Keefe Uncle Laurie does his wood carving and runs a men’s group. He’s been off the grog PRODUCTION TEAM for a while now. They’re all trying to get Lead Producers Lisa Parris to Uncle Pat’s funeral. But when they get Associate Producer J-Maine Beezley there, what stories will be told, and what Stage and Production Manager will be left unspoken? Brock Brocklesby Family Violence Support Coordinator Nazaree Dickerson

Pictured: MAURIAL SPEARIM & DION WILLIAMS IN SCAR TREES | Photo: Tiffany Garvie ARTIST DEVELOPMENT

BLACKWRIGHTS

BLACKWRIGHTS is a playwrights development program aimed BLACKWRIGHTS 2019 PROGRAM In 2019 BLACKWRIGHTS was supported by the Australian at developing new writers and bringing new First Nations work Master Labs: 2 Government through the Indigenous to the stage. The program, initiated in 2018, creates a culturally (3 in series, including 1 in 2018) Languages and Arts Program empowering and nurturing space for First Nations artists to share Creative Developments: 6 and Melbourne International Arts Festival, with thanks also to our stories. BLACKWRIGHTS consists of two program streams Showcase events: 1 Melbourne Theatre Company and – our Master Labs series, and Creators Program. City of Melbourne.

BLACKWRIGHTS BLACKWRIGHTS MASTER LABS CREATORS PROGRAM The BLACKWRIGHTS Master Labs are a series of The BLACKWRIGHTS hands-on theatre workshops Creators Program is an open to First Nations artists opportunity for selected First and creatives. Nations artists to develop a new work, over a twelve- KEY CONTRIBUTORS month period, with intensive Project Director support from ILBIJERRI. In Kamarra Bell-Wykes addition to attending Master Dramaturges Labs, Creators Program Carly Sheppard, Damien Millar, participants work regularly Shiralee Hood, Kamarra Bell-Wykes with experienced dramaturgs & Rachael Maza and mentors to develop texts which are then tested and Master Lab Facilitators developed further in week- Pongjit Saphakhun, Richard Barber, long creative developments Louise Gough, Kamarra Bell-Wykes with actors on the floor. & Rachael Maza Creators Program Participants 2018-19 BLACKWRIGHTS Blayne Welsh, Nazaree Dickerson Creators Program & Monica Karo participants presented their Producer Laila Thaker work at a featured showcase event as part of Melbourne International Arts Festival. ‘I learnt how to have confidence in my own story…’ – Participant, INTRODUCTION TO DRAMATURGY MASTER LAB

Pictured: CARLY SHEPPARD, LEONIE WHYMAN AND TAHLEE FEREDAY IN BLACKRIGHTS SHOWCASE | Photos: Tiffany Garvie ARTIST DEVELOPMENT CONVERSATIONS WITH ILBIJERRI ENSEMBLE THE DEAD “Imagine that you’re a Koorie, that you’re in your mid- The ILBIJERRI Ensemble, It is our privilege to support the growth of twenties, that your job is to look into the lives of the initiated in 2018, is a professional this next generation of powerful, culturally and politically savvy First Nations dead…Imagine.” development program open voices. In 2019, ILBIJERRI Ensemble to First Nations emerging and participants were featured in Arts Centre Melbourne’s Future Echoes festival, with Jack, a young, ambitious Koorie is juggling ILBIJERRI ENSEMBLE unanimously aspiring artists in metropolitan the contradictions of working in both selected to perform CONVERSATIONS Melbourne. a highly successful four-night season of CONVERSATIONS WITH THE DEAD by black and white worlds. How does he stay WITH THE DEAD as they were moved The program consists of open fortnightly Richard Frankland, directed true to his cultural responsibilities whilst by its relevance and the urgency of its workshops throughout the year, as well by Shareena Clanton. the justice system he works for message. This important work of First as opportunities to work intensively, as fails to understand the pain and rage of Nations playwriting resonated deeply, as professional actors, alongside established his people? CONVERSATIONS WITH THE their generation and communities are still First Nations artists. Ensemble members ILBIJERRI ENSEMBLE 2019 DEAD is Richard Frankland’s response affected by the contents of this report, the build an essential tool kit of performance PROGRAM to being an investigator during the Royal 339 recommendations of which are yet to skills, experience, network connections WORKSHOPS: 17 Commission into Aboriginal Deaths in be acted upon. and confidence. PARTICIPANTS: 21 Custody (1987-1991).

