ANNUAL REPORT CONTENTS

Vision and PrinciP les 02

From the c hair 02

t he naisda Foundation 02

e xecutiV e d irector’s r e P ort 02

General m anaG er’s r e P ort y adah G ayi –

G u t he naisda Board and s taFF 02 nGura n aya Wa y u G ali 02 Welcome to naisda 2013 h i G hliG hts – a y ear in r e V ieW 02 d arkinjunG land

n ationally a ccredited c ourses 02

s tatistics 02

Graduation 02

c ultural r esidency – m oa i sland 02

GaraB arra nGurra 02

‘ nGalP un m udth’ o ur h ome 02

m usica ViV a 02

naisda a cknoW ledG ements 02

Financial r e P orts 02

This report may contain the names or images of people who are now deceased. Some Aboriginal and Torres Strait Islander communities may be distressed by seeing the name, or image of a community member who has passed away. Our viSiON fOr NAiSdA frOM to create and sustain a unique, world class, THE CHAir cultural organisation providing excellence in australian aboriginal and torres strait island dance and performing arts education and 2013 marked a significant milestone in the training: and preparing its developing artists naisda story. the important and consistent in and Western . the response to be enterprising, to engage in lifelong work of the previous six years – building from children and teachers alike has been resounding. learning, and to lead fulfilling lives this partnership creates employment opportunities for our training resources and infrastructure; planning developing artists and for our yolgnu cultural tutors to share for growth and development; working tirelessly their knowledge with the school children of australia. to secure increased funding; achieving We also wish to thank the Garma Festival (nt), Quantum sustainable increases in developing artist leap (act), Bundanon trust, campbelltown arts centre and numbers and diversifying the career pathways the opera house message sticks Festival (nsW) for their time and energy in making so many wonderful creative available to them – began to yield results. projects in 2013.

most importantly, we wish to thank the Federal Government in 2013 we achieved a 22% increase on the previous year’s for the increased and quadrennial funding agreement – initial intake. in 2014, we anticipate there will be a further similar achieved through the funding of the national cultural Policy, increase – with approximately sixty young developing artists that commenced this year. the quadrennial agreement will commencing or continuing study at naisda. these exceptional give further certainty to naisda’s planning and operation retention and growth rates have not been experienced before over this period. naisda is the only indigenous arts training at naisda. they provide compelling evidence that the organisation to be a member of the Federal Government’s investments and decisions made by the Board in recent times arts8 roundtable. this is both a considerable honour and a are building a strong and substantial organisation. guiding responsibility for the naisda Board. For the past 36 years naisda has been a cultural leader in the after many years in the planning, the naisda Foundation was development of aboriginal and torres strait island contemporary launched on 14 december 2013 at the naisda end of year dance culture and with the continuing support of the Federal Performance, our home (ngalpun mudth) at carriageWorks. and state governments, philanthropic organisations, private the Foundation is honoured to have her excellency Professor donors, and sponsors it will continue to thrive into the future. marie Bashir ac cVo, Governor of nsW as Patron. the i would particularly like to thank artsnsW, nsW department Foundation has set an ambitious target of $10 million to of education & communities and department of industry for Our be raised over the next three years for stage one of the their continuing support this year. a special thanks must go to developing artist accommodation and training facilities. i wish jawun for assisting naisda and all central coast indigenous to thank my fellow Foundation directors, nihal Gupta, kingsley organisations to further develop their capacity. uNdErlyiNg mundey, elizabeth Butcher and kim Walker for their energy i would like to finish by thanking my fellow naisda Board and commitment. directors, and in particular former deputy chair rick shapter as part of naisda’s twenty year vision, the naisda Board who retired from the Board at the end of the year. rick’s PriNCiPlES tireless and visionary work through a less stable period of commissioned distinguished architectural firm tonkin Zulaikha naisda history has given us the resilient foundation that we We are informed by and respond to needs and aspirations as identified by our constituent Greer to prepare the concepts for this development - naya build on today. members and by the aboriginal and torres strait islander communities across australia. Wa yugali (‘We dance’ in darkinjung language). the inspiring drawings, showing the state-of-the-art buildings situated my final heartfelt thank you goes to the executive and staff our underlying principles include a commitment to the provision of a learning space that culturally around a performance bunggul ground can be found later in at naisda who give so much of their time and energy to the affirms and supports our developing artists as well as contributing to their development of this report. developing artists and the college. at naisda we don’t just intellectual and performance skills. the capacity-building within the organisation has also talk about closing the Gap, we do it! central to this is our… included the commencement of the work of the Board of • Relationship with our traditional communities studies. chaired by dr nerida Blair, the Board of studies provides overall guidance and direction for the curriculum • Provision of dynamic, relevant and responsive training programs delivered by naisda. • Provision of quality facilities over the year we have partnered with many organisations in highly successful creative projects. special mention must • Recruitment of highly skilled and experienced staff go to musica Viva with whom naisda has been working for Warren Mundine • Sound leadership and governance to maximise the outcomes several years to create a cultural touring show to schools chairman naisda ltd

2 3 THE NAiSdA fOuNdATiON after many years of discussion about setting up a formal fund-raising program, the naisda Foundation has been formally launched by her excellency Professor marie Bashir ac cVo, Governor of nsW, who has honoured us by agreeing to be the Foundation’s Patron. the launch event was held on 14 december 2013 to coincide with the final night of naisda’s famous end of year production at carriageWorks that all the guests also attended. this added an exciting dimension to the evening and enabled guests to appreciate the skills and talents of the young artists they were being asked to support. the experience was clearly beyond what many had been expecting: “this is the most fun i’ve had in years,” one said, and another “We went to the lion king last night and i’m enjoying this more”. the Foundation has identified stage one of the proposed accommodation and training facilities project – naya Wa yugali as their first priority for fund-raising. With a target of $10 million to be raised in three years, the Foundation is planning an intensive fundraising program to meet their target.

