DOCSLIB.ORG

1 the Hon. Michael Mccormack MP Minister for Small Business PO Box

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 the Hon. Michael Mccormack MP Minister for Small Business PO Box 20 December 2017 The Hon. Michael McCormack MP Minister for Small Business PO Box 6022 House of Representatives Parliament House Canberra ACT 2600 Dear Minister, AMPAG pre-Budget submission on priorities for the 2018–19 Federal Budget The Australian Major Performing Arts Group (AMPAG) is the umbrella group for Australia's major performing arts companies (MPAs) who inspire millions through theatre, circus, contemporary dance, classical ballet, classical music, opera, musicals and comedy. While we recognise the Government’s positive response to the recommendation in AMPAG’s 2017–18 pre-Budget submission (to direct funds previously administered under the Catalyst fund back to the Australia Council for the Arts), there is more that needs to be done. With the support of government, we must strengthen equity of access, artistic vibrancy and ambition, and include the arts in building better economic, health and wellbeing and education outcomes. We continue to urge the government take a long-term view of the sector and of the employment generated by the performing arts. We also encourage the government to actively acknowledge the positive impact engagement with the performing arts has on individuals and their potential to advance social and economic policies in other portfolios. Investment in the arts is well leveraged. The return on investment offers both direct and indirect benefits. It has the potential to increase wellbeing, social engagement, physical activity, connectedness and vibrancy in our communities. It can stimulate the development of higher order thinking, creative ambition and insight and generates greater employment, innovation and risk-taking. Arts engagement in education leads to stronger learning outcomes and equips students with the soft skills needed in the fast-changing digital economy. The arts also contribute to tourism and positive international perceptions of our country and its people. 1 www.ampag.com.au In summary AMPAG calls for: • STEAM (science, technology, engineering, arts, maths) not STEM—The arts to be incorporated into the national digital economic strategy and the innovation strategies in education and health Cost: n/a • an ongoing commitment to strengthen the MPA framework Cost: no additional cost • an end to the erosion of the real value of arts funding caused by inflation and efficiency dividends Cost: estimated $2 million per year for four years • new investment in the arts: o to enable risk and fuel ambition through the creation of a seed fund to support new works of scale and innovation o to uplift investment in the Playing Australia fund to deliver greater regional access and opportunity o to increase funds to better leverage Australia’s international cultural touring and engagement activities Cost: $8.25 million per year for four years • stimulate philanthropy through the introduction of a tax mechanism modelled on the UK Gift Aid tax measure Cost: negligible (set up) AMPAG also recognises the importance of Aboriginal and Torres Strait Islander arts and culture and the importance of ensuring its ongoing vibrancy and relevance to First Nations and all Australians. We acknowledge first nations artists and support the ongoing work, with government support, to build on the rich culture that they carry forward. 2 www.ampag.com.au We thank you for this opportunity to outline our priories for the 2018–19 Federal Budget. Details and a full list of recommendations are in the AMPAG submission that follows. We recommend these government interventions for the benefit of the Australian people, recognising the arts have an important role to play in inspiring its citizens and lifting their social and economic prosperity. Yours sincerely John Irving Bethwyn Serow Chair Executive Director 3 www.ampag.com.au AMPAG PRE-BUDGET SUBMISSION ON PRIORITIES FOR THE 2018–19 FEDERAL BUDGET Executive summary The Australian Major Performing Arts Group (AMPAG) is the umbrella group for Australia's major performing arts companies (MPAs) who inspire millions through theatre, circus, contemporary dance, classical ballet, classical music, opera, musicals and comedy. We support our members’ leadership roles within their specific art forms and in the advancement of the performing arts sector and the public good that the performing arts deliver to individuals and communities across Australia. As a nation, we boast some of the best artists, arts companies and arts administrators in the world. The arts have a place in the lives of 98 per cent of Australians.1 They celebrate and inspire greater insight and understanding of who we are, what we value and the nature of our existence. However, government funding in real terms is sliding backwards—and in this submission AMPAG urges the Australian Government to restore a level of funding that will do justice to Australian innovation, ingenuity and creativity. With the support of government, we must strengthen equity of access, artistic vibrancy and ambition, and include the arts in building better economic, health and wellbeing and education outcomes. We continue to urge the government take a long-term view of the sector and of the employment generated by the performing arts. We also encourage the government to actively acknowledge the positive impact engagement with the performing arts has on individuals and their potential to advance social and economic policies in other portfolios. Investment in the arts is well leveraged. The return on investment offers both direct and indirect benefits. It has the potential to increase wellbeing, social engagement, physical activity, connectedness and vibrancy in our communities. It can stimulate the development of higher order thinking, creative ambition and insight and generates greater employment, innovation and risk-taking. Arts engagement in education leads to stronger learning outcomes and equips students with the soft skills needed in the fast-changing digital economy. The arts also contribute to tourism and positive international perceptions of our country and its people. 