2020 Annual Report
Bangarra Dance Theatre Annual Report 2020 | 1 Bennelong rehearsal photo, featuring (L to R) Elma Kris, Beau Dean Riley Smith, Rika Hamaguchi and Nicola Sabatino (Jan 2020)
2 | Connecting with Community CONTENTS
Chair’s Report 4
Artistic Director’s Report 6
Executive Director’s Report 8
Company Profile 12
A Year in Review 14
Awards 16
Our Mission 18
Experiences 21
Connecting with Community 32
Youth and Outreach Programs 38
Russell Page Graduate Program 42
Returning to the Wharf 44
The Year Ahead 46
The Company 48
Partners 52
Patrons 54
Board of Directors 58
Governance 61
Image credits 63 CHAIR’S REPORT
I was honoured to take on the role of Chair of guidance and leadership navigating our way Bangarra Dance Theatre in April 2020, after through this year. Our thanks also goes to acting as the Interim Chair for the previous Stephen Page, Frances Rings and all the five months. I have long admired the qualities Bangarra team for their agility, resilience, of kinship, respect, cultural integrity and energy and focus on connecting with our connection inherent in the company, and in audiences and caring for our Community. this challenging year I witnessed these values I acknowledge the support of the Federal provide the strong foundation for facing and NSW governments, and the many private adversity with resilience and strength. companies and individuals that support During the year we welcomed three new us. I would also acknowledge International Board members – in March we welcomed Towers, for providing such a welcoming back Lynn Ralph to assist Bangarra navigate temporary home whilst our studios at the COVID-19 impacts and new appointees Wharf underwent renovation. Returning to Richard Eccles and Ian Roberts who Walsh Bay was a fitting end to 2020, but we joined the Board in August 2020. It was an will miss the connection with the Barangaroo extraordinary time to join as we continued community in what was a serendipitous our connection online and met more alignment of culture and values. frequently so we could be responsive and Inspired by a major gift from Phil Rounsevell provide support to the organisation. Our and Nelson Estrella, we established our immediate priorities at the start of the Cultural Integrity Maintenance Fund. COVID-19 restrictions were to ensure that The Fund provides support to ensure we maintained a safe and supportive work continuation of cultural maintenance and environment for our Dancers and staff, preservation of songs and stories. preserved our organisational culture and protected the organisation’s cash reserves. Our return to the Wharf at the end of December 2020 was a joyful company event, Our new Executive Director Lissa Twomey, not just to celebrate a stunning new working in an unusual first week in a new role, joined environment, but to honour the contributions the company the very day the first COVID-19 of past board members, funders and public health orders were introduced. Lissa’s supporters to achieve this great milestone more than 25 years’ experience in the arts in the company’s journey. I thank the NSW and cultural sectors were immediately government for its vision and significant apparent and we are thankful for her investment in the Walsh Bay Arts Precinct.
4 | Bangarra Dance Theatre Annual Report 2020 Nicola Sabatino rehearsing for Bennelong (Jan 2020)
As we emerge from 2020, our minds go to those communities in other parts of the world less fortunate than us. I would like to thank Tony Grybowski for his valuable contribution as Interim Executive Director and my fellow Board members for their expertise and determination to ensure Bangarra’s sustainability and continued evolution. The stringent measures the Board and our team put in place to respond quickly and effectively to the impacts of COVID-19 has meant that we are well placed to meet the challenges and uncertainty ahead.
We continue to deliver our impactful work and connect in meaningful ways with our audiences and communities, though remain cautiously optimistic as we approach the 2021 world premiere of our new work SandSong: Stories from the Great Sandy Desert and cross borders with our national and regional tours.
Phillipa McDermott Chair, Bangarra Dance Theatre
Bangarra Dance Theatre Annual Report 2020 | 5 ARTISTIC DIRECTOR’S REPORT
2020 saw Bangarra enter its fourth decade. Desert, a work which will honour and pay The company had just undergone a period tribute to Ningali’s life and legacy. Time on of regeneration and renewal, and we looked Country provides the cultural creative seeds forward to commencing a new cultural which Bangarra is then entrusted to carry creative cycle, which included returning home to cultivate further – all the while home to our newly refurbished studios on maintaining and tending the integrity Gadigal Country. of the cultural knowledge shared.
All of Bangarra’s works speak to the When COVID-19 hit, the impact on the arts resilience and strength of People, Land industry was immediate and severe, but and Story, but in a year in which the as an Aboriginal and Torres Strait Islander Black Lives Matter movement entered the collective, Bangarra is innately resilient. international mainstream consciousness, Our immediate concern was to ensure and on the eve of the 30th anniversary the health and wellbeing of our extended of the Royal Commission into Aboriginal Bangarra clan, and to provide the necessary Deaths in Custody, Bennelong in particular support so that the Dancers remained safe is a work which speaks to the core issues of and strong during lockdown. contemporary Australian identity, colonial Lockdown provided a valuable opportunity mythmaking, and the legacies of structural for reflection on our purpose, our obligations racism still experienced today. We were very within the community and our purpose grateful to have the opportunity to present within the cultural landscape of Australia. Bennelong at Perth Festival and to then tour What became quickly apparent was people’s to communities across regional Western need for continued connection, and the Australia, sparking reflection and dialogue. unique importance and role of storytelling Whilst in Western Australia, I travelled with as a conscious human medicine. Bangarra Associate Artistic Director Frances Rings, launched a new digital engagement initiative, Head of Design Jacob Nash, Composer Nandhu, which allowed audiences to journey Steve Francis and Community Engagement through Bangarra’s digital archive Knowledge Manager Libby Collins to spend time on Ground, we moved our Youth and Education Country with Wangkatjunga and Walmajarri workshops online, and – in collaboration Elders and representatives of Ningali with Sydney Opera House, the ABC, and Lawford-Wolf’s family for the development The Australian Ballet – streamed some of of SandSong: Stories from the Great Sandy Bangarra’s most iconic works, Bennelong,
6 Terrain, Ochres and Warumuk – in the dark dancer, Kiarn Doyle, to the company and night online. launched a new Russell Page Graduate Program Scholarship program in partnership We reached new audiences through two new with Sydney Dance Company, offering documentaries. FREEMAN, the inspirational scholarships for two early-career dancers, story of Cathy Freeman and her historic win Maddison Paluch and Edan Porter. at the 2000 Sydney Olympics, which reached an audience of 1,450,000 and was the most In December we returned to our home watched documentary of 2020 on ABC iview. stomping ground at the Wharf. We are Firestarter: The Story of Bangarra, also had its enormously grateful to be able to resume world premiere screening. This film, which tells creating in a place that represents the the story of Bangarra’s evolution as a unique achievements and legacy of the many cultural foundation, was received with critical Aboriginal and Torres Strait Islander acclaim and went on to win numerous awards. Creatives, Artists and Cultural Knowledge Holders from across Australia who, since A few days prior to lockdown, we welcomed 1997, have collectively created an incredible new Executive Director, Lissa Twomey, to 50 works on this site to date. I would like Bangarra. She and I immediately began to pay special tribute to my brothers, to work with the Board to ensure that the David and Russell, who inspire us always. company was able to emerge intact at the end of 2020. Sincere thanks to Lissa, our A final thank you to my creative collaborators Chair Phillipa McDermott, and my fellow Frances Rings and Jacob Nash, for walking board members for their steadfast leadership with me shoulder to shoulder throughout and governance of the company. this last year, and for their incredible wisdom, creativity, humour and grace. Within this The Dancers demonstrated incredible challenging start to the new decade we have fortitude and adaptability to working found strength in knowing Bangarra’s value in remotely, and I would like to thank them this world, in realising how important our voice all for their sustained creative curiosity is to the peoples and cultures we represent, throughout. Frances and I used time in and the message we send to the world. It gave lockdown to continue to workshop and us a tough goanna skin to know that even creatively develop SandSong: Stories from though we were isolated, we had strength the Great Sandy Desert, as well as learning in this together. We knew that if we could repertoire from the last 31 years – feeding stay connected to story and Country, then dancers’ bodies and minds with cultural when theatres eventually opened back up knowledge. Thank you to Sidney Saltner, and audiences and artists were able to come Sani Townson, Daniel Roberts, and the together in person again, our shared cultural Bangarra team who worked with passion resilience would allow us to walk forward, and commitment during such a difficult year. stronger together, into this changed world. Despite the challenges of 2020, we were Stephen Page still able to provide professional development Artistic Director, Bangarra Dance Theatre pathways for emerging artists. We welcomed a new Russell Page Graduate Program
Bangarra Dance Theatre Annual Report 2020 | 7 EXECUTIVE DIRECTOR’S REPORT
2020 was an extraordinary year, not the year We managed to use the ‘down–time’ I had imagined would be my first at Bangarra. productively to build business disciplines, review operational effectiveness, adapt to Following the completion of a hugely successful the environmental risks, and invest in creative tour to Western Australia and regional NSW, development and repertoire maintenance our Dancers gave their last performance for whilst navigating the challenging operating 2020 on 14 March at the Sydney Coliseum. environment. With the first public health orders introduced by governments on 16 March, we closed the Bangarra’s funders, presenters, supporters office and studios and sent the company and donors responded generously in this home on 19 March, my fourth day in my new time of crisis, providing strength and role as Executive Director. understanding when we had to quickly adapt our plans and activities, and transform our Our priorities during this period were clear vital connections with Community to the – first and foremost, take care of Bangarra’s digital sphere. In addition to our existing staff and Dancers, ensuring their health, partnership with BAI, we were pleased to safety and physical and mental wellbeing; renew multi–year partnerships with Boral continue strong external communication with and Lendlease and see a significant increase audiences, communities and supporters to in individual donations from 2019, including maintain connection; and to use the ‘down– many ticket holders for the postponed time’ productively. premiere season tour of SandSong. We We made the difficult but necessary decision acknowledge the impact the pandemic has to postpone our national tour of SandSong: had on our official airline Qantas, and look Stories from the Great Sandy Desert, forward to them once again connecting us representing 90% of our box office revenue with our audiences across Australia and for the year. Cancellation followed for our internationally in the future. Rekindling programs in Communities, along Before significant 2020 non-recurring with our regional and international tours. COVID related federal support is taken into With no regular touring activity in sight and account, the underlying 2020 operations production development on hold, we made result is a deficit of $274,303 (2019: adjustments to become a leaner organisation, surplus of $707,780). The deficit would implementing a number of containment have been considerably higher without measures to mitigate and protect the a combination of rapid action to control company’s cash reserves.