KEY CONTRIBUTORS Workshop Facilitator Nazaree Dickerson CREATIVE TEAM “I’ve enjoyed every part of the Writer Richard Frankland Producers Davey Thompson & Daniel Riley workshops and the joy they bring Director Shareena Clanton to my life as an actor who is Cultural Safety Coordinator Shiralee Hood Set & Costume Design Darryl Cordell passionate about acting. It is also Sound Design James Henry another way to connect to the Lighting Design Richard Gorr culture and be around like-minded ILBIJERRI Ensemble Zachariah Blampied, Jyden people who can really understand Brailey, Benjamin Fei, Kayra Meric, Kalarni Murray, who I am culturally. Corey Saylor-Brunskill & Caleb Thaiday It has…reignited the fire that I had PRODUCTION TEAM about acting and working together Producer Daniel Riley with others to get a message across Production Manager Bianca Eden to an audience.” Stage Manager Blaze Bryans - Kayra Meric, ILBIJERRI Ensemble Member FUTURE ECHOES PERFORMANCES: 4 AUDIENCE: 769

In 2019 ILBIJERRI ENSEMBLE was supported by Annamila Foundation, Arts Centre Melbourne, The Australia Council for the Arts The Australian Governments Arts Funding & Advisory Body, The Department of Communication & The Arts Indigenous Languages and Arts Program, Creative Victoria, City of Melbourne, Gandel Philanthropy, Helen Macpherson Smith Trust, Lord Mayor’s Charitable Trust, Wilin Centre for Indigenous Arts & Cultural Development and VCA Theatre Faculty of Fine Arts & Music, University of Melbourne. Pictured: ZACHARIAH BLAMPIED IN CONVERSATIONS WITH THE DEAD | Photo: Jeff Busby MAJOR WORKS: IN DEVELOPMENT AND PRE-PRODUCTION BLACK TIES Two families, two cultures... too much! When Māori corporate hotshot Hera and Aboriginal CREATIVE TEAM consultancy entrepreneur Kane locked eyes at a Cultural Writers John Harvey Awareness session, it was love at first sight. Ambitious & Tainui Tukiwaho and career focused, Kane and Hera now have their Directors Rachael Maza perfect future all mapped out. But there is one thing they & Tainui Tukiwaho can’t control...their families! Set Design Jacob Nash Composition & Musical Direction As the biggest mob of Aunties, Uncles and cousins Brendon Boney from both sides of the ditch get worked up for the Lighting Design Jane Hakaraia blackest wedding ever, reality is sinking in. Fast! Will AV Design James Henry this international love story bring two strong cultures Sound Design Laughton Kora together? Or will it blow Hera and Kane’s world apart? Costume Design Te Ura Hoskins