1 Australia Council for the Arts 2017, Connecting Australians: Results of the National Arts Participation Survey. Australia Council for the Arts, Sydney. http://www.australiacouncil.gov.au/ research/connecting-Australians/ 4 www.ampag.com.au In summary AMPAG calls for: • STEAM (science, technology, engineering, arts, maths) not STEM—The arts to be incorporated into the national digital economic strategy and the innovation strategies in education and health • an ongoing commitment to strengthen the MPA framework • an end to the erosion of the real value of arts funding caused by inflation and efficiency dividends • new investment in the arts: o to enable risk and fuel ambition through the creation of a seed fund to support new works of scale and innovation o to uplift investment in the Playing Australia fund to deliver greater regional access and opportunity o to increase funds to better leverage Australia’s international cultural touring and engagement activities • stimulate philanthropy through the introduction of a tax mechanism modelled on the UK Gift Aid tax measure 5 www.ampag.com.au 1. National federal policy National policy on innovation, the digital economy and education are failing to incorporate the arts to maximise positive policy outcomes. Core challenges, such as falling school engagement and academic achievement, community resilience, declining social optimism, workforce adaptability and innovation, public health and wellbeing will not be addressed adequately by scientific or digital technical skills and policy in isolation. The arts have a positive contribution to make, but it needs to be facilitated through the government’s policy framework and resources. Recommendation 1 AMPAG calls for the Australian Government to resource the expansion of the STEM agenda to a STEAM (science, technology, engineering, arts, maths) approach in the formation of its digital strategy, to generate better outcomes for its citizens and to strengthen school education outcomes. Government's approach to digital economic development 2 Australia has slipped a further four places in the Global Innovation Index to 23rd position in 2017. Australia is ranked 34th for knowledge and technology outputs, but in the critical area of knowledge diffusion it ranks 96.3 There is a disconnect. A STEAM (science, technology, engineering, arts, maths) approach to the National Digital Economic Strategy has the potential to combine skills with more significant effect, driving a culture and mindset that supports lifelong learning, exploring and interpreting the social challenges and changes brought to us through digital evolution. An economic framework that structures out the value of humanities, creativity, and the soft skills that are developed through the arts, is a deficit model. The arts can help us respond to a fast-changing economic and social landscape by inspiring innovation, new practices and services, and modes of social engagement. In addition, jobs needing creative and social intelligence, not just in the creative industries but across all industries, are less likely to be replaced by computerisation 2 Future of Jobs World Economic Forum 3 https://www.globalinnovationindex.org/ 6 www.ampag.com.au (see table above). Future teams tackling innovation challenges need to draw on a diversity of skills that are effectively forged within the arts and humanities.4 There is a growing body of research confirming the importance of creativity and innovation in the future workplace (The Heart of
Load more

Recommended publications
  • Nutcracker – the Story of Clara the AUSTRALIAN BALLET EDUCATION
    TEACHER’S RESOURCE KIT SECONDARY SCHOOLS Nutcracker – The Story of Clara THE AUSTRALIAN BALLET EDUCATION Contents 05/ Synopsis 08/ The Creatives 10/ Spotlight on Nutcracker – The Story of Clara with Artistic Director David McAllister 11/ The Music 12/ Invitation to the Dance: Graeme Murphy on the origins of his Nutcracker 15/ Curricular activities TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 2 THE AUSTRALIAN BALLET EDUCATION Leanne Stojmenov. Photography Justin Ridler. Nutcracker – The Story of Clara Choreography Graeme Murphy Creative associate Janet Vernon Concept Graeme Murphy and Kristian Fredrikson Music Piotr Ilyich Tchaikovsky Set and costume design Kristian Fredrikson Original lighting design John Drummond Montgomery recreated by Francis Croese Film collage Philippe Charluet TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 3 THE AUSTRALIAN BALLET EDUCATION Leanne Stojmenov and Kevin Jackson. Photography Justin Ridler TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 4 THE AUSTRALIAN BALLET EDUCATION Nutcracker – The Story of Clara Amelia Soh, Natasha Kusen and artists of the Australian Ballet. Photography Daniel Boud SYNOPSIS ACT I During a sweltering Christmas Eve in Melbourne in the late During a troubled sleep Clara descends into hallucination. 1950s, the ageing Clara, once a famous Russian ballerina, She dreams that she encounters herself as a child and once struggles home through the scorching heat with her meagre again is terrified by shadows in the night. Then, as the clock shopping. All she can afford is a few provisions and a tiny strikes midnight on this final Christmas, she witnesses the death Christmas tree, which she places on a table. The music of of the man she loved and is caught in the destructive chaos of Tchaikovsky’s The Nutcracker from her radio fills her with the Russian Revolution.
