DOCSLIB.ORG

DECEMBER 2017 ANNUAL REPORT Image Credit: Mick Richards NIDF 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DECEMBER 2017 ANNUAL REPORT Image Credit: Mick Richards NIDF 2017 JANUARY – DECEMBER 2017 ANNUAL REPORT Image Credit: Mick Richards NIDF 2017 Annual Report 2017 BlakDance 2 Annual Report 2017 BlakDance Image Credit: Elaine Pelot Syron Tent Embassy, Circa 1980 ACKNOWLEDGEMENT OF COUNTRY BlakDance uphold the continuing sovereignty of all Frist Nations peoples in Australia. We pay our respects to our Elders, past and present. We pay respect and homage to all the BlakDance elders across Australia. Without them, we would not be here continuing their legacy today. Annual Report 2017 BlakDance Annual Report 2017 BlakDance 1 Table of Contents ACKNOWLEDGEMENT OF COUNTRY 1 PROGRAMS | ACTIVITIES | ACHIEVEMENTS | PROGRAMS 2017 24 HISTORY OF BLAKDANCE 3 NIDF 2017 26 The Producer Development Program 26 OUR SITUATION 4 Touring Ecology 6 MARKETING & COMMUNICATIONS 2017 27 OUR MISSION 8 OUR SUPPORTERS AND PARTNERS 28 BlakDance Respectful and Relational Process 9 LOOKING TO THE FUTURE 30 GOALS AND CRITICAL SUCCESS FACTORS 10 Performing Country 30 The First Nations Dialogues, New York 2018 31 CHAIR'S REPORT 12 Australian Performing Arts Market – APAM 2018 31 EXECUTIVE SUMMARY 13 The BlakDance Residency Program 2018 32 Exporting 32 ABOUT US 14 NEXT GEN 32 Structure & Management 14 BlakDance Organisational Framework 14 FINANCE REPORT 33 The BlakDance Cultural Council 15 Financial Management 33 The BlakDance Board of Management 16 Funding 2017 33 Committee’s 16 Financial 2017 33 BlakDance Board Members Biographies 18 2017 grants 33 Constitutional Reform 20 AUDITOR'S REPORT 34 The BlakDance staffing structure 21 FINANCIAL STATEMENT'S 37 OUR PEOPLE 22 Board Members 22 MANAGEMENT REPORT 49 Employees 22 HOW YOU CAN HELP 59 Consultants / Project staff 23 CONTACT US 60 Elders for 2017 23 Peers for 2017 23 Annual Report 2017 BlakDance 2 History of BlakDance Led by the founder of BlakDance, Marilyn Miller, the ground-breaking In 2008 the Indigenous Choreographers Project provided six choreographers pre-cursor to BlakDance was the Creating Pathways, held in Canberra from from the ‘Springboard Initiative’ with the opportunity to network with a 27-30 October 2005 at the National Museum. Over 40 dance artists from selection of International presenters attending Sydney Festival 2008. across the country and several generations created a landmark event and the A new organisation emerged, BlakDance, which was funded in 2009. 1 foundations of a strategic plan for Indigenous dance for the next decade . The Australia Council supported BlakDance as a ‘building’ infrastructure The forum targeted mid-career independent Indigenous contemporary dance organisation for the period 2009-2016. For over a decade, BlakDance artists (including dancers, choreographers and teachers). have played a critical role in brokering opportunities, advocacy, market In 2006 and 2007 Treading the Pathways was the implementation strategy development, communicating protocol and leadership. from Creating Pathways recommendations including employment of a national BlakDance has successfully undertaken a wide range of activities that have had Indigenous Dance coordinator and the development of a Dancers Directory. It measurable impact on developing choreographers and dance practice: was auspiced by the Ausdance National organisation. Examples: Treading the Pathways assisted mid-career contemporary independent • In 2011 The Lagaw Gub | Island Wind teacher workshops and screenings Aboriginal and Torres Strait Islander dance artists by developing the national were held. Developed by Djon Newie with educational written component infrastructure for Indigenous dance. It focused on building national networks, by Leesa Watego from Iscariot Media. Lagaw Gub is the first Torres Strait professional development and career opportunities. It created a dedicated Islander dance education resource in Australia. position that commenced in February 2007. Setting up the position entailed • In 2012 BlakDance produced an international showcase and presented the formulation of a steering committee to ‘bring an external sensibility to 4 choreographers to work alongside 4 international choreographers the project’, and the formulation of a strategic plan. Seven independent and included 7 performances, employed 12 dancers, and supported 9 contemporary choreographers, were selected for three-year development practitioners through professional development. under the ‘Springboard Initiative’: • This was held at the Queensland Theatre Company in Brisbane attended Gary Lang, Baru Kadal, NT Gail Mabo, QLD by 225 people. Direct outcomes in 2013: 4 practitioners programmed in Rita Pryce, Baiwa Dance, QLD Vicki Van Hout, NSW the National Dance Forum, 2 works presented at KOWHITI (NZ National Jason Pitt, NSW Nikki Ashby, VIC Indigenous Dance Festival), 1 work presented at the Centre of Contemporary Deon Hastie, SA Art (COCA) Cairns, and 1 