8 Tyrel Dulvarie rehearsing for Bennelong (Jan 2020)
expenditure, deferral to 2021 of touring and creative development activity, and the very generous support of donors and sponsors, including a restricted major gift of $400,000. Non-recurring federal support came in the form of Jobkeeper and an ATO cash boost with a combined positive impact of $1,315,750 contributing to an overall surplus of $1,041,447. While this paints a generally positive picture, we cannot afford to be complacent. We remain vigilant to respond to changing conditions and residual COVID impacts. As a national company our touring and Rekindling activity across borders, representing more than half our yearly activity, remains challenging in this environment.
I thank our staff and Dancers for their extraordinary hard work and the support they’ve shown each other this year and the Board for its immense stewardship and guidance. It is likely that COVID will continue to impact on our activities in different ways in 2021, but I’m confident that we will take Bangarra forward with the same commitment, hard work and resilience shown by our people in 2020. And finally, thanks to Stephen Page, Frances Rings, our creative team and the Bangarra Dancers for continuing to create work of profound beauty, power and cultural significance.
Lissa Twomey Executive Director, Bangarra Dance Theatre
Bangarra Dance Theatre Annual Report 2020 | 9 10 | Connecting with Community Bangarra’s first Studio performance at its newly renovated Walsh Bay home on 9 December, 2020.
Bangarra Dance Theatre Annual Report 2020 | 11 COMPANY PROFILE
Bangarra Dancers with Frances Rings, Daniel Roberts and Stephen Page standing at the end of wharf celebrating the company’s return to Walsh Bay (Dec 2020)
We are Bangarra, an Aboriginal and We are storytellers. Music makers. Visionary dance theatre creators. A clan of dynamic Torres Strait Islander organisation artists, each with a proud Aboriginal and/or charged with carrying and caring for Torres Strait Islander heritage. We represent stories through a dance form that is the pinnacle of Australian dance. forged from more than 65,000 years We are embraced by Australians from remote of culture. communities to bustling city metropolises. We are ambassadors for Aboriginal and Torres Strait Islander cultures, sharing and exchanging with First Nations peoples across the world.
Our spirit is fed by our relationships with Aboriginal and Torres Strait Islander Communities across Australia. We create our works on Country, learning from and
12 listening to the stories that our people need scratching the surface of stories that span us to share. We take great responsibility in 65,000 years. We are working to ensure that providing a platform for the stories that are this cultural fuel, which feeds Bangarra’s in this landscape — stories that provoke us flame, is honoured and continues to burn politically and spiritually. well into the future.
It is this unbreakable connection to Land We exist because of the Communities who and people that makes us unique and sees trust us to share their stories; because of the us performing on basketball courts or creek audiences who embrace the importance of beds in remote communities one week, and our knowledge; and because of the people, in the Sydney Opera House or on the stages partners, governments and organisations of Tokyo or Paris the next. who believe in the vision and passion of Bangarra Dance Theatre. Each year we share our spirit with more than 50,000 people who pack theatres in capital cities, regional centres and international locations. For 31 years we have been
Bangarra Dance Theatre Annual Report 2020 | 13 Bennelong at Coliseum Theatre, Rooty Hill (Mar 2020)
Stephen Page after watching the Dancers first performance in the renovated Walsh Bay space (Dec 2020)
14 | A Year in Review A YEAR IN REVIEW
5,715 1,209 1.45M 21 BENNELONG ATTENDANCES FIRESTARTER FREEMAN BROADCAST AWARDS FEB/MAR 2020 ‘LIVE’ ATTENDANCES COMPLETE AVERAGE AUDIENCE & NOMINATIONS (TV AND IVIEW)
58,779 30,256 24,202 8,762 FACEBOOK FOLLLOWERS INSTAGRAM FOLLOWERS YOUTUBE FOLLOWERS TWITTER FOLLOWERS 1.79% INCREASE 6% INCREASE 5.8% INCREASE 111.2K VIEWS
36,679 1,336 1,527 10 SONGLINES FOLLOWERS WORKSHOP PARTICIPANTS INDIVIDUAL DONORS NEW DIGITAL ONLINE WITH MORE THAN 50% 2019: 374 INITIATIVES ATTENDING FROM REGIONAL AND REMOTE LOCATIONS
28 7 413K CULTURAL CONSULTANT/ELDER OVERSEAS DESTINATIONS WEBSITE PAGE VIEWS ENGAGEMENTS REACHED THROUGH ONLINE 101K USERS ACTIVITIES
Bangarra Dance Theatre Annual Report 2020 | 15 Tyrel Dulvarie in 30 Years of 65,000 (2019)
16 | Awards AWARDS
Our productions and programs are AUSTRALIAN DANCE AWARDS (2018 and 2019 years announced in inspired by Country, and brought to life December 2020) through creative partnerships between 30 Years of 65,000 (2019) our Creatives and Cultural Knowledge Winner of Outstanding Performance Holders, who proudly keep their by a Company stories, cultures, and languages alive. Winner of Outstanding Performance We acknowledge and honour the many by a Male Dancer – Tyrel Dulvarie contributors to our work and share this Dark Emu (2018) public recognition with gratitude and Nominated for Outstanding Performance respect. by a Company Stamping Ground (2019) Nominated for Outstanding Performance FREEMAN by a Male Dancer – Ryan Pearson Festival International du Film Océanien Sidney Saltner (FIFO) Nominated for Services to Dance (2018) Winner, Prix Spécial du Jury Sports Australia Industry Awards 2021 KNOWLEDGE GROUND Highly commended, Best Sport Profile – Website by Northmost Broadcast Good Design Australia Australian Industry Documentary Conference Good Design Award (AIDC) 2021 Winner of Digital Web Design and Nominated for Best Documentary/Factual Development Melbourne Design Awards 2020 FIRESTARTER: THE STORY OF BANGARRA Gold – Digital Entertainment and Leisure Australian International Documentary The Communicator Awards 2020 Conference (AIDC) 2021 Excellence in Websites – General – Nominated for Best Feature Documentary Performing Arts Australian Academy Cinema Television Arts Award Level: Excellence Winner (Gold) (AACTA) Distinction in Websites – General –Blog – Winner Best Documentary Award Cultural for Websites Nominated for Best Editing in Documentary Award Level: Distinction Winner (Silver) Nominated for Best Sound in a Documentary AVA Digital Awards Adelaide Film Festival 2020 Award of Excellence Website General/ Winner Feature Documentary Award Performing Arts Winner Inaugural Change Award NANDHU Time Out magazine Nomination Time In Award – Favourite Digital Arts Platform
Bangarra Dance Theatre Annual Report 2020 | 17 OUR MISSION
To create inspiring Aboriginal and Torres Strait Islander experiences that promote awareness and understanding of our cultures
OUR VALUES
• Reciprocity and Mutual Obligation • Cultural Exchange and Collaboration • Kinship • Cultural Protocols • Cultural Integrity • Respect • Connection and Care for Country • Resilience •
OUR COMPANY GOALS
1 2 3
Create inspiring Aboriginal Strengthen and maintain Develop and nurture the and Torres Strait Islander meaningful relationships Aboriginal and Torres experiences for all with Communities Strait Islander Cultural Leaders of the future • National Footprint 2021 – • Community Nights 2022 • Rekindling • Russell Page Graduate • Winhanga’rra Workshops • Cultural Integrity Program for Teachers Maintenance Fund • Dancer Further Education • Wilay Program • On Country Program • Digital and Film • Return to Country • Production Traineeship • Creative Fellowships • Future Cultural Leaders 4 5 • David Page Music Fellowship Realise the opportunities Enhance financial afforded through the sustainability and redevelopment of the organisational strength Walsh Bay Studios • Operational Efficiency • Secondary Touring • Organisational Culture Production • Revenue Management • Bangarra at Home • Commercial Activity • Capital Campaign • Endowment Fund
18 Kiarn Doyle, Kassidy Waters and Tyrel Dulvarie after the first performance in the renovated Walsh Bay studio (Dec 2020)
Bangarra Dance Theatre Annual Report 2020 | 19 Bennelong at Coliseum Theatre, Rooty Hill (Mar 2020)
20 | Connecting with Community Experiences
Bangarra Dance Theatre Annual Report 2020 | 21 Bradley Smith, Beau Dean Riley Smith and Tyrel Dulvarie in Bennelong at Coliseum Theatre, Rooty Hill (March 2020)
22 | Connecting with Community STAGE | BENNELONG
Created by Artistic Director Stephen Page in 2017, Bennelong explores the life of one of history’s most iconic Aboriginal figures. 13 TOTAL PERFORMANCES Woollarawarre Bennelong was a senior man of the Eora people, who led his community to survive a clash of cultures. Through striking dance language, soul–stirring soundscapes 5,226 PAID ATTENDANCE and exquisite design, Bangarra unpacks Bennelong’s legacy and its reverberation through contemporary Australian life. 5,715 The performances in Perth, regional New South Wales, Western TOTAL ATTENDANCE Australia and in Western Sydney were warmly received, with a sell–out season in Perth and strong attendances on the remainder of the tour. A generous donation from The WESTERN AUSTRALIA Balnaves Foundation resulted in 119 Community tickets sold Perth Festival for the performances at Sydney Coliseum Theatre in Rooty Heath Ledger Theatre Perth 6–9 February Hill, Bangarra’s first performance in the new venue. There were Albany Entertainment Centre 1443 tickets sold in Western Sydney - an increase of 35%, since Albany 15 February Bangarra’s last performance of Terrain in Parramatta. Red Earth Arts Precinct Karratha 22 February
NSW “It’s easy to see why Bennelong was honoured with seven Civic Theatre Helpmann Awards following its premiere season in 2017; Newcastle 28–29 February it’s a masterful, moving and exquisite work” (Arts Hub) Glasshouse Port Macquarie 4 March “From the soaring soundscape, which ranges from dreamy Dubbo Regional Theatre electronica to layered vocal samples, to the conceptual set Dubbo 7 March and clever costuming, every element is an intentional work Sydney Coliseum Theatre of art to convey a deeper message about race politics and the Rooty Hill 13–14 March “other” — both past and present.” (Weekend West, Perth)
CREDITS Choreography Stephen Page in collaboration with the Bangarra Dancers Cultural Consultant Matthew Doyle Music “a benchmark in Australian Steve Francis Additional Traditional Composition dance creativity” Matthew Doyle Set Design SYDNEY MORNING HERALD Jacob Nash Costume Design Jennifer Irwin Lighting Design Nick Schlieper Dramaturg Alana Valentine
Bangarra Dance Theatre Annual Report 2020 | 23 DIGITAL | BENNELONG/TERRAIN
Digital streaming of Bangarra performances was an immediate
response to the impact of COVID–19, providing an important BENNELONG connection to audiences utilising digital platforms at ABC Sydney Opera House iview and a new digital program from Sydney Opera House, 15 April–5 May From Our House to Yours.