    [Show full text]
  • Dame Margaret Scott AC DBE
    Having trouble viewing this email? You can view it online. Like | @LivePerfAust | Follow | Forward VALE Dame Margaret Scott AC DBE LPA was very saddened to hear of the passing of Dame Margaret Scott AC DBE who died last week in Melbourne at the age of 96. Margaret or "Maggie" as she perferred to be called was a pioneer of Australian dance. She had been involved in most, if not all, of the major developments in dance education in Australia since the mid 1960s, including the establishment of the country’s dance organisation, Ausdance and The Australian Ballet Foundation. In 1964 she was appointed Founding Director of The Australian Ballet School and continued this role until 1990. During her time as Director she transformed the school from humble beginnings to an internationally recognised training institution discovering and nurturing elite performers. Born in Johannesburg, South Africa, Maggie moved to London initially accepted into the Sadler's Wells Ballet School but joined the Sadler's Wells Ballet shortly after. Dissatisfied with her prospects she resigned and successfully auditioned for Ballet Rambert. She arrived in Australia in 1947 as part of Ballet Rambert's overseas tour and chose to stay. Passionate about dance and education she was an advocate for Australian dance and taught many dancers and choreographers including Graeme Murphy AO and Meryl Tankard. Maggie changed the landscape of dance in Australia and was awarded the Order of the British Empire in 1977 and made a Dame in 1981. Maggie received Live Performance Australia’s James Cassius Williamson Lifetime Achievement Award in 2007.
    [Show full text]
  • Opera Australia 2018 Annual Report
    2018 ANNUAL REPORT Cover image: Simon Lobelson as Gregor in Metamorphosis, which played at the Opera Australia Scenery Workshop in Enriching Australia’s Surry Hills and the Malthouse cultural life with Theatre in Melbourne. exceptional opera. One of Opera Australia’s new Vision productions, it was written by Australian Brian Howard, performed by an all Australian cast To present opera that excites and produced by an all Australian audiences and sustains and creative team. Photo: develops the art form. Prudence Upton Mission TABLE OF CONTENTS At a glance 3 Artistic Sydney Screens on stage 32 Director’s Report 12 Conservatorium Productions: of Music 2018 awards 34 performances and Regional Tour 13 Internships 23 attendances 4 China tour 36 Regional Student Professional and Artists 38 Season star ratings 5 Scholarships 16 Talent Development 24 Orchestra 39 Revenue and expenditure 6 Schools Tour 18 Evita 26 Philanthropy 40 Australia’s biggest Auslan Handa Opera arts employer 7 shadow-interpreting 20 on Sydney Harbour – Opera Australia Community reach 8 Community events 21 La Bohème 28 Capital Fund 43 Chairman’s Report 10 NSW Regional New works Staff 46 Conservatoriums in development 30 Partners 48 Chief Executive Project 22 Officer’s Report 11 opera.org.au 2 At a glance 77% Self-generated revenue $61mBox office 1351 jobs provided 543,500 58,000 attendees student attendees 7 637 productions new to Australia performances opera.org.au 3 Productions Productions Performances Attendance A Night at the Opera, Sydney 1 2,182 Performances and total attendances Aida, Sydney 19 26,266 By the Light of the Moon, Victorian Schools tour 85 17,706 Carmen, Sydney 13 18,536 Die Meistersinger von Nürnberg, Melbourne 4 6,175 Don Quichotte, Melbourne 4 5,269 Don Quichotte, Sydney 6 7,889 Great Opera Hits 2018 27 23,664 La Bohème, Handa Opera on Sydney Harbour 26 48,267 La Bohème, Melbourne 7 11,228 La Bohème, New Year 1 1,458 The chorus of Bizet’s Carmen, directed by John Bell.