4 5 it is wonderful to see naisda evolve as a college in this new We also continue to develop our partnerships with arts space, but also to see it being more broadly used for artistic organisations as detailed in the 2013 highlights – the year and community collaboration. this year naisda hosted in review. EXECuTivE Bangarra’s Birrang project funded by arts nsW, Quantum Finally i wish to thank all of our teachers and staff for their leap and tanja liedtke Workshops which were open for the continued passion and commitment to developing tomorrow’s public as well as various choreographic residencies. dirECTOr’S aboriginal and torres strait islander artists – their passion for We continue to improve artistic outcomes for our developing da development is inspirational. artists through rigorous training and ongoing connections though 2013 was a year of success we were also touched by to the arts industry. it was with incredible pride that we rEPOrT incredible sadness with the tragic passing of developing artist, brought iquail shaheed to australia for the first time. iquail is rininya johnson Page. nini was remembered with a spiritually a master of the lester horton technique – a technique that and culturally powerful memorial day early in 2014. the 2013 marked our second full year in our has the ability to fast track a dancer’s physical capabilities, memorial highlighted the great depth of connectedness and technique and mental attitude and passion. naisda will be new premises. it also marked our increased bonding that past das, graduates, alumni, teachers, family heavily investing in horton, not only to further raise the bar commitment from the Federal Government and staff of naisda have in coming together to celebrate this and technical standards of our graduating artists but also to wonderful girl. through the ministry for the arts which become australia’s horton technique specialist. there are enables us to further plan for the future. plans to offer open classes and workshop programs to the in remembrance of rininya, naisda is taking positive steps in general public and other institutions. regards to her passing. another milestone in 2013 was the establishment of the new nini’s list records the names of people committed to naisda Board of studies led by dr nerida Blair. dr Blair has a supporting actions that help reduce suicide rates in aboriginal long association with naisda and is eminently qualified to lead and torres strait islander communities. this is a pledge of naisda into the future with regard to curriculum and cultural personal and community support. development in the arts. aboriginal and torres strait islander people experience it was a pleasure to welcome back naisda graduate denis suicide within communities at twice the rate of the rest of the newie to share with us moa island dance, song and culture population in australia. through our cultural residency Program, culminating in the vibrant theatrical performances in the end of year Performance there are many ways we propose to make a positive change: season held at carriageworks in sydney. • Keep culture strong i would like to thank raymond Blanco for his direction of the • Raise awareness in others end of year Performance and for the beautiful, challenging and varied choreographic work that involved ten of australia’s • Build strength and resilience in ourselves and our foremost choreographers and musicians, many of whom are families. Practice healthy lifestyle choices and naisda graduates. behaviours a special thank you also goes to the management and • Talk to each other and support each other staff at carriageworks for their tireless professionalism and • Support the building of preventative strengths and commitment partnering with us for the 2013 end of year capacity in Aboriginal and Torres Strait Islander Performance season, which was an outstanding success. our communities – in schools, health and family services. partnership continues to flourish with the ongoing commitment of both parties to hold our end of year Performances at this • Advocate for support from government venue leading up to naisda’s 40 year celebrations in 2016. this list will be available through the naisda website and will our secondment Program grows from year to year with all also be sent to the Prime minister of australia and the Prime diploma das working on significant projects, several of which minister’s indigenous advisory council. will continue development in 2014 with performance outcomes in loving memory of rininya joyce johnson Page 16.11.95 – for our now graduated students. 26.12.2013 and others who have died by suicide. i take this opportunity to congratulate our five graduating in memory of all we dance!! developing artists of 2013. rodney Beatty, caleena sansbury, shae duncan, taree sansbury and jasmyne mehrton-johnson have worked enormously hard over their time at the college and it is their commitment and achievements that inspires our younger das. naisda continues its development of contemporary indigenous dance technique with naisda graduate and dance artist Vicki Van hout. Vicki’s work for the end of year Kim Walker performance was a beautiful and insightful contribution to the executive director/head of dance development of her work in this area.