BLACK TIES is a hilarious and heart-warming immersive PERFORMERS theatre experience by ILBIJERRI Theatre Company Jack Charles (Australia) and Te Rēhia Theatre (Aotearoa/New Mark Coles Smith Zealand) that reminds us of the power of love to unite. Lana Garland Tawhirangi Macpherson Lisa Maza THANKS AND ACKNOWLEDGEMENTS Tuakoi Ohia Brady Peeti Original concept developed by: Kamarra Bell-Wykes, Tainui Tukiwaho Albert Belz, Amber Curreen, John Harvey, Rachael Maza & Dalara Williams Tainui Tukiwaho. Dion Williams The 2019 creative development, rehearsal and pre-production of BLACK TIES was supported by Australia Council and Asia TOPA, BAND a joint initiative of Sidney Myer Fund and Arts Centre Melbourne. Brendon Boney Mayella Dewis Thanks also to: Laughton Kora Te Rēhia Theatre Asia TOPA PRODUCTION TEAM Australian Government’s Major Festivals Initiative, managed Producers Nina Bonacci, by Australia Council for the Arts Confederation of Australian Amber Curreen, Laila Thaker International Arts Festivals Inc. Production Manager Nick Glen Perth Festival AV Mentor Sean Bacon New Zealand Festival of the Arts Audio Engineer Jake Luther Auckland Arts Festival AV Operator Sean Bacon, ‘…a rom-com that doesn’t simply entertain Brisbane Festival James Henry Creative New Zealand Stage Manager Casey Norton the audience…it makes them feel like part of Wilin Centre for Indigenous Arts & Cultural Development Assistant Stage Manager Nazaree Dickerson the family.’ Company Manager Jamara Maza Technical Consultant Paul Lim – The Age & Sydney Morning Herald ****(4 stars) Design Assistant Hannah Murphy

Pictured: LISA MAZA AS ‘RUTH’ IN BLACK TIES | Photo: Luke Currie-Richardson MAJOR WORKS: IN DEVELOPMENT

HEART IS A WASTELAND

HEART IS A WASTELAND tells the story CREATIVE TEAM of Raye, a struggling country music star Writer John Harvey in the making. Riding her luck, Raye is Director Rachael Maza playing pub to pub along Australia’s vast Songwriter Lydia Fairhall desert highways, flogging demo CDs Dramaturge Mark Pritchard for twenty bucks apiece until she can AV Design Sean Bacon go home to Alice Springs and look her Set & Costume Emily Barrie son Elvis in the eye. Raye’s life becomes entwined with that of another broken CAST wanderer in Dan, and a love affair unfurls Nelson Baker over their four-day drive to Alice Springs. Monica Karo Gary Watling Combining live music with First Nations storytelling at it’s strongest, HEART IS A WASTELAND is an intimate portrait of THANKS AND two achingly beautiful characters that cut ACKNOWLEDGEMENTS to the Country’s heart through a whisky- HEART IS A WASTELAND is fuelled battle of the egos, hidden scars being developed in partnership with Brown Cabs. Thanks also and reverence. to the creative team and cast who contributed to the May 2019 HEART IS A WASTELAND is a luminous creative development. journey towards the recognition of everyone’s worthiness of, and right to, love.

Following a hugely successful sold out 2017 season at Malthouse, ILBIJERRI reimagines John Harvey’s epic love story. Directed by ILBIJERRI’s Artistic Director, Rachael Maza, with original folk-country ballads by Lydia Fairhall and an all new creative team.

Pictured: NELSON BAKER & MONICA KARO, HEART IS A WASTELAND CREATIVE DEVELOPMENT | Photo: James Henry MAJOR WORKS: IN DEVELOPMENT BAGURRK

BAGURRK is a major-scale theatre production, which uses one family’s story to illuminate lived experiences that are shared by First Nations people internationally. The story follows the matriarchal line of Boon Wurrung woman Louisa Briggs, merging the stories of her ancestors and descendants into a multi-generational women’s story of resilience, with poignancy and relevance to contemporary conversations around colonisation, #metoo and #blacklivesmatter.

First Nations women have always been leaders and trailblazers, fighting for justice and empowering their communities. Their stories of power and resilience are only now starting to be properly recognised in public discourse. BAGURRK will connect First Nations people across cultures, encouraging the sharing of stories of matriarchal resistance from their own families and communities.

CREATIVE & CULTURAL TEAM N’arweet Dr Carolyn Briggs Caroline Martin Rachael Maza Kamarra Bell-Wykes Producers Nina Bonacci & Emily Anyupa Butcher

BAGURRK is supported by our partnership with Yalukit Marnang. In 2019, development of BAGURRK was also supported by the Australian Government through the Indigenous Languages and Arts Program and Creative Victoria. Thanks also to Arts Centre Melbourne, Melbourne International Arts Festival, Brisbane Festival & City of Melbourne.