    [Show full text]
  • SOH-Annual-Report-2016-2017.Pdf
    Annual Report Sydney Opera House Financial Year 2016-17 Contents Sydney Opera House Annual Report 2016-17 01 About Us Our History 05 Who We Are 08 Vision, Mission and Values 12 Highlights 14 Awards 20 Chairman’s Message 22 CEO’s Message 26 02 The Year’s Activity Experiences 37 Performing Arts 37 Visitor Experience 64 Partners and Supporters 69 The Building 73 Building Renewal 73 Other Projects 76 Team and Culture 78 Renewal – Engagement with First Nations People, Arts and Culture 78 – Access 81 – Sustainability 82 People and Capability 85 – Staf and Brand 85 – Digital Transformation 88 – Digital Reach and Revenue 91 Safety, Security and Risk 92 – Safety, Health and Wellbeing 92 – Security and Risk 92 Organisation Chart 94 Executive Team 95 Corporate Governance 100 03 Financials and Reporting Financial Overview 111 Sydney Opera House Financial Statements 118 Sydney Opera House Trust Staf Agency Financial Statements 186 Government Reporting 221 04 Acknowledgements and Contact Our Donors 267 Contact Information 276 Trademarks 279 Index 280 Our Partners 282 03 About Us 01 Our History Stage 1 Renewal works begin in the Joan 2017 Sutherland Theatre, with $70 million of building projects to replace critical end-of-life theatre systems and improve conditions for audiences, artists and staf. Badu Gili, a daily celebration of First Nations culture and history, is launched, projecting the work of fve eminent First Nations artists from across Australia and the Torres Strait on to the Bennelong sail. Launch of fourth Reconciliation Action Plan and third Environmental Sustainability Plan. The Vehicle Access and Pedestrian Safety 2016 project, the biggest construction project undertaken since the Opera House opened, is completed; the new underground loading dock enables the Forecourt to become largely vehicle-free.
    [Show full text]
  • Lists of Members 1996
    Lists of Members Governing Bodies, Faculties, Boards, Academic and Administrative Staff 1996 Main Committees and Departmental Lists as at 1st February, 1996. Address All general correspondence directed to the University should be addressed to The Registrar, The University of Melbourne, Parkville, Victoria. Australia, 3052. Telephone: (03) 9344 4000 Fax: (03) 9344 5104 Contents UNIVERSITY OF MELBOURNE: SENIOR OFFICE BEARERS COUNCIL 1 *COMMI 11tES 2 4 COUNCILS OF HALLS OF RESIDENCE COMMITthE OF CONVOCATION 8 *ACADEMIC BOARD FACULTIES 10 BOARDS 13 PROFESSORS 21 22 PROFESSORIAL ASSOCIATES WITH 1-11LE OF PROFESSOR 28 READERS 30 PROFESSORS EMERITUS 35 HEADS OF AFFILIATED COLLEGES 40 HEADS OF HALLS OF RESIDENCE 40 TEACHING AND RESEARCH STAFF - Agriculture, Forestry and Horticulture 41 Architecture, Building and Planning 45 Arts 46 Economics and Commerce 53 Education 56 Engineering 60 Law 65 Medicine, Dentistry and Health Sciences 67 Melbourne Business School 99 Music 100 Science 101 Veterinary Science 107 Victorian College of the Arts 109 LIBRARY 112 FACULTY ADMINISTRATION 115 GRADUATE SCHOOL ADMINISTRATION 119 CENTRAL ADMINISTRATION 120 Office of the Vice-Chancellor and Principal 120 Academic Registrar's Division 122 Academic Services 122 Academic Administration 122 Academic Planning Support Unit 122 External Relations 122 The Graduate Centre 123 International Office 123 Student and Staff Services 123 Human Resources 125 Registrar's Division 126 Executive Services 126 Financial Operations 126 Information
    [Show full text]
  • 2019 Annual Report Celebrating 55 Years of the Australian Ballet School