This allowed Bangarra to deepen relationships with existing 21,500 VIEWS audiences, and develop new audiences across the world.
TERRAIN Sydney Opera House BENNELONG 4 May–11 June
Bennelong was the most in-demand production of Sydney Opera House’s 2020 digital season, garnering 3,200 over 21,000 views. VIEWS
Viewers’ Country of Origin: TERRAIN Australia, New Zealand, Canada, United Kingdom, Choreographed by Associate Artistic Director Frances Rings, United States, Germany, Brazil Terrain transports us to Kati-Thanda – Lake Eyre in South Australia, the place of Australia’s inland sea: one of the few untouched natural waterways in the world. CREDITS Terrain Created in 2012, Terrain explores the fundamental connection Choreography between Aboriginal peoples and Land – how our Land looks after Frances Rings us, how we connect with its spirit, and how we regard its future. Cultural Consultant Reginald Dodd Music David Page Set Design Jacob Nash “I want to thank you for organising the transmission of your Costume Design performance of Bennelong last night through the internet. Jennifer Irwin I saw this extraordinary work when it opened, but I really Lighting Design appreciated the opportunity to watch it personally on my Karen Norris big computer screen.” - Digital audience member Bennelong Choreography “I enjoyed the opportunity to share Bennelong last night Stephen Page in collaboration with the Bangarra Dancers with many thousands of people from around Australia and the Cultural Consultant world. It was great too to know that I was sharing the moment Matthew Doyle with some friends in the UK and NZ who I had encouraged to Music Steve Francis watch...... most of them loved it!” Additional Traditional Composition - Digital audience member Matthew Doyle Set Design Jacob Nash Costume Design Jennifer Irwin Lighting Design Nick Schlieper Dramaturg Alana Valentine
24 | Experiences Deborah Brown in Terrain (2016)
CREDITS Terrain Choreography Frances Rings Cultural Consultant Reginald Dodd Music David Page Set Design Jacob Nash Costume Design Jennifer Irwin Lighting Design Karen Norris
Bennelong Choreography Stephen Page in collaboration with the Bangarra Dancers Cultural Consultant Matthew Doyle Music Steve Francis Additional Traditional Composition Matthew Doyle Set Design Jacob Nash Costume Design Jennifer Irwin Lighting Design Nick Schlieper Dramaturg Alana Valentine
Bangarra Dance Theatre Annual Report 2020 | 25 Yellow (Ochres) from Spirit: a retrospective 2021 (Jan 2021)
Djakapurra Munyarryun in The Light (Ochres) (2015)
26 | Experiences DIGITAL OCHRES/WARUMUK – IN THE DARK NIGHT
OCHRES OCHRES Ochres, first performed in 1994, became a watershed ABC iview production for Bangarra leading to sell out shows around 1 May–30 July 2020 the country. For its 21st anniversary return season in 2015, Bangarra’s Artistic Director Stephen Page reimagined this 1,200 iconic work that revealed Bangarra to the world, for the VIEWS* company’s debut season at Carriageworks in Redfern.
In all its forms and colours, ochre is essential to the life of WARUMUK – IN THE DARK NIGHT Aboriginal communities. This four–part contemporary dance ABC iview work – yellow, black, red and white – is a portrayal of each 1 May–30 July 2020 colour of this earthy substance, its myriad of purposes and the spiritual significance to Aboriginal people. 2,500 VIEWS* Regarded as “Bangarra’s most perfect show” (Sydney Morning *Based on video player Herald), Ochres put Bangarra on the map, and continues to measurement (VPM) inspire audiences across Australia and the world. average audience
CREDITS WARUMUK – IN THE DARK NIGHT Ochres Choreographed by Stephen Page, in collaboration with Executive Producer Peter Butler Bangarra Dance Theatre and The Australian Ballet, Warumuk— Producer Stephen Burstow in the dark night explores the myths that resonate within the Technical Producer Ian Monk night sky expressed from a contemporary perspective. Lighting Director Derric Wright Choreography Stephen Page, Bernadette Walong-Sene Cultural Consultant “What a treat! If you are new to appreciating contemporary Djakapurra Munyarryun dance, or have never watched Bangarra Dance Theatre, this Music David Page is one that will have you on the edge of your seat! Incredible Traditional Music Djakapurra Munyarryun choreography, dancers, and soundtrack! I love how dance has Costume Designer played such an important role in how humans communicate Jennifer Irwin across time and space (much like languages – my other love). Lighting Designer This story is one to watch and one so close to home.” Joseph Mercurio - ABC iview audience member Warumuk – in the dark night Choreography Stephen Page Cultural Consultants Banula Marika Kathy Balngayngu Marika Music David Page Set Design Jacob Nash Costume Design Jennifer Irwin Lighting Design Padraig O Súilleabháin
Bangarra Dance Theatre Annual Report 2020 | 27 28 | Connecting with Community FILM & TELEVISION FIRESTARTER: THE STORY OF BANGARRA
Firestarter: The Story of Bangarra is a historically important film that tells the story of Bangarra’s evolution as a company and the many inspirational creatives, artists and Traditional 18 Knowledge Holders who have generously given their creative SCREENINGS and cultural energy and spirit to the company. 1,209 It takes the viewer through Bangarra’s birth and spectacular ATTENDANCES growth to today, as the company enters its fourth decade. It recognises Bangarra’s early founders and tells the story of how three young brothers, descendants of the Nunukul people NSW Byron Bay Film Festival and the Munaldjali clan of the Yugambeh Nation - Stephen,
David and Russell Page – turned the newly born dance group QUEENSLAND Brisbane International Film into one of Australia’s leading performing arts companies. Festival, Brisbane Travelling Film Festival, Through the eyes of the Page brothers and company alumni, Townsville Firestarter explores the loss and reclaiming of culture, the burden SOUTH AUSTRALIA of intergenerational trauma and crucially, the extraordinary Adelaide Film Festival, power of arts as a messenger for social change and healing. Adelaide WESTERN AUSTRALIA The documentary features remarkable archival footage and Revelation Perth International Film Festival, Perth interviews with those integral to Bangarra’s establishment, including co–founders Carole Y Johnson and Cheryl Stone along with a number of former dancers and creatives. CREDITS Firestarter: The Story of Bangarra had its world premiere at Written & Directed by Nel Minchin & Wayne Blair the Brisbane International Film Festival on 11 October 2020, Produced by followed by screenings at film festivals across Australia. Ivan O’Mahoney At the time of writing this report, the film had been released Cultural Producers nationally in cinemas (Feb 2021) and was garnering Bangarra Dance Theatre international interest. Edited by Karen Johnson & Nick Meyers ASE Music by Bangarra Dance Theatre would like to acknowledge all Steve Francis & David Page of Bangarra’s cultural foundation families, its board of directors, artists, staff, creative collaborators, cultural teachers, community advisors and their families past, present Screen Australia & The Australian and future for the sharing of their knowledge, stories and Broadcasting Corporation present language, entrusted to and cared for by the company. in association with Screen NSW an In Films Production
See page 17 for Awards
Bangarra Dance Theatre Annual Report 2020 | 29 FREEMAN
Co-directed by Laurence Billiet and Stephen Page, with Production Design by Jacob Nash and featuring Bangarra Dancer Lillian Banks, FREEMAN tells the story of Cathy 1.45M Freeman’s iconic win at the Sydney 2000 Olympics. The COMPLETE AVERAGE film reflects on how her story became the symbol of a AUDIENCE much larger struggle for equality, and the rise of a people’s (Television and iview) movement which supported and called for reconciliation between Indigenous and non-Indigenous Australians. FREEMAN premiered on ABC TV + iview and was the most CREDITS watched documentary of 2020 on Australian TV. Written, Produced & Directed by Laurence Billiet Co–directed & Choreographed by Stephen Page “The most inspired and buoyant aspect of the Executive Producer documentary’s narrative is the addition of Yawuru woman Helen Panckhurst and dancer Lillian Banks, who is choreographed sparingly Archive Producer but brilliantly by Stephen Page of Bangarra Dance Theatre, Catherine Panczak who doubles as the doco’s co–director.” (Screen Hub) Associate Producer Joany Sze Editor Daniel Wieckmann Assembly Editor Katie Flaxman Director of Photography Bonnie Elliott Acs Music Composer James Henry Sound Design Byron Scullin Production Designer “Thank you to Cathy for her powerful Jacob Nash Script Editor Rachael Antony truth–telling and for sharing her Assistant Editor Stuart Willis