6 7 gENErAl MANAgEr’S rEPOrT

Without exception, it can be said that 2013 ACCOMMOdATiON upgrades. the facilities and equipment are significantly the development of a new website is the main priority in early was a year of consolidation and a point in Homestay improving the training outcomes for both naisda das and 2014. others who utilise the studios. during the year naisda naisda’s development where the return on the homestay Program rose magnificently to its challenge this year of providing additional supportive accommodation for supported a number of independent artists, including the iNfOrMATiON TECHNOlOgy good “investments’’ is very evident. sixteen of our under 18 das, and those who need additional Birrang Project with Bangarra and artsnsW and Garabarra the major upgrade to naisda’s computer network and support. approximately one third of the naisda enrolment is ngurra – through the use of the facilities. associated teaching technologies in 2012 has served the elsewhere in this report you will read about such investments accommodated through the homestay program – requiring organisation well. With the increasing da numbers, significant in the artistic and cultural program – most evident being a large and essential investment of time and resources. the WOrK, HEAlTH & SAfETy increase in the use of technology in recording assessments the commencement of the horton program under the naisda homestay Program and two of our inaugural and naisda recruited the position of operations coordinator in and performances and the increasing use of the internet for instruction of iquail shaheed, the datiwuy dreaming project long-standing homestay parents, Peter and Pauline lyall were 2013 – and as a result we have made a number of significant web-based learning and research, there are ever-increasing with musica Viva; Garabarra ngurra; and the commencement nominated for a community award as part of the local naidoc advances in our Whs systems and procedures, in accordance demands on the system. additional resources have been of a new relationship with the community of moa island in the celebrations. naisda remains deeply indebted to those local with the changed legislation introduced in 2012. allocated to in-house support and with the expertise of a torres strait. families who provide accommodation and support for our das. jaWun secondee, a roadmap for future needs has been HuMAN rESOurCES developed. naisda has also been investing resources in a wide range of On-site cottages operational areas. in preparation for the re-commencement of negotiations a significant amount of urgent structural and repair work fiNANCiAl was completed in the seven on-site cottages utilised for da with the nteu in 2014, and building on the work completed WHOliSTiC SuPPOrT PrOgrAM accommodation. the works included upgrades to bathrooms, for the naisda enterprise agreement, naisda commissioned naisda has again been well supported this year by financial this is the second year with a full-time developing artist sub-floor structural repairs, re-carpeting and the installation of an independent consultant to conduct a bench-marking consultancy services from matrix on Board and audit support officer (daso) and the improved retention rates air-conditioning to alleviate any Work health and safety issues review of remuneration and benefits in comparison with other services from howes Walcott. thank you for your continuing provide evidence of the effectiveness of this role. in addition associated with the heating of the cottages. the works have similar training organisations – including all members of the contribution to naisda. to the rigourous physical training demands, there are been funded in part with a grant from the nsW heritage office arts8 roundtable who participated. the results of the review many additional challenges our developing artists face – and by naisda. the on-site accommodation is a significant will be utilised to develop a comprehensive remuneration and injuries, wholistic health, language, literacy and numeracy, element of naisda’s support for our das. benefits program for the organisation and inform the budgeting accommodation, financial hardship and life skills. most of process for the duration of the quadrennial agreement with the our das are leaving home for the first time, many come from BuildiNg rE-dEvElOPMENT & CAPiTAl WOrKS Federal Government. remote communities and the student cohort is getting younger a small number of defect-rectification works, delayed by the dEvElOPMENT & MArKETiNg each year. the daso role is a key member in the team of staff voluntary administration of the builder have been completed who are actively engaged in assisting our das to successfully during the year. in addition, some capital works funded towards the end of the year the full-time position of attain their qualifications. the key challenge for naisda is to by the Federal Government and artsnsW have also been development & marketing co-ordinator was recruited. this debra Schleger continue to provide the required level of support for a rapidly- completed. this work includes the installation of joinery, will significantly increase the organisation’s capacity in this General manager expanding student body. storage improvements, sound, lighting and training equipment area. Previously the position had been permanent part-time.

8 9 receptionist / BAllET Administration Officer meaghan Bonser Francoise angenieux NAiSdA reception (from nov 2013) casey Bourke chenoa de Vries joel thomas BOArdS OPErATiONS timothy Farrar Operations Co-ordinator Paul tibbles CulTurAl STudiES NAiSdA liMiTEd BOArd facilities Officer karen Bluff raymond d. Blanco Chair Warren mundine facilities Officer mark Gibbs luke Pearson Bus driver noel Borger deputy Chair rick shapter BOdy & MiNd CArE (to 18 december 2013) TrAiNiNg dEPArTMENT Victoria Gilbert-smith Board Secretary robyn heras* craig Gilbert-smith Artistic Co-ordinator jasmine Gulash directors elizabeth Butcher am* Belinda dew dance Co-ordinator raymond d. Blanco sharon Burnett* jo clancy Academic Co-ordinator jane austin sean Gordon CONTEMPOrAry urBAN dANCE dawn casey Course Administrator elizabeth Bailey Gail mabo Pam Williams developing Artist neani timora Ex Officio kim Walker Support Officer nathan Bramston joel thomas debra schleger timothy ohl jasmine Gulash CulTurAl dANCE yvette maher rodney Beatty Elcho island, karl shore *Indicates non-Indigenous Directors North East Arnhem land mitjangba Burarrwanga Elcho island, drAMA BOArd BuildiNg SuB-COMMiTTEE North East Arnhem land mudalyun Ganambarr aku kadogo sean Gordon Elcho island, PHySiCAl THEATrE Geoffrey leeson North East Arnhem land dhumumu Burarrwanga kim Walker yvette maher debra schleger Moa island, karl shore Torres Strait islands dennis ‘dujon’ newie kailah cabanas BOArd Of STudiES Moa island, MuSiC Chair dr nerida Blair Torres Strait islands angela torenbeek Moa island, dorian mode Members shane carroll* Torres Strait islands christal Ware-mene heath jeffreys jo clancy ashley George christine evans Sydney Based sani townson jane koch* SAfE dANCE PrACTiCE karen martin Pam Williams rosealee Pearson sani townson TANjA liEdTKE WOrKSHOPS taree sansbury SESSiONAl kristina chan kyle shilling amelia mcQueen Ex Officio kim Walker TEACHErS EXTErNAl dANCE ASSESSOrS debra schleger shane carroll raymond d. Blanco craig Bary *Indicates non-Indigenous Members ArTiST iN rESidENCE Frances rings Frances rings Gary lang ENd Of yEAr SHOW CONTEMPOrAry iNdigENOuS dANCE TECHNiquE Creative Producer jasmine Gulash Vicky Van-hout Creative director raymond d. Blanco STAff tom e.s. kelly Production Manager Paul tibbles daniel reily Stage Manager loretta Foster EXECuTivE HOrTON TECHNiquE lighting designer angus denton Executive director / iquail shaheed Costume designer Peta strachan Head of dance kim Walker joel thomas Set designer Vicki Van hout general Manager debra schleger Set Maker john morgan Executive Assistant susanne coster CONTEMPOrAry TECHNiquE joshua thomson NAiSdA Backstage Team maddison knox AdMiNiSTrATiON joel thomas Glory tuohy-daniel Human resource Officer sue Gosson craig Bary joel Bray development & Marketing kristina chan Co-ordinator (from nov 2013) sheree Foley katina olsen Accounts Officer lois magann Paulina Quinteros