    2019 Annual Report Celebrating 55 Years of The Australian Ballet School 1 The Australian Ballet School 2019 Annual Report “The highly entertaining program for Summer Season 2019 again highlights The Australian Ballet School as not just an esteemed and invaluable institute but as a trusted brand for brightly polished, modestly priced performances.” Simon Parris: Man in Chair (Theatre, Opera and Ballet Reviewer), December 2019 2 The Australian Ballet School 2019 Annual Report 3 The Australian Ballet School 2019 Annual Report Vale Dame Margaret Scott In the 55th year of The Australian Ballet School, Founding Director Dame Margaret Scott AC DBE passed away peacefully on 24 February. Born in Johannesburg, South Africa, Dame Margaret began her professional dance career with Sadler’s Wells Ballet in London, where she was appointed Principal in 1941. She soon joined Ballet Rambert, also in London, and was Principal from 1943 to 1948. She arrived in Australia in 1947 as part of Ballet Rambert’s overseas tour and chose to remain. Dame Margaret was a founding member of the National Theatre Ballet in Melbourne and danced in its early seasons as Principal. In the late 1950s, she was involved in negotiations with the Australian Elizabethan Theatre Trust, which led to the formation of The Australian Ballet. In 1964, she was appointed Founding Director of The Australian Ballet School, and continued in that role until 1990. She was invested as a Dame Commander of the British Empire (DBE) in 1981 for services to ballet. This followed the earlier award of an Order of the British Empire (OBE) in 1976.
    [Show full text]
  • 24 June – 3 July | State Theatre Centre of WA
    STATE 24 June – 3 July | State Theatre Centre of WA Artistic Director: Aurélien Scannella Air and Other Invisible Forces Choreographer: Graeme Murphy Creative Associate: Janet Vernon Staging Directors: Bradley Chatfield & Catherine Goss Set Designer: Gerard Manion Costume Designer: Akira Isogawa Lighting Designer: Damien Cooper Composer: Giya Kancheli Slow Haunt Choreographer: Melanie Lane Costume Designer: Akira Isogawa Lighting Designer: Damien Cooper Composer: Chris Clark Graeme Murphy Choreographer – Air and Other Invisible Forces Graeme Murphy was born in Melbourne and studied at The Australian Ballet School. He has danced with The Australian Ballet, Sadler’s Wells Ballet (London) and Ballets Félix Blaska (France). In 1976 he was appointed Artistic Director of Sydney Dance Company (then known as The Dance Company NSW), a position he held until 2007. During his 31-year tenure, he created more than 50 works, including 30 full-length productions. Murphy received an AM (Member of the Order of Australia) in 1982 for his Services to Dance and three honorary doctorates – Hon. D. Lit. Tas (1990), Hon. D. Phil. Qld (1992) and Hon. D. Lit. UNSW (1999). He was honoured at the Inaugural Sydney Opera House Honours in 1993 and named a National Living Treasure in 1999 by the National Trust of Australia. He has received a Helpmann Award for Best Choreography, Body of Work – a Retrospective (2001); the prestigious James Cassius Award (2002); the Green Room Award for Concept and Realisation, Swan Lake (2003); a Centenary Medal (2003); named Cultural Leader of the Year by the Australian Business Arts Foundation, receiving the Dame Elisabeth Murdoch Award (2004) and was listed among Australia’s 50 Most Glamorous Exports at a special celebration hosted by the Australian Government and Austrade (2005).