inspirational story.” And featuring Catherine Freeman STEPHEN PAGE, ARTISTIC DIRECTOR & Dancer Lillian Banks
In association with the ABC and Film Victoria A General Strike and Matchbox Pictures Production Distributed Worldwide by NBC Universal
Padraig O Suilleabhain
See page 17 for Awards
30 | Experiences Bangarra Dancer Lillian Banks on set during the filming of FREEMAN
Bonnie Elliott, Laurence Billiet, Cathy Freeman, Jacob Nash and Stephen Page on set during the filming of FREEMAN
Bangarra Dance Theatre Annual Report 2020 | 31 Sidney Saltner leading Indigenous Youth in a Rekindling workshop (Feb 2020)
32 | Connecting with Community Connecting with Community
Bangarra Dance Theatre Annual Report 2020 | 33 ON COUNTRY
FITZROY VALLEY Cultural Intellectual Property (ICIP) SandSong: Stories from the Great Sandy Desert protocols. SandSong continued to have further development throughout 2020, In February 2020 Artistic Director Stephen for the first time using Zoom, with Dancers Page, Associate Artistic Director Frances contributing to the development from their Rings, Set Designer Jacob Nash, Composer own homes. Steve Francis and Community Engagement Manager Libby Collins visited the Fitzroy As a gift back to the Community and people Valley area of the Kimberley for the new who generously shared cultural information mainstage work, SandSong: Stories from and inspired this work, we plan to return the Great Sandy Desert. to Fitzroy Valley in 2022 to present a performance of SandSong and undertake This is the first time Bangarra has created workshops on Country. Elders will take our a mainstage work inspired by the Land and Dancers onto Country to allow them to People of the Kimberley region. We thank experience the energy of the people and the Wangkatjunga and Walmajarri Elders place that inspired SandSong. and custodians who generously endorsed and gave permission to use elements of their The reciprocal nature of working with cultural knowledge in this new production. Communities and traditional Knowledge Holders is at the heart of all of our work. Bangarra commissioned two cultural These relationships enable us to remain consultants; Putuparri Tom Lawford and connected to, and honour, our past, whilst Eva Nargoodah, siblings of the late Ningali also ensuring that we work to build an Josie Lawford-Wolf, who took us on Country empowered future. and shared their family history of living in the Fitzroy Valley area. ROEBOURNE Bennelong, Western Australia regional tour An invaluable part of the research came from connections with Indigenous organisations We thank Traditional Owner Peter Jeffries Goolari Media, Kimberley Aboriginal Law and and the Murujuga Aboriginal Corporation Culture Centre and Mangkaja Art Centre, who for showing us around Murujuga (Burrup gave us resources and support to document Peninsula), Danny Brown from IBN Group song, dance, story and language sessions for assisting us coordinate the exchange, with the Elders and Custodians. Big hART and Ngarluma, Yindjibarndi and Banjima Elders for their warm welcome This research and engagement is a vital and stories. component of the creation of a production in accordance with Bangarra’s Indigenous
Bangarra Dance Theatre would like to acknowledge cultural consultants Putuparri Tom Lawford and Eva Nargoodah, Wangkatjungka and Walmajarri Elders and their families past, present and future for the sharing of their knowledge, stories and language, entrusted to and cared for by the company.
34 | Connecting with Community Frances Rings, Mayarn Julia Lawford and Stephen Page at Fitzroy Crossing, Western Australia (Feb 2020)
Bangarra Dance Theatre Annual Report 2020 | 35 NANDHU ‘TO BE CLOSE’ (in Wiradjuri language)
Curated journeys through Knowledge The Nandhu stories were designed and curated as journeys through some of Ground Bangarra’s hallmark productions – Terrain, Ochres, I.B.I.S. and Nyapanyapa. Each of the A new digital offering, Nandhu, meaning four journeys featured interviews, articles, ‘to be close’ in Wiradjuri Language was behind-the-scenes video content, excerpts launched using Bangarra’s extensive digital from the productions and creative activities. archive platform, Knowledge Ground. Nandhu journeys are for everyone interested To date, more than 5000 viewers have in further inquiry and discovery of Bangarra explored the Community connections, productions. For teachers this can be a cultural stories, creative research and cross–curriculum project or within a specific development underpinning Bangarra’s learning area, where students can look productions. closely, reflect, learn and respond to the information encountered along the way with imagination and creativity.
“Cultural Consultant and Yolngu Song Man Djakapurra Munyarryun, has long taught me about the importance of hunting quietly, and about the value and the equal importance of each season. COVID–19 was our rainy season, a time for listening and learning, a time in which practical and spiritual knowledge was able to grow in other, more subtler ways.”
STEPHEN PAGE, ARTISTIC DIRECTOR
See page 17 for Awards
36 | Connecting with Community Throughout 2020, Dancers, Creatives and staff zoomed into the studio and connected with each other online. Youth Programs and Education workshops were also held online.
Bangarra Dance Theatre Annual Report 2020 | 37 Aboriginal and Torres Strait Islander Youth participating in Bangarra’s Rekindling Program, which connects young people to their Culture and Community Elders.
38 | Youth and Education Outreach Programs REKINDLING
Rekindling provides a framework for Rekindling is led by Sidney Saltner, one of Bangarra’s most acclaimed alumni the Community to strengthen bonds artists, who became Youth Program Director between generations, and support the after 25 years as a performer. Sidney is a maintenance of cultural practices. It’s descendent of the Wulli Wulli and Wakka Wakka people of Central Queensland. a safe space and aids in sharing stories, exchanging knowledge, expressing “I’ve always loved dance. When I was growing up I’d sneak in to watch classical culture, and creating contemporary ballet on the ABC on Sunday afternoons, ceremonial experiences. Since its when my family wasn’t watching sport.” inception in 2013, Rekindling has engaged “It’s important that we help educate not with more than 850 young people from just our own mob but also non-Indigenous 33 communities across Australia. Australia.” “When we go on Country, we have to remember that everyone’s cultures is Rekindling has identified links to the different. Even though we are all Aboriginal, Australian Curriculum’s general capabilities we’re not all the same. Every Community framework, through the development of skills is different – different protocols, different such as intercultural understanding, critical Language. I am still learning wherever I go.” and creative thinking, literacy, personal and social capabilities, and ethical understanding. Sidney Saltner, Youth Program Director
In 2020, introductory workshops were held in Queensland, South Australia and Victoria, THE ARTS UNIT NSW in Cairns, Cunnamulla, Raukkan and Bendigo Bangarra continued its successful partnership before COVID-19 restrictions disrupted the with The Arts Unit, through New South remainder of the year. Wales Department of Education, delivering seven face to face workshops in the first Bangarra’s Rekindling is generously two months of the year before COVID-19 supported by the Besen Family Foundation, restrictions came into place. The team then James N. Kirby Foundation, John Villiers shifted its focus to devising and planning two Trust, The Metamorphic Foundation, new online programs for the partnership with Patterson Pearce Foundation and many The Arts Unit, which will be delivered in 2021. generous individual donors.
“Being on Country is so important, not just for our learning, but for our spirit and wellbeing, it’s where we learn about our land, ancestors, bush food and medicines.”