10 11 NAyA WA yugAli

in june, at a Board strategic planning workshop, a number of long-term initiatives were discussed and prioritised. the urgent issue of developing artist accommodation was at the top of the list. as a result, the Building sub-committee was established shortly thereafter; with a brief to develop and document the infrastructure required to accommodate naisda’s long-term vision. the brief for the development contained the following spaces:

STAgE 1 • Boarding accommodation and associated support spaces for 30 DAs • Accommodation for house parents / staff / visiting tutors and artists • Independent accommodation for 40 DAs • 4 dance studios, 1 pilates studio and associated support spaces • Administration spaces and meeting rooms • Reception, boardroom & exhibition space • Storage and operations spaces • Landscaping including ‘forest of supporters’, bunguul ground, ampitheatre • Change facilities

STAgE 2 • Health services spaces • Teaching spaces (2 classrooms, 1 computer room, 2 music rooms, sound-proof recording space, production teaching space) • Tiered lecture theatre • Research & digital resource facility • Cultural making / storage facilities • WC and change facilities

distinguished architectural firm, tonkin Zulaikha Greer were engaged to develop the concepts for the site – now named naya Wa yugali (We dance in darkinjung language).

12 13 Birrang naisda partnered with Bangarra, Akram Khan Master Class aFtrs and carriageworks in the selected das undertook a master Birrang initiative. naisda hosted NAiSdA 2013 class with dancer jose ajudo from rayma johnson and company for a the akram khan company at two week period resulting in a creative Bangarra dance theatre during development showing at naisda. HigHligHTS their tour of australia. Cultural residency remote – the year in reVieW Horton Technique naisda cert ii, iii, iV travelled to american master horton teacher Bundanon Trust South Coast moa island for naisda’s first visit iquail shaheed’s first visit to naisda 2nd development and performance of to the island. to incorporate the horton technique Transmit on the south coast. across the curriculum. dätiwuy dreaming guest Artist Message Sticks Cultural residency three week tour of the central Frances rings created Dismorph for the naisda performed as part of the message guest Artist Moa island College coast schools. end of year show Ngalpun Mudth. sticks Festival at the opera house. naisda Graduate and chorographer tutors from moa island joined naisda Gary lang set his work Mokuy with for their first ever college residency at Tanja liedtke Workshops rehearsals ‘Ngalpun Mudth’ Bundanon Trust the das in preparation of the end of naisda. these creative workshops developed – Our Home Orientation Week naisda continued their relationship with year show. by tanja and taught by her dancers was created with some of australia’s 2013 began enthusiastically with the Bundanon trust with a project involving ql2 Canberra give to our artists tools to inspire and most creative dance artists including new das meeting naisda staff, diploma das, naisda graduates, other dätiwuy dreaming Performance naisda certificatei V das continued create. this year naisda produced a the work of erth Physical theatre current das and discovering their artists and local schools over a three month in schools collaboration with dancers from Ql2 documentary on the workshops that who generously allowed us to use the new life at naisda. period to create Transmit. Dätiwuy Dreaming began pilot shows. canberra to develop Hit the Floor. were also opened up to the public. amazing dugong puppet Gelam.

jAN fEB MAr APr MAy juN jul Aug SEP OCT NOv dEC

Professional artists and 2012 year graduation Mid year Show – Breaking ground Campbelltown Arts Centre Dätiwuy Dreaming WA tour End of year Production teachers join naisda for Family, friends, graduates and guests all join mid year show Breaking Ground We continued our long relationship with launched by janet holmes a court. ‘Ngalpun Mudth’ – Our Home 2013. commencement of at naisda for a day of celebrations for all performed at naisda for five campbelltown arts centre with naisda at the conclusion of the tour over 3000 the production directed by naisda academic year. das associated with naisda during 2012. performances. Warmly received by graduate monica stevens creating a people were inspired by the show. graduate, raymond d. Blanco looked all. this show is growing in popularity work with our certificate iii das. closely at cultural heritage while Dätiwuy Dreaming rehearsals each year. exploring our relationship with the land our long-term relationship came to life with garma festival and sea and how we carry “our home” the tour of Dätiwuy Dreaming to parts of Horton Technique naisda diploma developing artists with us wherever we go. the show nsW and Wa. this interactive show created horton classes continued. travelled to Gulkula, arnhem land in received excellent reviews and audience in partnership with musica Viva was three the northern territory for the Garma response was that of wonder and awe years in the making with our cultural tutors Festival to teach, dance and engage of the professional standard and energy from elcho island. with the Festival. of the performers. Hit The floor Collaboration with ql2 Outreach Program – garabarra Canberra for the Centenary of Canberra. Ngurra dance Camp naisda certificatei V das and dancers from Ql2 canberra began to create Hit the national centre for indigenous Floor, a contemporary dance work. this excellence in redfern. this camp is work, created by Bangarra dancer daniel a pathway to naisda where seven riley, naisda graduate and director of students auditioned for naisda later kurruru, deon hastie and dean cross will be in the year. performed a memorable piece fitting for the Hit The Floor NAISDA with QLT centenary celebrations. premieres in Canberra to great acclaim.