    [Show full text]
  • Currier Time Machines
    Boosey & Hawkes Music Publishers Limited October 2011 2011/3 Currier Time Machines Britten Included in this issue: Sebastian Currier’s concerto for Anne-Sophie Mutter, notes from an opening movement, eschews what Pagodas in MacMillan is obvious, and goes straight toward a quantum Clemency staged at premiered by the New York Philharmonic in June, was leap of space and time… Like the finest of modern The Royal Opera in London recently released by DG and travels to Europe in January. painters, Mr. Currier has a variety of counterpoints Japan in the background, instruments enjoying their own dialogues and intriguing conversations, as Ms. Benjamin Britten’s only ballet, The Prince of Mutter plunged ahead.” ConcertoNet the Pagodas, travels back to its roots in the Currier’s harp concerto, Traces, received its Far East this autumn with its first Japanese US premiere at the Grand Teton Festival in staging. The new choreography by David July with soloist Naoko Yoshino and Bintley is unveiled on 30 October at the New conductor Osmo Vänskä. The work was National Theatre in Tokyo with Paul Murphy composed for Marie-Pierre Langlamet and conducting the Tokyo Philharmonic premiered in 2009 by the Berliner Orchestra. The staging is a co-production Philharmoniker and Donald Runnicles. with Birmingham Royal Ballet, who will present the ballet in the UK in January/ Next Atlantis, combining strings (quartet or February 2014 as one of the closing orchestral), electronics and video by Pawel highlights of the Britten centenary (2013). Wojtaski, receives performances in Miami David Bintley’s choreography of The Prince Dean and New York this autumn.
    [Show full text]
  • Annual Report Sydney Opera House Financial Year 2019-20
    Annual Report Sydney Opera House Financial Year 2019-20 2019-20 03 The Sydney Opera House stands on Tubowgule, Gadigal country. We acknowledge the Gadigal, the traditional custodians of this place, also known as Bennelong Point. First Nations readers are advised that this document may contain the names and images of Aboriginal and Torres Strait Islander people who are now deceased. Sydney Opera House. Photo by Hamilton Lund. Front Cover: A single ghost light in the Joan Sutherland Theatre during closure (see page 52). Photo by Daniel Boud. Contents 05 About Us Financials & Reporting Who We Are 08 Our History 12 Financial Overview 100 Vision, Mission and Values 14 Financial Statements 104 Year at a Glance 16 Appendix 160 Message from the Chairman 18 Message from the CEO 20 2019-2020: Context 22 Awards 27 Acknowledgements & Contacts The Year’s Our Partners 190 Activity Our Donors 191 Contact Information 204 Trade Marks 206 Experiences 30 Index 208 Performing Arts 33 Precinct Experiences 55 The Building 60 Renewal 61 Operations & Maintenance 63 Security 64 Heritage 65 People 66 Team and Capability 67 Supporters 73 Inspiring Positive Change 76 Reconciliation Action Plan 78 Sustainability 80 Access 81 Business Excellence 82 Organisation Chart 86 Executive Team 87 Corporate Governance 90 Joan Sutherland Theatre foyers during closure. Photo by Daniel Boud. About Us 07 Sydney Opera House. Photo by by Daria Shevtsova. by by Photo Opera House. Sydney About Us 09 Who We Are The Sydney Opera House occupies The coronavirus pandemic has highlighted the value of the Opera House’s online presence and programming a unique place in the cultural to our artists and communities, and increased the “It stands by landscape.
    [Show full text]
  • Celebrating 45 Years 1969 -‐ 2014
    Celebrating 45 Years 1969 - 2014 NS MEDIA RELEASE 29 May 2014 SYDNEY DANCE COMPANY HERITAGE COLLECTION – THE WORKS OF GRAEME MURPHY Sydney Dance Company rounds out its 45th Anniversary celebrations with the announcement of a new filmic resource preserving the works of one of Australia’s greatest choreographers and most influential artists, Graeme Murphy. Sydney Dance Company is excited to announce that work has commenced on the editing and digitising of film and video recordings of some of the major works created by long-standing former Artistic Director, Graeme Murphy AO and his Creative Associate, Janet Vernon AM. The Heritage Collection will include re-mastered films of many full evening works created by Murphy on the Sydney Dance Company ensemble during his 31 year tenure from 1976 to 2007, in addition to a new documentary resource of Murphy in conversation, interweaving a myriad of interviews filmed over a period of three decades, with new footage in which he reflects on his body of work. Dating from 1979 to 2005, the works document the growth of Australia’s leading contemporary dance company, and the rise of some of Australia’s most well known and highly acclaimed dance luminaries, including Graeme Murphy, Janet Vernon, Paul Mercurio, Gideon Obarzanek, Stephen Page and Kim Walker. Sydney Dance Company, The Wharf, Pier 4, 15 Hickson Road, Sydney, NSW 2000, Australia Celebrating 45 Years 1969 - 2014 NS Originally captured in various formats, the films are currently being digitised and edited by filmmaker Philippe Charluet, who began working with Sydney Dance Company whilst still a student at the Australian Film, Television and Radio School (AFTRS), and continued to film both performances and behind the scenes activity for a period of 30 years.