SIDNEY SALTNER, YOUTH PROGRAM DIRECTOR
Bangarra Dance Theatre Annual Report 2020 | 39 EDUCATION
Bangarra managed to maintain a high work, and the layers of creative storytelling in response to that inspiration. level of engagement throughout 2020 with schools, teachers and students Bangarra was also commissioned by the NSW Education Standards Authority to across Australia, despite the disruption produce an Audio Description for Terrain. to face to face learning due to COVID–19. Audio Description enables sight impaired students to also be able to experience this unique Bangarra work. LIVE PERFORMANCE AND WORKSHOPS CURRICULUM RESOURCES School groups attended our season of Alongside the workshop programs, the Bennelong at the Coliseum Theatre in use of Bangarra’s suite of digital classroom Western Sydney. Alongside the performance, resources, the digital archive Knowledge our Education team conducted a professional Ground, (including new Nandhu journeys), development workshop for teachers in the the distribution of Study Guides and local area. streaming on the Education platform Bangarra’s Youth Program team also ClickView increased markedly from previous delivered seven workshop programs for years. Throughout 2020 more teachers The Arts Unit NSW in the first quarter of and students discovered the full value 2020, attracting almost 500 participants. of Bangarra’s range of comprehensive curriculum resources. RESPONSE TO COVID–19 With the cancellation of live performances Cancellation of activities due to COVID-19 and face to face learning, Bangarra adapted provided an opportunity for the Youth education programs to be delivered online. Program Team and Bangarra Dancers to work closely together like never before. TEACHER PROFESSIONAL DEVELOPMENT The Youth Program Director, Youth Program Revised online professional development Coordinator and the Bangarra Dancers programs were well received, allowing more devised a range of workshops, cultural classes teachers from regional and remote schools and masterclasses, designed for both online to access programs. Of the 120 teachers who and in person delivery. This opportunity attended Winghanga-rra (hear, think, listen), provided valuable professional development more than 50% were located in regional and for the Dancers, equipping them with remote locations. enhanced skills to teach a range of classes. The Education team conducted two special workshops for NSW Higher School Certificate (HSC) teachers who, as part of HSC Dance “Thank you for holding space and sharing curriculum delivery, are tasked with guiding knowledge. I am so grateful to have been a students through the study of Frances Rings’ part of it.” 2012 work Terrain. Working in partnership - Teacher, QLD with the Dance Educators Professional “Thanks so much everyone. It is so inspiring Association (NSW), more than 40 teachers and so much planning is going on in my were able to work directly with Frances to head...it was just what I needed.” explore the sources of inspiration for the - Teacher, WA
40 | Youth and Education Outreach Programs WORKSHOP SUMMARY 92 TOTAL WORKSHOPS
1,334 TOTAL PARTICIPANTS
COMMUNITY ONLINE WORKSHOPS PARTICIPANTS Melbourne Indigenous Transition School 1 29 Grasmere Primary School 2 26 Edi Upper Primary 2 9 Kalianna School, Bendigo 3 57 Myrrhee Primary 2 12 Whitfield District Primary 2 36 Horsham High School 2 4 Heywood High School 2 58 Dandenong High School 1 23 Cabbage Tree School, Ballina 2 43 Kurruru Arts Hub, SA 1 7 NAISDA Dance College 1 18 ACPA, QLD 1 7 TOTAL 22 329
Winhanga-rra (May to November) 10 - Regional participants 60 - Capital city participants 60 - Remote participants 1 Winhanga-rra, Western Sydney (March)* 1 17 Exploring Terrain (NSW HSC) (June) 2 45 TOTAL 13 183
Regional & WA. Perth* 2 39 Albany* 2 18 Roebourne* 2 48 Karratha* 3 71 Newcastle* 2 34 Port Macquarie* 2 55 Dubbo* 3 40 TOTAL 16 305
Rekindling Raukkan (SA)* 3 14 Cairns (QLD)* 3 11 Cunnamulla (QLD)* 3 27 Bendigo (VIC)* 3 5 TOTAL 12 57
The Arts Unit Wollongong* 4 54 Ambarvale* 4 70 Port Macquarie* 4 51 Nepean* 4 44 Coffs Harbour* 4 99 Evans Head* 4 43 Rutherford* 4 99 TOTAL 28 460
*face to face
Bangarra Dance Theatre Annual Report 2020 | 41 Kiarn Doyle dancing in Bennelong (Feb 2020) the Vigil (2021)
42 | Russell Page Graduate Program RUSSELL PAGE GRADUATE PROGRAM
Initiated in 2015, the Russell Page Graduate year Kiarn, like all other Bangarra Dancers, Program encourages Aboriginal and Torres worked to maintain fitness and artistic focus Strait Islander dance graduates or early- during lockdown, which he did so with career artists to develop through training, remarkable calmness and diligence. mentoring and performance. In 2021, Kiarn was offered a full time The program covers critical knowledge contract with Bangarra and will perform and skills required by professional dancers in the premiere season of SandSong: Stories working at Bangarra, or other companies from the Great Sandy Desert. and independent contexts. At present, The Russell Page Graduate Program is made nine current Bangarra Dancers have been possible by the generous support of the Sherry graduates of this program. Hogan Foundation and individual donors. Named after Stephen and David Page’s Sydney Dance Company Bangarra brother, the late Russell Page, who passed Scholarship Program in 2002, the Program was established to build on his legacy and passion for sharing In 2020, Bangarra partnered with Sydney knowledge with younger dancers. Dance Company to create a unique opportunity for two early-career Indigenous Kiarn Doyle, Russell Page Graduate 2020 Dancers to experience the professional In 2013 Kiarn Doyle participated in Bangarra’s environment of both companies. youth program, Rekindling in Western Sydney. Kiarn, from the Dunghutti Nation, Maddison Paluch and Edan Porter were the was born in Mullumbimby (Bundjalung recipients of this inaugural Scholarship which country) and raised in the Blue Mountains enabled them to participate in the Sydney (Darug/Gundungurra country). Dance Company Pre-Professional Year Program for ten weeks followed by a period After his early experience with Bangarra, of five weeks at Bangarra working with the he auditioned for the NSW Department of ensemble during the rehearsal period for the Education’s Aboriginal Dance Company regional tour. where he worked with Bangarra’s Youth Program team, performing in State Dance Looking Ahead Festivals and the Schools Spectacular. The Russell Page Graduate Program He studied at NAISDA Dance College, continues to attract high calibre artists graduating in 2019 and auditioned at the and Bangarra welcomes the next round of end of that year for the Russell Page emerging leaders to the 2021 program: Graduate Program. Maddison Paluch – Russell Page 2nd Year In 2020, Kiarn was selected to join the Graduate company as a Russell Page Graduate Program Dancer. His first on-stage Daniel Mateo – Russell Page Graduate performance with Bangarra was in Mitchell J Nalingu Harrison-Currie – Russell Bennelong at Perth Festival, followed by Page Youth Program Graduate Western Australia and NSW regional tours and performances at Rooty Hill’s Sydney Nicholas Currie Inns - Russell Page Coliseum Theatre. For the remainder of the Professional Development Scholarship
Bangarra Dance Theatre Annual Report 2020 | 43 RETURNING TO THE WHARF
In December 2020, friends, supporters and central pillar from Studio 2 making this an the whole company celebrated the return to excellent and now fully usable dance studio. our newly refurbished home at The Wharf The project also included the rebuild of the with a smoking ceremony, open rehearsal David Page sound and recording studio on and gathering in our new function space its original footprint. overlooking the water. Company administration will now enjoy The Walsh Bay Arts Precinct development larger office spaces and the creative team has been a critical partnership with the NSW their own dedicated space overlooking Government and the redeveloped premises Studio 2. Our costume department has an provide significant improvements benefitting improved costume making workshop with our Dancers, administration and creative professional facilities filled with natural light. teams, audiences and supporters. Audiences and visitors to the premises will Benefits for the Dancers include the addition notice the magnificent new foyer and box of treatment rooms for onsite physiotherapy office to support performances in the main and massage treatments and a gym for rehearsal studio theatre. A new function Dancers to support their health and well–being. space opening on to the apron of the Wharf boasts spectacular waterfront views of the Improved rehearsal facilities include: a main harbour bridge and beyond. studio with air–conditioning, natural light, new seating bank and upgraded lighting and The foyer and gallery areas provide dock access for sets and props; the addition opportunity for Bangarra to further celebrate of a new studio dedicated to youth program its beginnings through the development of activities; the addition of physiotherapy the Homelands exhibitions space. and treatment rooms; and the removal of a
“We are so excited to return to our stomping ground of 24 years on the Bay of the Eora Nation Waters. We feel so grateful to be the beneficiaries of this incredible project – to step into purpose built dance studios and a beautiful office space is a dream. This space will reignite the flame of our company and support our mission to share Aboriginal and Torres Strait Islander cultures and knowledge with the world.”
STEPHEN PAGE, ARTISTIC DIRECTOR
44 | Returning to the Wharf Frances Rings and Stephen Stephen Page and Matthew Page in the foyer of the Doyle at the smoking ceremony newly renovated Walsh Bay (Dec 2020) home (Dec 2020)
The foyer space at Bangarra’s Walsh Bay homeland
The harbourside function space at Bangarra’s newly renovated premises
Bangarra Dance Theatre Annual Report 2020 | 45 THE YEAR AHEAD
2019 was a landmark year for Bangarra, • Waru – journey of the little turtle, celebrating our 30th anniversary with an a new work for young audiences. Inspired ambitious program, while remaining true to by the Torres Strait Islander connection to our vision of creating inspiring experiences the natural world and what it teaches us - that change society. the story is told through the eyes of Waru as she undertakes a journey of discovery 2020 was a reminder that Bangarra’s values and survival. of reciprocity, mutual obligation and kinship keep us grounded when we experience both • The development of a third mainstage triumph and adversity. work, yet to be announced which will be the largest work Bangarra will have 2021 sees Bangarra embarking on a period produced to date. of renewal, rehearsing back home at the Wharf in our newly renovated studios, and In addition to our SandSong national tour, connecting with new audiences through the regional touring continues as a crucial part documentary film Firestarter: The Story of our calendar in 2021. Regional audiences of Bangarra released in cinemas nationally in Victoria and South Australia will see the and around the world. return of Ochres, one of Bangarra’s landmark productions. Connecting with audience members through live performance was most eagerly awaited The company is invigorated with the addition at the beginning of 2021, and our season of in 2021 of three Russell Page Graduates – Spirit: a retrospective (2021) in the Sydney two dancers and a new position of Russell Festival was an exhilarating start to the year. Page Youth Program Graduate. Bangarra’s Youth Program team will expand the reach Our productivity during 2020 has reaped of Indigenous young people in regional and creative rewards. In a typical year, we remote areas, with our Rekindling program produce one new work, but in 2021 we at full capacity. We will continue online will produce three: workshops in 2020 in the knowledge that • Our mainstage national tour – SandSong: this approach enables a far greater reach, Stories from the Great Sandy Desert, opening particularly into regional areas. at the Sydney Opera House in June.