Cultural residency Elcho island College NAiSdA performed at the cultural tutors from elcho island joined for National dance Awards the first of the cultural residency for 2013.

14 15 STATiSTiCS the programme is delivered over four terms which make in 2013, there are a number of trends evident in the statistics. up two semesters. overall there is a significant increase in end of year completions (36), with increases in certificate ii and diploma da numbers. 91533NSW Certificate II in Careers in Dance the initial intake was buoyed by three returning das as well as a 91536NSW Certificate III in Careers in Dance slightly higher new intake. Withdrawals and deferrals during the year remained at a similar level overall to the previous year – an 91532NSW Certificate IV in Professional Dance Performance indicator of the elevated rigor and standards required. average 91534NSW Diploma of Professional Dance Performance attendance his risen dramatically to 90.96% which is an excellent result and indicator of the das’ commitment to their studies.

2007 2008 2009 2010 2011 2012 2013

Previous year Students 14 15 14 19 20 21 21

returning Students 1 3

New Students 26 17 17 19 18 19 22

initial intake 40 32 31 38 38 41 50

Withdrawn 20 13 9 11 3 2 4

deferred 4 2 5 6 10 8

EOy Completions 16 19 20 22 29 29 36

Certificate ii 15 13 9 10 11 11 16

Certificate iii 12 10 13 5 10 8 8

Certificate iv 8 3 8 3 4 7 7

diploma 5 6 1 4 3 2 5

Average Attendance 74.43% 84.73% 79.76% 90.75% 83.19% 84.31% 90.96%

NATiONAlly Certificate ii Certificate iii Certificate iv diploma Careers in Careers in Careers in Careers in Totals ACCrEdiTEd COurSES dance dance dance dance Enrolment – start of 2013 24 11 9 6 50 naisda is a nationally registered training organisation (rto), naisda’s evolution continues with the inclusion of Aboriginal 22 9 6 6 43 within the Vocational education and training (Vet) sector and contemporary dance styles and music that have become the operates within the principles and standards set out by the anthems for today’s generation. While some may seem foreign, Torres Strait Islander 1 2 3 0 6 australian skills Quality authority (asQa). naisda delivers they remain a form of communication for aboriginal & torres nationally accredited courses from certificate ii to diploma level. strait islander youth that we as responsible providers and Aboriginal & Torres Strait Islander 1 0 0 0 1 trainers must acknowledge. coupled with our strong base in through this delivery naisda is committed to the provision culture, naisda helps build visions and realise dreams. of learning space that culturally affirms and supportsda s Enrolment – end of 2013 17 8 8 5 38 while advancing their intellectual and performance skills leading naisda dance college is responsible for the planning, delivery to a professional career in the arts unsurpassed by other and assessment of all courses within its scope of registration. it Origin of DAs Qld - 4 Qld - 1 Qld - 4 Qld - 3 Qld - 12 indigenous organisations. also develops and manages da support programs, marketing, nsW - 17 nsW - 8 nsW - 3 nsW - 1 nsW - 29 communications and external performances and events. Vic - 1 nt - 2 nt - 1 sa - 2 nt - 3 While naisda’s history and reputation with remote aboriginal Wa - 1 Wa - 1 Wa - 3 & torres strait islander communities remains the solid basis the careers in dance curriculum is delivered on an annual sa - 2 integral to the naisda learning experience (naisda cultural basis for each of the four levels of qualification (i.e. certificates Vic - 1 residency program), we acknowledge and recognise that ii, iii, iV and diploma). m - 8 m - 4 m - 5 m - 1 m - 18 today’s das are a different generation. Male / Female F - 16 F - 7 F - 4 F - 5 F - 32