Pictured: LOUISA BRIGGS AND CHILD | Photo: Cultural permission from N’Arweet Carolyn Briggs MAJOR WORKS: IN DEVELOPMENT

TRACKER BIG NAME, NO BLANKETS

TRACKER, a multidisciplinary beginning of the 20th BIG NAME, NO BLANKETS work exploring the life century. TRACKER aims is a major scale rock’n’roll and story of Alec ‘Tracker’ to be a culturally rich and theatre show that celebrates Riley, a Wiradjuri elder from ambitiously original work, the phenomenal journey and Dubbo NSW, who served exploring the legacy of Alec impact of Australian music the NSW Police Force as a Riley’s decisions in the face icons, the Warumpi Band. tracker for 40 years through of a forcefully implemented the beginning of the 20th colonial system, a legacy that Created in collaboration with century. TRACKER aims fuels our continued cultural Warumpi band member, to be a culturally rich and resilience. Sammy Butcher and the ambitiously original work, families of Warumpi band exploring the legacy of Alec Featuring interwoven dance, members, BIG NAME, NO Riley’s decisions in the face music and text, TRACKER BLANKETS speaks untold of a forcefully implemented will be made collaboratively truths about the band’s colonial system, a legacy that by an experienced team of extraordinary ride from the fuels our continued cultural First Nations creatives, led bush to international fame. resilience. by Daniel Riley, who will explore and navigate Alec Warumpi Band created the Featuring interwoven dance, Riley’s complex decisions Black Anthems of Australia: music and text, TRACKER in crossing racial divides, Jailanguru Pakurnu, My will be made collaboratively to be juxtaposed against Island Home and Blackfella/ by an experienced team of today’s continually strained Whitefella. Their songs have First Nations creatives, led relationship between First been used at protests to by Daniel Riley, who will Nations Peoples and the empower First Nations people explore and navigate Alec Police Force. to stand up for their rights, Riley’s complex decisions culture, land and children in crossing racial divides, TRACKER will be presented in since the 1980s. They became to be juxtaposed against intimate ceremonial grounds one of the most influential today’s continually strained where audiences will engage bands in Australian music relationship between First with a reframed First Nations history, scaling personal and Nations Peoples and the storytelling experience in a cultural conflicts along the Packed with humour, DEVELOPMENT TEAM Police Force. space full of generosity and way. iconic songs and rock star Concept Emily Anyupa warmth. performances, BIG NAME, NO & Napangarti Butcher TRACKER will be presented in Named after the title of BLANKETS celebrates how Musical Director, Story & Cultural music can influence change intimate ceremonial grounds Warumpi Band’s second Consultant Sammy Butcher across a nation. where audiences will engage CREATIVE & album, BIG NAME, NO Writers Ursula Yovich with a reframed First Nations BLANKETS showcases & Anyupa Butcher CULTURAL TEAM 2019 development of BIG NAME, storytelling experience in Co-Director/Choreographer Luritja/Pitjantjatjara, Gumatj with Sammy Butcher a space full of generosity (Yolngu Martha) and Warlpiri NO BLANKETS was supported Daniel Riley & Kumanjayi Butcher and warmtTRACKER, a languages, culture and dance by Dennis Osborne Clarke Trust. Co-Director Rachael Maza Director Rachael Maza multidisciplinary work from Central Australia and Cultural Consultant with Anyupa Butcher exploring the life and story North East Arnhem Land, and Producers Nina Bonacci of Alec ‘Tracker’ Riley, a Bernadette Riley features Warumpi Band hits. & Wiradjuri elder from Dubbo Writer Ursula Yovich Lisa Watts NSW, who served the NSW Dramaturg Jennifer Medway Translator Lance McDonald Police Force as a tracker Sound Design James Henry for 40 years through the