“As the year unfolds, we look forward to exploring the opportunities our new home at the Wharf presents, creating new experiences for our audiences and communities that promote awareness and understanding of Aboriginal and Torres Strait Islander cultures.”
LISSA TWOMEY, EXECUTIVE DIRECTOR
46 | The Year Ahead Lillian Banks, Bradley Smith and Rika Hamaguchi in SandSong: Stories from the Great Sandy Desert, touring nationally June – September 2021
Bangarra Dance Theatre Annual Report 2020 | 47 The Dancers with (L to R) Frances Rings, Stephen Page and Lissa Twomey, socially distanced at International Towers which the Company called home for two years (2018 – 2020) while Walsh Bay was under renovation.
48 | Connecting with Community The Company
Bangarra Dance Theatre Annual Report 2020 | 49 THE DANCERS
ELMA KRIS TARA GOWER BEAU DEAN RILEY SMITH NICOLA SABATINO
RIKKI MASON RIKA HAMAGUCHI TYREL DULVARIE GLORY TUOHY–DANIELL
BADEN HITCHCOCK RYAN PEARSON LILLIAN BANKS BRADLEY SMITH
COURTNEY RADFORD KASSIDY WATERS KALLUM GOOLAGONG GUSTA MARA
KIARN DOYLE
50 | The Company THE STAFF
EXECUTIVE COMMUNITY MARKETING Artistic Director Manager, Community Marketing & Stephen Page Engagement Communications Director Executive Director Libby Collins Harriet Cheney Lissa Twomey (until March 2020) (from August 2020) (From March 2020) CRM Manager Interim Executive Director EDUCATION & YOUTH Thida Kyaw Tony Grybowski PROGRAM (until October 2020) (until March 2020) Youth Program Director Marketing & Digital Manager Associate Artistic Director Sidney Saltner Sophie Raper Frances Rings Youth Program Team Leader Office & Engagement Executive Administrator Chantal Kerr Coordinator Ivana Radix Laura Hough Youth Program Coordinator Sani Townson Knowledge Ground Coordinator ARTISTIC Education Consultant Yolande Brown Head of Design Shane Carroll (Parental Leave from April Jacob Nash 2020) Rehearsal Director DEVELOPMENT Ticketing and Administration Daniel Roberts Director, Marketing Coordinator & Development Emily Windsor PRODUCTION Sarah Hunt (until March 2020) Director, Technical ADMINISTRATION & Production Development Director Chief Financial Officer/ John Colvin Anna Matthews Company Secretary (from July 2020) Redevelopment Ashwin Rathod & Touring Manager Acting Development (until October 2020) Phoebe Collier Director Financial Consultant/ Chloe Gordon Company Secretary Production Manager (January – July 2020) Catherine Studley Rachel Hadfield Development Manager (from November 2020) Company Manager Anna Shapiro Cloudia Elder Finance & Operations (Parental Leave from Manager Stage Manager February 2020) Elizabeth Timbery Tierney Lillian Hannah U Development Manager Human Resources Manager Head Electrician Amber Poppelaars Natsai Mutema Ryan Shuker (Parental Leave cover from (until November 2020) February 2020) Head of Wardrobe Human Resources Manager Monica Smith Development Manager Claire Diment FOH Sound & AV Operator Alexander Bellemore (from November 2020) Emjay Matthews Development Coordinator Head Mechanist Jacob Williams Dave Tongs (until March 2020) Production Assistant & Assistant Stage Manager Stephanie Storr Clark
Bangarra Dance Theatre Annual Report 2020 | 51 PARTNERS
GOVERNMENT CORE FUNDING PARTNERS
Bangarra Dance Theatre is assisted Bangarra Dance Theatre is supported by the Australian Government through by the NSW Government through the Australia Council for the Arts, its arts Create NSW. funding and advisory body.
OTHER GOVERNMENT PARTNERS
Bangarra’s Bendigo residency is supported by the Victorian Government through Creative Victoria.
CORPORATE PARTNERS
PHILANTHROPIC PARTNERS
Community Nights Partner
SUPPORTING PARTNERS
52 | Bangarra Dance Theatre Annual Report 2020 PARTNERS Bennelong at Coliseum Theatre, Rooty Hill (Mar 2020)
Bangarra Dance Theatre Annual Report 2020 | 53 PATRONS
In consultation with Wiradjuri Elders, we have taken inspiration from the word ‘Bangarra’ – a Wiradjuri word meaning ‘to make fire’ – to describe the levels of donor support. This use of Wiradjuri language is part of Bangarra’s ongoing commitment to the survival of Aboriginal and Torres Strait Islander languages.
Bangarra Dance Theatre would like to thank the following patrons for their generous contributions to the company.
FOUNDATIONS LL Group Holdings BIRRIMAL – BUSH Gael Hammer Annamila First Nations Patterson Pearce ($1,000–$4,999) Ben Harlow Foundation Foundation Anonymous (16) Cheryl Hatch The Balnaves Turnbull Foundation Annette Adair Wendy Haynes Foundation Michael Adena Linda Herd Besen Family & Joanne Daly WIINY – FIRE HLA Management Foundation ($10,000–$19,999) James & Belinda Allen Pty Ltd Colonial Foundation Anonymous (1) David Ashley Kaye Hocking Crown Resorts Larissa Behrendt AO Damaris Bairstow Rosemary & Dan Foundation & Michael Lavarch AO & Robin Hutcherson Howard James N Kirby Carolyn Charles Shane Batchelor SG James Foundation Dr. Russell Tracey Blazic David Jonas & The John Villiers Trust & Mrs. Jane Kift Diana Bosworth Desmon Du Plessis Lord Mayor’s Sue Sheldrick Mike Bowen JRA Support Fund Charitable Foundation Sisyphus Foundation Susan Burnett Jana Juanas The Metamorphic Lissa & Peter Twomey Foundation Alison & John John Keane The Wiggles Cameron Packer Family Belinda Kendall–White Foundation Sally Crawford Chris Komarynsky The Ross Trust BARGAN – Cycle Recycle Bike Murielle Kuczynski BOOMERANG Workshop Waterloo The Sherry–Hogan Michael & Deborah ($5,000–$9,999) Foundation Narina Dahms Langford Arenamedia The Tony Foundation Julia Davison Yvonne Langley–Walsh Susan Bear Susanne de Ferranti Geoff & Catherine Mark Blumer GUYA – FISH Sean Docker Lawrence ($50,000+) Meredith Brooks Wesley Enoch Richard Leonard Canny Quine Chrysanthemum Dianne & Terry & Gerlinde Scholz Foundation Foundation Finnegan Elizabeth H Loftus Nelson Estrella R Clay Future Super Heather MacLean & Phil Rounsevell Heather Drew Gemalla Endowment Jill Maddox & Ian Jenny Durack at APS Foundation Evans BILAWI – SHEOAK Helen Eager & Belinda Gibson Marian Magee & David ($20,000–$49,999) Christopher Hodges Julie Gilfillan Castillo Robert Albert AO Edwina Kearney J.P. Griffins Lyn & Graham Maloney & Libby Albert Angela & John John Griffiths Melanie Mathieson Marion Heathcote Rutherford & Beth Jackson David McAllister & Brian Burfitt Scovell Gardner Jen Grimwade Family Catherine Hamber Jane Thorn
54 Ingrid McGaughey GARRABARI – Adrienne Kabos Jan Williams PATRONS Louise McIntosh CORROBOREE Jill Keyte & Ray Carless Peter Wolfe Christine Mearing ($500–$999) Ilse King Gail Wright Anonymous (23) Dr Margaret Moreton Krysia Kitch Mark Wright Janice Adie Jo Moss & David Riggs Bangarra Dance Dora & Michael Aitken Fiona & Peter Murray Gabrielle Kuiper Theatre also thanks the Atelier 6 Centre many generous donors Cynthia Nadai Gabriele L de danse of less than $500 who Stephen Norrish Jane Lake Jeanette Baird support our vision, of Mark & Francesca Elena Lambrinos which there are too Baker Family Osborn of the Osborn Anne Lampe many to list here. Minnie Biggs Family Fund at the Kate & Andrew Lister APS Foundation Kaye Blaiklock Alice MacDougall Timothy & Eva Pascoe Margot Boetcher Helen McCormack Ian & Diana Plater Karyn B & friends Casey–Rae McCrickard DHULUBANG – SPIRIT Lynn Ralph Jennifer Bourke Margot McDonald GIFTS Elizabeth Ramsden Sarah Brasch We gratefully Robyn McKay Jill Redmyre Cath Brokenborough acknowledge those Caitlin Medley who have supported Kerry Reid & Alan The Bowden Marstan Robert Mills Bangarra through a Croker Foundation Ltd. Mara Moustafine gift in their Will. Keith Richards Alan Cameron AO & Andrew Jakubowicz David Robb Melissa Chandler Mei–Guin Ng Carol Cruikshank Cherie Ross Tamara Cirkel Adrian Norris Marena Manzoufas Ryan Rumble Rocky Clifford James O’May Sally Nicholson Bridget Sack Susan Cochrane Darragh O’Brien Elizabeth Roberts Jenny Schwarz Kath Conforti Friends of Wendy P Chris Shipway Linda D’Bras Rosamund Palmer DHULUBANG – SPIRIT & Than O’Brien Kate Daley Don & Leslie CIRCLE Gary Singer Judith Davoren Parsonage We gratefully & Geoffrey Smith Kate Day Maria Pate acknowledge those Ed & Teresa Skok Jane & Christine Paterson who have made the Ruth Spence Robert Diamond visionary gesture of Yvette Peterson Ondine Spitzer Joanne Eager including Bangarra Chris Puebla in their Will. Prof. Fiona Stanley Julie Eisenberg A O Redmond Judi & Paul Taylor Sophia Elmes Eda Ritchie AM Anonymous (4) Sue Terry & Len Whyte Peter England Juliet Roberts Margo Garnon– Stuart Thomas Jacqui Erskine Robin Rodgers Williams Mike Thompson First Nations Peter Sands Teresa Handicott & Ian Kelly Development Services Leisa Sargent Linda Herd Dominic Thurn Susan Ford Deena Shiff Nicola Kaldor Jennifer Thurstun Billie Giles–Corti Jann Skinner Belinda Kendall–White Francois Tibi James Goodman Leeanna & Ziggy Yvonne Langley–Walsh Gayle Tollifson Diane Grady Spencer Mary McMenamin Ms Ann Tosomeen Richard & Anna Green Patrick Sze Tho Keith & Marguerite Misho Vasiljevich Yvonne Hargrave Chris & Cheryl Thomas Mobbs Sue Wallwork Peter Hengstberger Chris Thomson Jane Packham Julianne Ward Herbert Smith Stephanie Toole Lynn Ralph Tony Ward Freehills Jacqueline Tosi Eric Roussac Sara Watts Regina Hill JS & NS Turnbull Anne Therese David & Faith Glen Holmes Neil Twist & Roussac–Hoyne Weisbrot Elizabeth Holt Leon McEncroe Stephen Scrogings David Vanzetti Dahni Houseman & Els Wynen Vera Vargassoff Anna Viale Lorraine Hudry Meredith Verge Kelvin Widdows Helen Johnston Christine & Paul Jan Williams Jane & Les Johnston Wand AM Joos Joos The Warning Family