16 17 grAduATiON y e a r o F 2 0 1 2

this was the second year of graduation being held in our new premises. the day of dance, culture, food and pride was attended by many past naisda students, staff, family and friends. overseeing proceedings for the day was naisda limited Board director and ceo of darkinjung local aboriginal land council, sean Gordon. our guest speaker was nsW aboriginal artist liza-mare syron. lisa has had a long history with naisda through Brian syron naisda’s first drama teacher who she spoke passionately about, resonating with our das and the audience. official guests in attendance were the now Federal member for Gosford lucy Wicks mP, the then Federal member and now, senator, deborah o’neil and chairperson of naisda ltd Warren mundine. a very special guest in attendance was naisda Founder, carole johnson who was, on this day, honoured by the naisda limited Board with the titles of artistic director emeritus and Founder of naisda, and life membership. this was a fitting tribute to our Founder who has given, and continues to give, so much to indigenous dance in australia. dancers performed with the graduating das with special tributes to our two diploma graduates thomas e.s. kelly and Beau dean riley smith. Both graduates had worked extremely 91294NSW diPlOMA iN CArEErS iN dANCE hard over their time at naisda and deserved the accolades thomas e.s. kelly and Beau dean riley smith they received. Beau now performs with Bangarra dance theatre and thomas is developing a very successful solo NAiSdA AWArdS rodney Beatty career. Both are an inspiration to all das who follow in in addition to the qualifications issued, this year naisda creative development and performance with Dätiwuy Dreaming their footsteps. presented the inaugural naisda awards to das who one week internship with Bangarra dance theatre met the following criteria: all in all it was a wonderful day with 25 graduating das and Shae duncan 8 others receiving statements of attainment, the largest • Attendance (90-95% for each Unit of study) creative development and performance with Dätiwuy Dreaming graduating cohort in many years. • Attitude one week internship with Bangarra dance theatre the full list of certificates and statements issued is as follows: • Dance and Academic performance jasmyne Mehrton-johnson • Contribution to NAISDA culture 91533NSW CErTifiCATE ii iN Chairman’s Award one week internship with Bangarra dance theatre, creative • Contribution as a leader in the DA body development of Vicki Van hout’s new work Long Grass CArEErS iN dANCE grAduATES the coveted chairman’s award for 2013 successful audition for australian Ballet school’s education was awarded to graduating diploma jye jackson, rininya johnson, toni lord, noelene marika, the inaugural naisda awards were presented to the program. nadia martich, jack matasia, jordan o’davis, robert Page, following das: da thomas e.s. kelly for outstanding tyrone simpkins. contribution to naisda, artistic excellence Caleena Sansbury Certificate ii and academic results. ten week creative development and performance with ochre Statement of Attainment jordon o’davis high distinction rsBm-0103 dance company, one week internship with Bangarra dance rikki naiobah, kaeshane ritchie, chantel roberts, ineke Wallis, and distinction dPct-0103 SECONdMENTS 2013 theatre. Gapala yungupingu, secondments for our diploma das are an tyrone simpkins distinction rsBm-0103 all secondments were very positive for the das and all received important step in their development and 91536NSW CErTifiCATE iii iN excellent feedback from the organisations and artists they Certificate iii transition into the performing arts sector. CArEErS iN dANCE worked with. casey natty 3 distinctions dPud-0203, our philosophy is that all secondments hans ahwang, czack ses Bero, rika hamaguchi, casey natty, dPct-0203, dPBt-0203 are not just visits to companies and kyle shilling, Glory tuohy-daniell, jillibb Waia, Philip Watford. observations. Whenever we can, we place rika hamaguchi high distinction dPct-0203 the da with a project that will inspire them Statement of Attainment and distinction dPBt-0203 rhys de la cruz, janelle egan as well as give them potential work in the future and valuable kyle shilling distinction dmPc-030 connections in the industry. 91295NSW CErTifiCATE iv iN CArEErS iN dANCE secondments for 2013 included: Certificate iv rodney Beatty, shae duncan, jasmyne mehrton-johnson, shae duncan distinction dPct-0303 Taree Sansbury caleena sansbury, taree sansbury, eloise yunkaporta. creative development of Vicki Van hout’s new work Long Statement of Attainment diploma Grass, cultivate with Force majure, one week internship with kasabad Warusam thomas e.s. kelly distinction dmPc-0403 Bangarra dance theatre.

18 19 CulTurAl rESidENCy ’13 WuG VillaGe, moa island, torres strait islands

in 2013, Wug Village (st Paul) moa island hosted naisda dance college’s annual cultural residency and it will be remembered for its unique and embracing culture.

36 naisda developing artists (das), four staff and 12 arpaka dancers joined together to share stories and culture. a testimony to their determination to keep culture alive, arpaka dance Group and the entire village hosted the visit. For a small village of only 120 adults, this was a monumental task. as five small planes landed, developing artists and staff THE NAiSdA travelling from horn island to moa were all met and welcomed by cultural tutor, gArABArrA naisda Graduate – dennis newie, along with cultural tutor, christal Ware-mene. all NgurrA naisda developing artists and staff were given cultural lei of fragrant native flowers and a necklace of moa island shells as a welcome gift. nsW hiGh schools aBoriGinal dance camP six taxi trips were needed in order to arrive at the village everyone was staying in. as each taxi pulled in arpaka the naisda Garabarra ngurra (dance camp it is important that nsW aboriginal dance and knowledge is dance Group would rotate welcome dances from both in language) nsW high schools shared with the young participants during the camp. matthew men and women in a camping area adorned by welcome doyle, Peta strachan and rayma johnson taught workshops signs, island dressing of weaved palm leaves and the aboriginal dance camp 2013 was held from to these young and eager participants and shared their strong south wind. sunday 11th august to saturday 17th august Welcome, smoking, Spirit, Ochre, Crow and Mermaid dances. Following the dance and song welcome, naisda were 2013 at the national centre for indigenous the program also included workshops in contemporary welcomed by local councillors and elders from the excellence (ncie) in redfern, sydney. aboriginal dance and hip hop. community of Wug Village, then set about ‘tenting up’ around the community’s picturesque yardi creek picnic the camp included an excursion to the naisda campus the centre has been built on the land of the Gadigal of the camping ground. and camp participants and teachers were able to watch the nation and their presence is a tribute to the custodianship. certificate ii and certificate iii naisda das in a contemporary as briefings on the week’s activities were being delivered class. naisda das then shared ‘aidt’ sit down dance with the camp was facilitated by jo clancy with assistance from by staff and elders, a noticeable convoy of local cars the young people and talked about life as a da at naisda. tim Bishop and naisda developing artists, casey natty and would arrive and drop off dishes of local cooking. By all the while, the south wind blew which nadia martich. the time dinner came around the tables were full of fish, we were told was not normal for this time an evening performance excursion to see sydney theatre of year – a sign from the elders past to company’s production of storm Boy was an amazing crayfish, dugong, rice and various other local delicacies. this, thirty young aboriginal people aged 13-18yrs were identified protect us from mosquitoes and the unforgiving heat that would experience for all. we discovered was to become a daily occurrence. from across nsW to participate in the camp (nine males and have been normal. twenty one females). every day, locals would arrive to contribute by singing, a great addition to the evening activities this year was the the ultimate performance was organised by the diploma das. sanding and staining of clap sticks. darug artist lex dadd cut demonstrating dances, telling stories, dropping off food and the continuing relationship with schools and communities this involved locals preparing the local sports hall in decoration as 35 sets of clap sticks for the young people to sand and use in instructing das on how everything was done on moa island throughout nsW enabled the selection of the 2013 camp well as ground preparation. the hall was cleaned and decorated, the performance on the last night of camp. the young people and moa island traditions and customs. locals were using participants, as well as a new connection between the the dancing ground was refreshed with clean sand and decorated and the teachers/mentors sat around each night yarning, ‘island time’ and visiting us during their lunch hours which would saltwater Freshwater arts alliance in coffs harbour, which and unknown to us, locals cooked a massive feast. laughing and carefully preparing their clap sticks. on the usually extend until knock off time! identified four young people from the nsW mid north coast. Wednesday night we also organised a fire to sit around which not only did naisda das perform to the local elders but they While one group scaled the mountain to cut bamboo to make Participants in 2013 came from cowra, condobolin, Penrith, was great for sharing stories and getting feedback about how were embraced and entertained by the local village dancers in marap, bows and arrows, the other groups hunted octopus, fish newcastle, Vincentia, Broken hill, dubbo, Bathurst, kempsey, everyone was feeling mid camp. seemingly impromptu dance and song. arpaka dance group and drag netted in front of the camp site. the days were divided south West rocks, Boorowa, yass, Wollongong, the central also performed by themselves as well as with naisda in a camp Facilitator jo clancy received participant feedback into learning dance and song and cultural knowledge of moa coast and the Blue mountains. ten participants who were massive presentation of the star dance. this night was rounded regarding the camp and shared the following quote: “the island while others concentrated on food gathering, fishing and identified as potential naisda developing artists at the 2012 off in a storm of rain and thunder as well as cultural sharing. naisda camps are about so much more than dancing. they soaking up island life talking with locals and children. camp were invited back this year and 9 participants from the What added to this residency’s uniqueness was the warmth and are brilliant. naisda camps change lives and i witness this 2013 camp auditioned for a place at naisda in 2014. as the week progressed, other activities were added like crafts always open smiles and nature of the locals. this was definitely every day at school” – jonathan hill, Vincentia high school. and late night singing and dancing, sometimes up until midnight. one week in 2013 the das will always remember.