choreographer commissioned for Ochres Dance Company, WA. A first ever publication of Torres Strait Island Play Dances was developed as a school’s resource kit for distribution through the Ausdance network and • In 2012/13 BlakDance continued to support mid-career choreographers State and Territory education departments and required appropriate teacher facilitating access through information sharing and crucial financial and in-servicing and/or delivery by Indigenous dance artists. A collaboration with administrative support including 5 artists at APAM 2012 and 4 artists at Dance Blackfella Films created a Dancers’ Directory in 2008. Company placements of Massive 2013. up to four one-week blocks were pursued in 2008 and 2009 with: • In December 2015, BlakDance produced Dana Waranara in Brisbane to over • The Australian Ballet – Gary Lang, NT 85 delegates from the Indigenous Dance sector. • Chunky Move – Vicki Van Hout, NSW • In 2017 BlakDance developed and produced the National Indigenous Dance • Expressions Dance company – Rita Pryce, QLD. Forum (NIDF 2017) as part of YIRRAMBOI Festival of First Nations arts and culture, Melbourne. 1 Annual Report 2017 BlakDance Creating Pathways was a partnership initiative of the then Aboriginal and Torres Strait Islanders Arts Board with the Dance Board of the Australia Council for the Arts and Ausdance National. Our Situation BlakDance is the national peak body for Indigenous Dance in Australia. BlakDance connects dance artists with national and international markets. Our membership features independent choreographers and Examples include: community practitioners. Jacob Boehme’s participation in the 17th Assitej International World Congress We recognise and operate within a cultural continuum of past, present and Sweden/Denmark in 2011 future. BlakDance is Indigenous led and features an innovative and culturally Tammi Gissell, Rayma Johnson, Jacob Boehme, Robert Dann, Peta Strachan grounded governance structure. BlakDance serves a priority demographic of attended the Australian Performing Arts Market at the Adelaide Festival in 2012 Indigenous Australians and adds to the greater discourse, practice and policy Eric Avery, Gary Lang, Tammi Gisell, Vicki Van Hout, Jacob Boehme and imperatives of the arts sector. BlakDance is the trusted source of Indigenous Patricia Pryce attended the Dance Massive forum in 2013 dance advocacy in Australia and plays a critical role in brokering partnerships Tammi Gissell, Mariaa Randall, Jacob Boehme, Thomas E.S. Kelly, Jo Clancy, between the indigenous dance sector and presenters, policy makers, audiences, Vicki Van Hout, Waiata Telfer attended the Australian Performing Arts Market and stakeholders locally, nationally and internationally. at the Brisbane Powerhouse 2014 BlakDance supports artists and communities across many diverse forms of Indigenous choreographer’s residency Dance Massive 2015; Mariaa Randall, dance, geographies of histories, songlines, and protocols. It connects Jacob Boehme, Ian RT Colless, Eric Avery, Pauline Lampton, Nikki Ashby and collaborators and communities, fuels creative exchange, and builds public Henrietta Baird discourse; in turn strengthening the visibility of the artform, supporting Ian Colless, Amrita Hepi, Thomas E.S. Kelly participation in the Indigenous Indigenous dance sovereignty, and engagements with the broader arts ecology. Dance Residency at The Banff Centre Canada BlakDance is informed by a rights-based approach, using the standards in the UN Kerry Johnson’s work with the Alvin Ailey company in New York in an Declaration on the Rights of Indigenous Peoples and other local, national, and international dance and cultural exchange program international standards to guide frameworks for our work and the partnerships we engage in. This rigor drives BlakDance’s utilisation of best practice models Vicki Van Hout’s participation in the prestigious Paris Residency at the Cite 2013 ensuring appropriate protection and promotion of protocols across the and guest presentation in New York during Umyuangvigkaq: PS122 Long Table BlakDance program and avoiding the misuse or misappropriation of cultural and Durational Sewing Bee, 2017 property and resources of the BlakDance membership. This takes long-term Djuki Mali national and international touring 2007-2017 across more than planning and execution, consultation and good governance. 100 venues nationally and internationally For over a decade, BlakDance has consistently delivered generative and Jacob Boehme participation at the 2015 ISPA New York congress transformative sector events and has contributed significantly to the Amrita Hepi’s participation at the 2016 and 2017 IETM plenary sessions development of
Load more

Recommended publications
  • 2008, WDA Global Summit