Pictured: ALEXANDER ‘TRACKER’ RILEY | Photo: Permission Daniel Riley WARUMPI BAND ALBUM COVER | Permission: Emily Anyupa Napangarti Butcher MAJOR WORKS: IN DEVELOPMENT

CRAB AND THE LAK MALUAL PARU MANGROVE TREE (Face Of The Sea) A collaboration between DEVELOPMENT TEAM The impacts of climate change on low Co-Directed by Rachael Maza and Ghenoa ILBIJERRI Theatre Company and Script Consultant John Harvey lying islands in the Torres Strait planted Gela, this show features an extraordinary Productions, CRAB AND THE Director Rachael Maza the seed for this first major work by all-female cast of Torres Strait women. MANGROVE TREE tells a story from Language and Protocol Milton Wailet mainland-born Torres Strait Islander and LAK MALUAL PARU has a focus on of the Torres Strait. This Producers Nancy Bamaga & Laila Thaker award-winning multi-disciplinary artist, language and will be bilingual in Creole universal and immersive theatrical Ghenoa Gela. Is culture inextricably linked and English. experience for children aged five THANKS AND ACKNOWLEDGEMENTS to place? And what does it mean if the and over, is told through story, dance 2019 Creative Developments of CRAB AND islands sink? What will the legacy and DEVELOPMENT TEAM and song, introducing children to THE MANGROVE TREE were supported by the consequences of this issue be for future Ghenoa Gela, Rachael Maza Australian Government through the Indigenous the language, culture and people of generations of islanders? & Danielle Micich of Force Majeure Saibai Island. This new work is guided Languages and the Arts program, and by Queensland Performing Arts Centre. by a strong community of Saibai Island This new dance theatre work marks a new mothers, aunties and grandmothers. producing partnership between Sydney’s In 2019 we brought the first creative renowned physical theatre company Force development of this exciting new work to Majeure and ILBIJERRI Theatre Company. QPAC Clancestry Festival.

Photo: LYDIA FAIRHALL ADVOCACY AND SECTOR DEVELOPMENT

ELDERS IN EXECUTIVE RESIDENCE LEADERSHIP PROGRAM PROGRAM ILBIJERRI’s second year of ILBIJERRI’s Executive our ELDERS IN RESIDENCE Leadership Program is program. a multi-year mentorship and executive leadership Our Elders, N’arweet Dr Carolyn Briggs and Uncle Larry Walsh, contribute to development and ILBIJERRI’s strategic, artistic and cultural mentorship program to direction, with a particular focus on nurturing future generations. prepare mid-career First Nations arts workers for executive positions within ILBIJERRI and the performing arts sector more broadly.

This program is a model for increasing black leadership for the arts sector, whilst also ensuring ILBIJERRI’s continued growth toward a self-determined First Nations organisation with strong governance and internationally acclaimed artistic outcomes. In 2019 the positions of two Associate Producers, Emily Anyupa Butcher and Daniel Riley were supported through this program.

ILBIJERRI’s EXECUTIVE LEADERSHIP PROGRAM is supported by Creative Victoria and The Ian Potter Foundation.

Pictured: DANIEL RILEY, ASSOCIATE PRODUCER | Photo: Jeff Busby ADVOCACY AND SECTOR DEVELOPMENT cont.

APAM FIRST NATIONS LEAD

In 2019, ILBIJERRI was appointed the First Nations Lead for the Australian Performing Arts Market (APAM).

Based in Melbourne and working BLAK LAB is a key initiative produced nationally, the APAM Office provides by the APAM First Nations Lead. An services and year-round support exploratory lab for Australian First Nations to connect international artists, artists to seed new works in collaboration presenters and partners with Australian with Asia Pacific Indigenous peers, contemporary performance. ILBIJERRI BLAK LAB was curated by the APAM brings to APAM our extensive expertise First Nations Advisory Group. Artists and leadership as a successful and were selected to be supported in the internationally engaged First Nations-led development of new collaborative works organisation. in 2020.