20 21 ACT 1 ACT 2 Acknowledgement oF country tAIko drumS Composition: Heath Jeffrey moA ISlAnd culturAl dAnce Drummers: Czack Bero and Certificate III Cultural Tutors: Dennis Newie, Angela Torenbeek, Christal Ware gelAm FuSIon Bow and Arrow: Female Ensemble Puppeteers: Glen Thomas, Jack Sheppard, Robert Page, Ryan Pearson gelAm And uSAr tHe ProtectIng VeIl Storyteller: Angela Torenbeek, Aba Bero n AISd A dAnce c ollege Inspired by the wonderful score of the late Sir John Tavener, this work challenges rhythmically and lifts the dancers spiritually. gelAm rock Movement Directors: Raymond D Blanco, Kailah Cabanas A n d Choreography: Graeme Murphy Puppeteers: Glen Thomas, Jack Sheppard, Robert Page, Ryan Pearson Music: Sir John Tavener cArrIAgeworkS Cast: Jasmyne Mehrton-Johnson (soloist), Phil Walford, Rika Hamaguchi, gArkAZuI Nadia Martich, Natasha Rogers, Tyrone Simpkins Often when men from remote communities come to live the city life they P reS ent encounter many challenges to their cultural identity. The calico is the dogAI symbol of male dance culture in the Torres Strait. Choreography: Raymond D. Blanco Cast: Aba Bero, Kassidy Waters, Hayley Cruickshanks, Ayesha Blanco Choreography: Sani Townson Cast: Czack Bero, Hans Ahwang, Casey Natty, Kyle Shilling, Phil Walford, mokuy Tyrone Simpkins The journey of the souls into the after life. BArAngAroo Choreography: Gary Lang A collaboration with the Certificate IIs to celebrate and acknowledge the Music: Igor Stravinsky ‘Rite of Spring’ strong woman behind the upcoming casino. Cast: Diploma, Certificate IV Choreography: Vicki Van Hout colonIAl IdIot Music: Mixed by Vicki Van Hout Cast: Certificate II Inspired by the painting of Captain Arthur Phillip coming to reconcile with Bennelong after being speared in the shoulder in payback. two PlAyerS gAmeS Choroegraphy: Vicki Van Hout A glimpse into the relationship of two sisters. Music/text: Courtesy of Ross Noble Cast: Certificate II Choreography: Kristina Chan Music: ‘Sleepwalk’ The Very Best Of Santo & Johnny – ‘Harbour Lights’ SHouSe and ‘A Thousand Miles Away’ Cast: Taree Sansbury, Caleena Sansbury Concept: Certificate IV, Diplomas Dramaturg: Aku Kadogo Choreography: Aku Kadogo, Certificate IV, Diplomas moA culturAl dAnce Sound: Rodney Beatty Dennis Newie, Angela Torenbeek, Christal Ware Cultural Tutors: Cast: Certificate IV, Diplomas Bow and Arrow: Male ensemble Puppeteers: Glen Thomas, Jack Sheppard, Robert Page, Ryan Pearson Bennelong Two faces of the one man. lAtIn tHreAdS In most of Latin America there always seems to be enough enthusiasm Choreography: Vicki Van Hout to make time to come together, to play music, to dance, to chat, to cook Cast: Certificate II and eat ‘homemade foods’. This piece would like to emulate a Latin family gathering, where you find friendly people with a huge love for music, dance dISmorPH and a desire to enjoy life. When I began this piece I asked about the pressures on young people Choreography: Paulina Quinteros today and the expectations placed on them from family, community, peers Music: Buena Vista Social Club ‘Chan Chan’, and most importantly themselves. Conversations ranged from body image, Dianna Navarro ‘Padre-Timieblas-Sola’ to social media to their aspirations and fears about their future. This piece is Cast: Shae Duncan, Jasmyne Mehrton-Johnson, Rika Hamaguchi, a response to those many conversations and a small window into the world Hans Ahwang, Czack Bero, Casey Natty of our young Indigenous people today. Choreography: Frances Rings ArtIcle1 Music: Nine Inch Nails ‘Ghosts’ All human beings are born free and equal in dignity and rights. Cast: Taree Sansbury, Jasmyne Mehrton-Johnson, Shae Duncan, Caleena Sansbury, Nadia Martich, Natasha Rogers Choreography: Vicki Van Hout Music: Mixed by Vicki Van Hout moA ISlAnd culturAl dAnce Cast: Certificate II Cultural Tutors: Dennis Newie, Christal Ware, Angela Torenbeek gelAm Choreography: Raymond D Blanco, Kailah Cabanas Puppeteers: Glen Thomas, Jack Sheppard, Robert Page, Ryan Pearson