55 Bennelong at Coliseum Theatre, Rooty Hill (Mar 2020)
56 | Connecting with Community Governance
Bangarra Dance Theatre Annual Report 2020 | 57 BOARD OF DIRECTORS
PHILLIPA MCDERMOTT, CHAIR NADINE MCDONALD–DOWD (April 2020 – present) (December 2019 – present)
Phillipa is a Wakka Wakka and Mununjali Nadine McDonald–Dowd is a proud Yuwibara woman. Phillipa is a committed public woman. She is Executive Producer at advocate and champion for diversifying the Queensland Performing Arts Centre and media, arts and workforces to best reflect a Board Member of the Aboriginal Art contemporary Australia. With over 25 years’ Company. Nadine was formerly the Artistic experience in media, arts and employment, Director of Kooemba Jdarra Indigenous she provides strategic thought leadership Performing Arts Company from 2001 to and direction on implementing corporate 2004. She first joined Kooemba in 1996 strategies, governance and change. Phillipa’s facilitating workshops in youth detention goal is for an Australia that acknowledges centres and schools on theatre, music, and embraces our shared history and culture reconciliation and performance. Previously, to build authentic, purposeful relationships Nadine has been a Director on the Boards with First Nations Peoples. Phillipa is the of the Queensland Theatre Company, Head of Indigenous Employment & Diversity Queensland Government’s Premier’s at the Australian Broadcasting Corporation Indigenous Advisory Board and Q150 and a Board Director at the Australian Advisory Committee, and the Aboriginal Indigenous Leadership Centre. Phillipa has a Centre for the Performing Arts. Nadine BA in Communications from UTS and is the was a Senior Producer with Major Brisbane current UTS Indigenous Alumni recipient. Festivals in 2010, was the Manager of the kuril dhagun, State Library of Queensland from 2006–2015, and Creative Producer for ANNA BLIGH AC the Commonwealth Games Arts and Cultural (February 2013 – February 2020) Festival 2018.
Anna Bligh AC was the 37th Premier of Queensland from 2007 to 2012, and was RICHARD ECCLES the first woman to be appointed Premier (August 2020 – present) of Queensland. Her previous roles include Deputy Premier, Treasurer, and Minister for Richard is a company director and Finance, State Development, Trade and consultant, with a background in senior Innovation, Minister for Infrastructure Government positions. He has a deep and Queensland’s first female Education and ongoing interest in the arts, sports Minister, with additional responsibilities and media sectors, and provides advisory for the Arts portfolio. services across these sectors. He is a director on several boards, including the Anna received a Companion in the General Copyright Agency Ltd; the Public Interest Division of the Order of Australia award in Journalism Initiative; Epilepsy ACT; and the 2017 Australia Day Honours list. Anna the Federal Golf Club. Previously Richard is the first woman to be appointed CEO of enjoyed a successful career as a leader in the Australian Banking Association and is a the Australian Public Service, having held former CEO of the YWCA NSW. She is a non Deputy Secretary positions across several –Executive Director of Medibank Private.
58 | Board of Directors portfolios, including the Department of the STEPHEN PAGE AO Prime Minister and Cabinet; Health and Aged (June 1998 – present) Care; Regional Affairs, Local Government, Stephen is a descendant of the Nunukul Arts and Sport; and Communications and people and the Munaldjali clan of the the Arts. As a Deputy Secretary in the Yugambeh Nation. In 1991, Stephen was Department of the Prime Minister and appointed Artistic Director of Bangarra and Cabinet, Richard led reforms in Indigenous has developed a signature body of works Affairs, with a strong focus on community that have become milestones in Australian led economic development activity, and local performing arts. Stephen continues to social policy reforms. More recently (from reinvent Indigenous storytelling within 2016 to early 2020) as Deputy Secretary in Bangarra and through other creative the Department of Communications and the collaborations, including directing the Arts, Richard was responsible for the arts, Indigenous sections for the 2000 Sydney cyber safety, copyright and media. Olympic Games Opening and Closing Ceremonies and the Gold Coast 2018 Commonwealth Games Opening Ceremony. JOHN HARVEY Stephen has choreographed over 25 works (November 2019 – present) for Bangarra, and directed films including John is of Torres Strait Island (Saibai Island) FREEMAN (2020) (co–directed with and English descent. John is a producer, Laurence Billiet), SPEAR (2015), Sand director and writer working in theatre and (The Turning, 2013). He also choreographed film. He is Company Director of Brown the feature films Bran Nue Dae (2009) Cabs Productions Pty Ltd. working with and The Sapphires (2011). Recent awards Aboriginal and Torres Strait Islander artists and honours include: Honorary Doctorate and creatives to bring their stories to the of Creative Arts by the University of stage and screen. He produced Stephen Technology Sydney(2015), NAIDOC Lifetime Page’s debut feature film Spear. John is the Achievement Award (2016), JC Williamson former General Manager and Co–CEO of Award (2016), Australia Council Dance Award Ilbijerri Theatre working alongside Rachael (2017), appointed an Officer of the Order of Maza. Previously he has worked at Kooemba Australia (AO)(2017). Jdarra Indigenous Performing Arts and at Access Arts. He has been a Peer Assessor for the Theatre Board, and was a member of the LYNN RALPH, BA, MBA, SFFINSIA (LIFE) Community Cultural Development Board, (Appointed March 2020 – present) at the Australia Council. Lynn is a professional Non–Executive John’s recent work as a playwright includes Director and has served on numerous Black Ties, a collaboration between Te Rēhia boards including the Sydney Swans, AFL Theatre (Aotearoa) and Ilbijerri Theatre, (NSW/ACT) Commission Pty Ltd, NRMA which premiered at the 2020 Sydney Limited, NRMA Insurance, Financial Industry Festival. Complaints Service, Chunky Move Ltd and the Sydney Institute. She has been Chairman of BT Financial Group’s superannuation
Bangarra Dance Theatre Annual Report 2020 | 59 BOARD OF DIRECTORS
funds, the Centennial Park and Moore Park LISSA TWOMEY Trust, the AMP Foundation, and the Private (January 2021 – present) Health Insurance Administration Council. Her Lissa was appointed Executive Director of executive roles included: Deputy Chairman Bangarra in March 2020. Lissa has more than of the Australian Securities and Investment 25 years’ experience in the arts and cultural Commission; CEO of the Financial Services sector having worked in the UK, Australia Council, and CEO of Sydney Dance Company. and New Zealand. Her previous roles She was co – founder of Cameron Ralph include Artistic Director of the New Zealand Pty Ltd. International Arts Festival, Artistic Director of the inaugural Wellington Jazz Festival and Associate Director of the Sydney Festival. IAN ROBERTS Between 2013–2020, Lissa held a position as (August 2020 – present) part of the Executive at the Australia Council Ian Roberts is currently the Chair of the for the Arts, as Executive Director Major Annamila First Nations Foundation and a Performing Arts and National Engagement. Trustee of the Victorian Arts Centre Trust. Board and panel positions include: Board He is also a freelance writer specialising Member of the Festivals Board, Create NSW in speeches and editing for daily press. (current), Member of the local Government Previously Ian served as CEO of the Harold Authority Round Sub-Committee, Creat NSW Mitchell Foundation, General Manager of (2020-2021), Board Member at 107 Projects the Melbourne Festival, General Manager of Inc. (2013-2014) the Geelong Performing Arts Centre, and as Interim CEO of Arts Centre Melbourne in 2014. Ian’s board appointments have included terms as Chair of the Victorian Australia Day Committee, Deputy Chair of the Melbourne International Film Festival, and as Deputy Chair of the Australian Centre for Contemporary Art. Ian has also served as a Board Director of Arts Centre Melbourne and a member of the Major Performing Arts Board of the Australia Council for the Arts.