The partnership comprises two producers ILBIJERRI’s APAM FIRST NATIONS LEAD employed by ILBIJERRI and based in the works in partnership with Australian APAM office, and the APAM First Nations Performing Arts Market. Advisory Group. The Advisory Group is made up of First Nations performing arts sector leaders, with significant international market experience, with a remit to guide the producers’ work.

TRI-NATIONS PERFORMING ARTS NETWORK KEY GATHERINGS ATTENDED IN 2019

ILBIJERRI is a member within a global First GFNPN (Global First Nations WAA (Western Arts Alliance) of the Tri-Nations Nations context. ILBIJERRI Dialogues and Presenter Network) Los Angeles, USA. network (for Indigenous attends international New York, USA. contemporary performing First Nations networking arts). The network is made and dialogue platforms YELLAMUNDIE Sydney, Australia. up of First Nations arts whilst also developing leaders from Australia, international collaborations Canada and New Zealand. with other First Nations NAC (National Arts Centre) opening Through our participation, performing arts companies, of the inaugural Indigenous theatre and ILBIJERRI works actively to such as BLACK TIES. Moshkimo Festival, Ottawa, Canada. maintain and strengthen its connections, relationships and strategic activity

Pictured: SARAH BELL, ASSOCIATE PRODUCER, APAM FIRST NATIONS LEAD | Photo: Sarah Walker FINANCIALS INCOME AND EXPENDITURE STATEMENT STATEMENT OF FINANCIAL POSITION

2019 2018 2019 2018

INCOME $ $ CURRENT ASSETS $ $

Event Income 448,878 456,950 Cash & Cash Equivalents 3,035,895 1,927,408 Philanthropy and Donations 282,843 63,948 Trade & Other Receivables 107,159 437,099 Other Income 56,465 17,828 Other Current Assets 30,783 38,512 Government Grants 1,270,689 1,114,285 TOTAL CURRENT ASSETS 3,173,836 2,403,019 TOTAL INCOME 2,058,875 1,653,011 TOTAL NON-CURRENT ASSETS 0 0 TOTAL ASSETS 3,173,836 2,403,019

EXPENSES CURRENT LIABILITIES

Salaries, Wages & Fees 1,418,974 1,095,605 Trade & Other Payables 150,918 44,859 Presentation & Touring 360,813 232,530 Short-Term Provisions Payable 125,606 202,717 Other Programs 7,500 131,448 Income in Advance 2,528,232 1,866,339 Marketing 59,992 61,835 TOTAL CURRENT LIABILITIES 2,804,755 2,113,915 Infrastructure Costs 131,620 125,851 TOTAL EXPENSES 1,978,898 1,647,269 TOTAL NON-CURRENT LIABILITIES 0 0 TOTAL LIABILITIES 2,804,755 2,113,915

NET SURPLUS 79,977 5,742 NET ASSETS 369,081 289,104

EQUITY

Retained Earnings 289,104 283,362 Current Earnings 79,977 5,742 TOTAL EQUITY 369,081 289,104