22 23 MuSiCA vivA ACKNOWlEdgEMENTS naisda dance colleGe and musica ViVa creation oF DäTIWuy DreAMING ANd SPECiAl THANKS

• Australian government Ministry for the Arts The communities of dhambala, galiwin ‘ku, Nyinykay, Wug village, Kubin village & Pukatja 2013 saw the very • Staff of the Ministry for the Arts successful launch of the • Australian government – department of Trade naisda dance college – • NSW Trade & investment, Arts NSW NAiSdA would also like to acknowledge and musica Viva Partnership • NSW Education and Communities thank the following Homestay families for giving our developing Artists a “home away from home”. of Dätiwuy Dreaming. • gosford City Council this touring show was • NSW Heritage Office • christine Bird • louise Brissett created for schools around • darkinjung local aboriginal land council • anne & Brett charlton australia after a three year • central coast regional development corporation • Bill douglas & nerise reed development period. • Bangarra dance theatre • leone higgins • arts8 roundtable for arts training excellence the show, directed by naisda • Graham & callista kent • jaWun artistic co-ordinator jasmine • Pauline & Peter lyall Gulash, gives children a wonderful • tanja liedtke Foundation • jean o’rourke insight to yolngu culture (people of • Bundanon trust north-east arnhem land) through • liz Poole & les dupont • campbelltown arts centre the eyes of elcho island cultural • allison Preece • ausdance nsW tutors mitjangba Burarrwanga, • anthea scholes mudalyun Ganambarr and • ausdance Victoria • Fran swift dhumumu Burarrwanga. also part • sydney opera house of the creative team were naisda • Warren & charo sparkes • musica Viva graduates juanita duncan, thomas • Paul & robyn towney • anzarts institute e.s. kelly and travis de Vries and • sue & keith Woodbury naisda graduating diploma das, • erth Physical theatre shae duncan and rodney Beatty. • kariong medical centre to support the project musica Viva and naisda created a comprehensive education tool for students to learn yolngu language and culture through • reliance super clinic the song and dance of elcho island. • intouch health in the development of the show all cultural protocols were adhered • headspace to through discussion with the cultural tutors and other elcho island • sonia allum chiropractor community members. another area developed for the show was an • connect extensive Professional development session for teachers prior to the show • mingaletta aboriginal and torres strait island corporation performing at their schools. this gave the teachers the ability to use the cultural material developed, with the knowledge that they were following • Bungree correct cultural protocols and best teaching practice. • eleanor duncan medical center Dätiwuy Dreaming would not have been possible without the incredible • the Glen commitment of musica Viva, in particular sue lane, naisda staff and • nunyara aboriginal health Board member, robyn heras. the project also received financial support from the indigenous cultural support Program through the Federal Government, as well as the generous philanthropic support of rio tinto. External scholarships to dAs Performances of Dätiwuy Dreaming began with previews to over 1000 • the creative young stars students at 5 central coast schools (3 Primary, 2 secondary). From • Bouddi Foundation there, the tour expanded across the central coast and to sydney with 17 • centrecorp schools and 36 performances to over 4763 students. after a few months break, the tour continued on to Western australia which began with a sparkling reception overlooking the swan river, • ric sugitha (Graphic designer) sponsored by rio tinto and launched by janet holmes á court. Dätiwuy • Branco Gaica (Photography) Dreaming was performed to a further 22 schools and over 3480 students • lisa haymes (Photography) from Perth out to meekatharra in the outback. thank you to rio tinto for their generous sponsorship of the Western australian tour. overall, Dätiwuy Dreaming has connected with 8243 students, leaving them with special knowledge and insight into the world’s oldest living culture.

24 25 aBn 19 177 937 206 NAiSdA liMiTEd (a company limited by guarantee)

For the year ended 31 december 2013

27 28 29 F inancials

30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 31 t he aVenue, m t PenanG Parklands k arionG nsW 2250, a ustralia PH (61) 2 4340 3100 / fX (61) 2 4340 3160 f r EE CAll W i THi N AuSTr A liA 1800 117 116 E MAil naisda@ naisda.com.au

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