60 | Board of Directors GOVERNANCE
Bangarra continues to build good governance Finance and Risk Committee in accordance with structures to encourage value creation. The the Committee’s charter. Our Audit, Finance and Board also provides accountability and control Risk Committee remains focused on identifying systems in keeping with the risks involved. and mitigating any potential artistic, financial, legal, reputational and operational risks. Any Development of a sound strategic plan to deliver major risk is brought to the Audit, Finance on the vision and identified outcomes and Risk Committee meeting to be discussed In 2020 the Board met twelve times to provide and addressed in order to ensure risks do management with strategic oversight and not interrupt business operations. The Board support as the Coronavirus pandemic continued conducts a review and audit of the company’s to impact the Company’s ability to rehearse, Risk Register twice yearly. perform and tour. During this time the Board reaffirmed the mission of the Company as being: Ensure diversity To create inspiring Aboriginal and Torres Strait As part of our commitment to diversity, Islander experiences that promote awareness Bangarra’s Board is majority Aboriginal and and understanding of our cultures. Torres Strait Islander. Our Aboriginal and Torres Strait Islander employment level remains The Board also restated the Company’s values stable at 55%. Our hiring process is inclusive of and a sound strategic two year Recovery Plan race, gender and sexuality, as reflected in our was developed to navigate the Coronavirus Company Constitution, which strongly outlines pandemic against which management reported our commitment for a majority Indigenous on a monthly basis throughout the year. Board, and sets the tone for the leadership All decisions were driven by the set of values of the organisation. and a commitment to developing the culture of Engage with stakeholders the organisation and staff. Bangarra continues Board members recognize the varying to deliver our Safe Dance program, within which needs and expectations of a wide range of we offer mental health support to monitor stakeholders including the Aboriginal and and manage staff wellbeing. Our values-driven Torres Strait Islander Communities, Dancers, approach extends to every relationship and staff, patrons, government, sponsors, donors partnership, and includes a robust approach and the arts community. We distribute our to managing community relationships ethically Songlines eNewsletter on a monthly basis to a and responsibly. growing database of more than 35,000 people, Monitor and review systems and continually work to increase our strongly The Board monitors and reviews the engaged online community of more than company’s systems and instigated a review 200,000 across our social media platforms. of all company Policies in 2020 which is now Remunerate fairly and responsibly drawing to its conclusion. The Audit, Finance Our Nomination and Remuneration Committee and Risk Committee has met regularly to is dedicated to ensuring remuneration is ensure appropriate financial accountability set fairly and by industry standards. Artistic and management of Bangarra’s finances Director and Executive Directors’ salaries are in accordance with Australian Accounting reviewed annually, and salary benchmarking Standards and best practice principles. research is monitored. The Artistic Director and Board and management continue to remain Executive Director maintain oversight of all staff committed to transparency during the audit appointments, and are committed to ensuring process with KPMG. diversity and competitive salaries in order to hire Manage risk and compliance and retain high quality staff. The company looks The Board has ultimate responsibility for to hire and retain the best talent possible with a overseeing the risk management framework range of benefits, including parental and cultural and monitoring business risks and is assisted leave and flexible workplace arrangements. in discharging this responsibility by the Audit,
Bangarra Dance Theatre Annual Report 2020 | 61 The smoking coolamon in the corner of Bangarra’s Walsh Bay function space after the company smoking ceremony (Dec 2020)
62 IMAGE CREDITS
Cover Page 22 Page 42 Bennelong Stephen Page and Frances Rings Bradley Smith, Beau Dean Riley Kiarn Doyle dancing in The Vigil at the return to the Walsh Bay Smith and Tyrel Dulvarie in (Feb 2020) and (2021) wharf smoking ceremony (Dec Bennelong at Coliseum Theatre, photo credit Daniel Boud 2020), photo credit Daniel Boud Rooty Hill (March 2020), photo Page 45 (clockwise) Page 2 credit Vishal Pandey Frances Rings and Stephen Page Bennelong in the foyer of the newly renovated rehearsal photo, Page 25 featuring (L to R) Elma Kris, Beau Deborah Brown in Terrain (2016), Walsh Bay home (Dec 2020) Dean Riley Smith, Rika Hamaguchi photo credit Zan Wimberley Stephen Page and Matthew Doyle and Nicola Sabatino (Jan 2020), at the smoking ceremony for the photo credit Lisa Tomasetti Page 26 Yellow (Ochres) in Spirit: a renovated Bangarra premises Page 5 retrospective 2021 (Jan 2021), (Dec 2020) Nicola Sabatino rehearsing for photo credit Daniel Boud The foyer space at Bangarra’s Bennelong (Jan 2020), photo Walsh Bay homeland credit Lisa Tomasetti Djakapurra Munyarryun in The Light (Ochres) 2015 photo The harbourside function space Page 9 credit Jhuny-Boy Borja at Bangarra’s newly renovated Tyrel Dulvarie rehearsing for premises, photo credit Daniel Page 28 Bennelong (Jan 2020), photo Boud credit Lisa Tomasetti Firestarter: The Story of Bangarra film poster (2020/21) photo by Page 47 Page 10 Daniel Boud, poster by Jacob Lillian Banks, Bradley Smith and The company’s first studio Nash and Mark Campbell Rika Hamaguchi in SandSong: performance at its newly Stories from the Great Sandy Page 31 renovated Walsh Bay home on Desert Bangarra Dancer Lillian Banks , touring nationally June 9 December, 2020, photo credit – September 2021, photo credit Daniel Boud on set during the filming of FREEMAN. Daniel Boud Page 12 Bonnie Elliott, Laurence Billiet, Page 48 Bangarra Dancers with Stephen The Dancers with (L to R) Frances Page, Frances Rings and Daniel Cathy Freeman, Jacob Nash and Stephen Page on set during Rings, Stephen Page and Lissa Roberts, standing at the end of Twomey, socially distanced at wharf celebrating the company’s the filming of FREEMAN, photo credits Daniel Boud International Towers which the return to Walsh Bay (Dec 2020), Company called home for two photo credit Daniel Boud Page 32 years (2018 – 2020) while Walsh Page 14 Sidney Saltner leading Indigenous Bay was under renovation, photo Bennelong at Coliseum Theatre, Youth in a Rekindling workshop credit Daniel Boud Rooty Hill (Mar 2020), photo (Feb 2020), photo credit Sidney Saltner Page 53 credit Vishal Pandey Bennelong at Coliseum Theatre, Page 14 Page 35 Rooty Hill (Mar 2020), photo Stephen Page after watching the Frances Rings, Mayarn Julia Lawford credit Vishal Pandey Dancers first performance in the and Stephen Page at Fitzroy Crossing, Western Australia (Feb Page 56 renovated Walsh Bay space (Dec Bennelong 2020), photo credit Jacob Nash at Coliseum Theatre, 2020), photo credit Daniel Boud Rooty Hill (Mar 2020), photo Page 16 Page 37 credit Vishal Pandey Tyrel Dulvarie in 30 Years Throughout 2020, Dancers, Creatives and staff zoomed into Page 62 of 65,000 (2019), photo credit The smoking coolamon in the Daniel Boud the studio and connected with each other online. Youth Programs corner of Bangarra’s Walsh Bay Page 19 and Education workshops were function space after the company Kiarn Doyle, Kassidy Waters also held online, photo credit smoking ceremony (Dec 2020), and Tyrel Dulvarie after the first Daniel Boud photo credit Daniel Boud performance in the renovated Walsh Bay studio (Dec 2020), Page 38 photo credit Daniel Boud Aboriginal and Torres Strait Islander Youth participating in Page 20 Bangarra’s Rekindling Program, Bennelong at Coliseum Theatre, which connects young people Rooty Hill (Mar 2020), photo to their Culture and Community credit Vishal Pandey Elders, photo credit Sidney Saltner
Bangarra Dance Theatre Annual Report 2020 | 63 Connecting people and enriching communities
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66 | Connecting with Community
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CELEBRATING
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ABN 96 003 814 006
Bangarra Dance Theatre Australia Gadigal Country, Eora Nation Wharf 4/5, 15 Hickson Road Walsh Bay NSW 2000
Phone +61 2 9251 5333 Email [email protected]
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68 | Connecting with Community