    World Dance Alliance Global Summit 13 – 18 July 2008 Brisbane, Australia Australian Guidebook A4:Aust Guide book 3 5/6/08 17:00 Page 1 THE MARIINSKY BALLET AND HARLEQUIN DANCE FLOORS “From the Eighteenth century When we come to choosing a floor St. Petersburg and the Mariinsky for our dancers, we dare not Ballet have become synonymous compromise: we insist on with the highest standards in Harlequin Studio. Harlequin - classical ballet. Generations of our a dependable company which famous dancers have revealed the shares the high standards of the glory of Russian choreographic art Mariinsky.” to a delighted world. And this proud tradition continues into the Twenty-First century. Call us now for information & sample Harlequin Australasia Pty Ltd P.O.Box 1028, 36A Langston Place, Epping, NSW 1710, Australia Tel: +61 (02) 9869 4566 Fax: +61 (02) 9869 4547 Email: [email protected] THE WORLD DANCES ON HARLEQUIN FLOORS® SYDNEY LONDON LUXEMBOURG LOS ANGELES PHILADELPHIA FORT WORTH Ausdance Queensland and the World Dance Alliance Asia-Pacific in partnership with QUT Creative Industries, QPAC and Ausdance National and in association with the Brisbane Festival 2008 present World Dance Alliance Global Summit Dance Dialogues: Conversations across cultures, artforms and practices Brisbane 13 – 18 July 2008 A Message from the Minister On behalf of our Government I extend a warm Queensland welcome to all our local, national and international participants and guests gathered in Brisbane for the 2008 World Dance Alliance Global Summit. This is a seminal event on Queensland’s cultural calendar. Our Government acknowledges the value that dance, the most physical of the creative forms, plays in communicating humanity’s concerns.
    [Show full text]
  • Royal Academy of Dance Welcomes a New Era Under the Leadership of a New Australian National Director - Rebecca Taylor
    PRESS RELEASE ROYAL ACADEMY OF DANCE WELCOMES A NEW ERA UNDER THE LEADERSHIP OF A NEW AUSTRALIAN NATIONAL DIRECTOR - REBECCA TAYLOR • Rebecca Taylor joins the RAD following 12 years at the Sydney Opera House • New National Director takes the reins on the eve of the RAD’s Centenary • Rebecca Taylor pledges to lead RAD Australia to achieve its goals as one of Australia’s pre-eminent dance organisations • Rebecca Taylor announces three prestigious awards for Australian RAD members The Royal Academy of Dance (RAD) has welcomed a new National Director to lead its operations in Australia on the eve of a new era for the Academy. Rebecca Taylor succeeds Bronwyn Watkins, the longest serving National Director (29 years) of the RAD in Australia, which is the largest RAD national office outside London. Rebecca Taylor joins the RAD following 12 years in a variety of roles at the Sydney Opera House and before that as a professional dancer. Her leadership qualities and strategic background have made her a key recruitment for the Academy as it prepares to celebrate 100 years globally in 2020. RAD Chief Executive Luke Rittner said: “Rebecca Taylor was an outstanding candidate for the post of National Director of the Royal Academy of Dance in Australia, and she takes on the leadership of the Academy at a key moment in our history as we approach our centenary in 2020. Rebecca has a passion for dance and brings with her a wealth of experience and expertise gained during a highly successful career, both as a professional dancer and in senior posts in arts administration.
    [Show full text]
  • 2.5: a Journey Towards Adolescence and an Aboriginal Dance Method
    2.5: A Journey towards Adolescence and an Aboriginal Dance Method Michael Leslie A thesis in fulfillment of the requirements for the degree of Master of Fine Arts University of New South Wales Art and Design December 2016 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Leslie First name: Michael Other name/s: Abbreviation for degree as given in the University calendar: Master of Fine Arts School: Paddington Campus Faculty: Art & Design Title: 2.5: A Journey towards Adolescence and an Aboriginal Dance Method Abstract 350 words maximum: (PLEASE TYPE) This project records my history as an Aboriginal dancer who trainedboth in Australia and the USA. The end result of this history is a new Aboriginal Dance Method, which seeks a synthesis with African American dance, and other contemporary dance fonns. In describing This new fonn, is informed by Gamilaraay Language, culture, mammals, birds, reptiles, qualities, elements, moving, parts ofthe body, material culture, water, doing, places, times,and questions. The dance sequence will include contemporary techno music and theatreto synthesise and to explore this new dance typology via the use of 100 steps drawn fromthe Gamilaraay language. These 100 steps are the core creation ofthis Masters. Is it possible to synthesise into another essentially "Aboriginal Dance Method" modern European ballet, physical theatre,African American dance and both ancient and modernAboriginal dance types? The urban Aborigine is oftendivorced, like myself, fromtraditional initiation ceremony and hence cultural Rights of Passage. Loss ofritual and ceremony coupled with racism and no safeplace to exist in society, has generated a mark milestone of institutionalism or goal time as a mark of being a man.