Pictured: BLACK TIES REHEARSALS | Photo: Tiffany Garvie BOARD & STAFF

BOARD & STAFF

ELDERS IN RESIDENCE STAFF We would like to thank all other members of the 2019 ANNUAL REPORT 2019 ILBIJERRI team including: Graphic Design: N’arweet Dr Carolyn Briggs Artistic Director/Co-CEO Rachael Maza Lydia Fairhall (Executive Producer/Co-CEO), Phillipa Clark Uncle Larry Walsh Acting General Manager Graham Coffey Kathy Morrison (General Manager), Kamarra Senior Producer Nina Bonacci Bell-Wykes (Creative Director), Elizabeth Walsh COVER PHOTO: BOARD OF DIRECTORS Associate Producers Daniel Riley, (General Manager/Acting Executive Producer), Pictured: Uncle Jack Charles in BLACK TIES Emily Anyupa Butcher & Laila Thaker Davey Thompson (Associate Producer and Office Photo: Luke Currie-Richardson Chair Kareena Gay Production Coordinator Caleb Thaiday Manager), J-Maine Beezley (Associate Producer), Vice Chair Eugenia Flynn Finance Manager Jon Hawkes Lisa Parris (Acting Social Impact Producer), as Secretary Gavin Somers Marketing Manager Kendra Keller well as the many artists, community members and Treasurer Tony McCartney Office AminCorey Saylor-Brunskill contractors with whom we have worked closely. Director Erica McCalman Director Glenn Shea APAM FIRST NATIONS LEAD TEAM Director Lisa Maza Senior Producer Kath Papas Associate Producer Sarah Bell

Pictured: ARTISTS AND ILBIJERRI TEAM MEMBERS AT BLACK TIES CREATIVE DEVELOPMENT SHOWING, YIRRAMBOI FESTIVAL Photo: James Henry Thank you to all of our generous Partners and Donors for believing in ILBIJERRI, our vision and the future of First Nations theatre.

PARTNERS AND DONORS

KEY PARTNERS

PROJECT PARTNERS

MELBOURNE IS A CREATIVE CITY Annamila Foundation Creative Victoria Te Rēhia Theatre APAM City of Melbourne VCA Theatre Faculty of Fine The City of Melbourne proudly supports major and emerging arts Arts Centre Melbourne Dennis Osborne Clarke Trust Arts & Music, organisations through our 2018–20 Triennial Arts Grants Program Asia TOPA Drama Victoria University of Melbourne Auckland Arts Festival Gandel Philanthropy VicHealth Australia Council for the Arts Helen Macpherson Smith Trust Victorian Aboriginal Community African Music and Cultural Festival KINGS Artist-Run Melbourne Symphony Orchestra Australia Council for the Arts: Hepatitis Victoria Controlled Health Organisation (VACCHO) Aphids Koorie Heritage Trust Melbourne Writers Festival Catalyst The Ian Potter Foundation Victorian Aboriginal Child Care Arts Access Victoria La Mama Australian Government through Lord Mayor’s Charitable Trust Multicultural Arts Victoria the Indigenous Languages Agency (VACCA) Australian Art Orchestra Liquid Architecture and Arts Program Melbourne International Victorian Aboriginal Next Wave Festival Arts Festival Australian Centre for Lucy Guerin Inc. Australian Government’s Major Health Service Polyglot Theatre Melbourne Theatre Company Contemporary Art Malthouse Theatre Festivals Initiative, managed by Victorian Government: Australia Council for the Arts Monash University Department of Health and BLINDSIDE Melbourne Festival Speak Percussion Auspicious Arts Projects New Zealand Festival of the Arts Human Services Chamber Made Melbourne Fringe St Martins Youth Arts Centre Brisbane Festival Performing Lines Wilin Centre for Indigenous Arts & Cultural Development Circus Oz Melbourne International Comedy Victorian Youth Symphony Orchestra Brown Cabs Perth Festival Yalukit Marnang Craft Victoria Festival Canada Council for the Arts Queensland Performing West Space Emerging Writers’ Festival Melbourne International Film Festival Confederation of Australian Arts Centre Human Rights Arts & Film Festival Melbourne International Jazz Festival The Wheeler Centre International Arts Festivals Inc. RE Ross Trust Creative New Zealand ILBIJERRI Theatre Company Melbourne Queer Film Festival Wild@Heart Community Arts Sydney Festival

DONORS

Casey Grammar School Samara Pitt Kim Sutton Danielle Clarke Carolyn Poon Ann Tonks Christine Kirkpatrick Claire Stokes Claire Wilcock

melbourne.vic.gov.au/triennialarts Meat Market 5 Blackwood Street North Melbourne VIC 3051

T 03 9329 9097 F 03 9329 9105 [email protected] ilbijerri.com.au