    [Show full text]
  • Wednesday 5 May 2021 Media Release a High Note to 2020: The
    Wednesday 5 May 2021 Media Release A high note to 2020: The performing arts industry celebrates four leading lights in long-awaited Industry Achievement Awards announcement The Industry Achievement Award recipients for 2020 have been revealed and honoured: 2020 JC Williamson Award® Deborah Cheetham AO and David McAllister AM Sue Nattrass Award® Jill Smith AM and Ann Tonks AM Melbourne, Australia: Live Performance Australia (LPA) today announced and honoured four of Australia’s most celebrated live performance luminaries in a postponed 2020 Industry Achievement Awards ceremony, which took place on Wednesday 5 May at Melbourne Recital Centre. Deborah Cheetham AO and David McAllister AM have been announced as the recipients of the 2020 JC Williamson Award®, the foremost honour that the Australian live entertainment industry can bestow. In awarding the 2020 JC Williamson Award®, LPA recognises an individual who has made an outstanding contribution to the Australian live entertainment and performing arts industry and shaped the future of our industry for the better. At the same event Jill Smith AM and Ann Tonks AM were revealed as the dual recipients of the 2020 Sue Nattrass Award®. This prestigious award honours exceptional service to the Australian live performance industry, shining a spotlight on people in service roles that support and drive our industry, roles that have proved particularly crucial in ensuring the sector’s survival over the past year. 2020 JC Williamson Award® Yorta Yorta woman, soprano, composer and educator Professor Deborah Cheetham AO, has been a leader and pioneer in the Australian arts landscape for more than 25 years. In 2009, Deborah established Short Black Opera with her partner Toni Lalich OAM, as a national not-for-profit opera company devoted to the development of Indigenous singers.
    [Show full text]
  • 1 Giselle the Australian Ballet
    THE AUSTRALIAN BALLET GISELLE 1 Lifting them higher Telstra is supporting the next generation of rising stars through the Telstra Ballet Dancer Award. Telstra and The Australian Ballet, partners since 1984. 2018 Telstra Ballet Dancer Award Winner, Jade Wood | Photographer: Lester Jones 2 THE AUSTRALIAN BALLET 2019 SEASON Lifting them higher Telstra is supporting the next generation of rising stars through the Telstra Ballet Dancer Award. Telstra and The Australian Ballet, partners since 1984. 1 – 18 MAY 2019 | SYDNEY OPERA HOUSE Government Lead Principal 2018 Telstra Ballet Dancer Award Winner, Jade Wood | Photographer: Lester Jones Partners Partners Partner Cover: Dimity Azoury. Photography Justin Ridler Above: Ako Kondo. Photography Lynette Wills Richard House, Valerie Tereshchenko and Amber Scott. Photography Lynette Wills 4 THE AUSTRALIAN BALLET 2019 SEASON NOTE FROM THE ARTISTIC DIRECTOR Giselle has a special place in The Australian Ballet’s history, and has been a constant in our repertoire since the company’s earliest years. The superstars Margot Fonteyn and Rudolf Nureyev danced it with us in 1964, in a production based on the Borovansky Ballet’s. Our founding artistic director, Peggy van Praagh, created her production in 1965; it premiered in Birmingham on the company’s first international tour, and won a Grand Prix for the best production staged in Paris that year. It went on to become one of the most frequently performed ballets in our repertoire. Peggy’s production came to a tragic end when the scenery was consumed by fire on our 1985 regional tour. The artistic director at the time, Maina Gielgud, created her own production a year later.
    [Show full text]