    [Show full text]
  • 30Years Studyguide.Pdf
    BANGARRA DANCE THEATRE STUDY GUIDE FOR TEACHERS AND STUDENTS 1 ACKNOWLEDGEMENT OF COUNTRY Bangarra Dance Theatre pays respect and acknowledges the traditional custodians of the land on which we meet, create, and perform. We also wish to acknowledge the Aboriginal and Torres Strait Islander peoples whose customs and cultures inspire our work. INDIGENOUS CULTURAL AND INTELLECTUAL PROPERTY (ICIP) Bangarra acknowledges the industry standards and protocols set by the Australia Council for the Arts Protocols for Working with Indigenous Artists (2007). Those protocols have been widely adopted in the Australian arts to respect ICIP and to develop practices and processes for working with Aboriginal and Torres Strait Islander people and cultural heritage. Bangarra incorporates ICIP into the very heart of our projects, from storytelling, to dance, to set design, language and music. © Bangarra Dance Theatre 2019 Last updated September 2019 WARNING Aboriginal and Torres Strait Islander people should be aware that this Study Guide contains images, names, and writings of deceased persons. Photo Credits Front Cover: Rika Hamaguchi and Tyrel Dulvarie, photo by Daniel Boud Back Cover: Rika Hamaguchi, photo by Daniel Boud 2 INTRODUCTION CONTENTS The purpose of this Study Guide is to provide information and contextual background about the works presented 03 in Bangarra Dance Theatre’s 30th anniversary season, Introduction/Contents Bangarra: 30 years of sixty five thousand. Reading the Guide, discussing the themes, and responding to the questions proposed, will assist teachers and students in thinking critically about the works, and form 04 Using this Study Guide personal responses. We encourage students and teachers to engage emotionally and imaginatively with the performance 05 Contemporary Indigenous Dance Theatre and to be curious about how these works were inspired and how they impact audiences.
    [Show full text]
  • Dalman, Elizabeth Cameron (B. 23 October 1934, Adelaide, Australia)
    Dalman, Elizabeth Cameron (b. 23 October 1934, Adelaide, Australia) Summary In a career that has spanned over sixty years, Elizabeth Cameron Dalman has been shaped by a politically progressive view of the role of dance and choreography in Australia and has created works inspired by contemporary paintings, music, political and artistic figures as well as the cosmologies of the natural world. Inspired by her involvement with European and American modern dance, she established the first professional modern dance company in Australia in 1965, Australian Dance Theatre, and developed dances that were engaged with social issues, such as Aboriginal and women’s rights. From her early works to the present, she has had a passion for the Australian landscape and used dance to celebrate its beauty and environmental fragility. As a modern dance ambassador, Dalman initiated the first tour of an Australian dance company to South-East Asia in the 1970s and established an international profile for Australian dance. Always an educator, she continues her choreographic practice with Mirramu Dance Company, as well as her participation in international collaborations with artists from Taiwan, Japan, Singapore, Senegal and Austria. She was awarded an Order of Australia for her contribution to contemporary dance in Australia, and in 2015 was appointed Patron of the 50th anniversary celebrations. Training Dalman studied classical ballet as well as the barefoot dancing of the English modern dancer, Margaret Morris with Nora Stewart. Like many expatriates who felt the isolation of the arts in Australia, she left Adelaide in 1957 for London where she studied with Audrey de Vos, Maria Fay and Kathleen Crofton followed by a season touring the Netherlands in the Ballet der Lage Landen and later as the lead in My Fair Lady.
    [Show full text]
  • The Arts—Dance
    Resource Guide The Arts—Dance The information and resources contained in this guide provide a platform for teachers and educators to consider how to effectively embed important ideas around reconciliation, and Aboriginal and Torres Strait Islander histories, cultures and contributions, within the specific subject/learning area of The Arts- Dance. Please note that this guide is neither prescriptive nor exhaustive, and that teaching staff are encouraged to consult with their local Aboriginal and Torres Strait Islander community, and critically evaluate resources, in engaging with the material contained in the guide. Page 2: Background and Introduction to Aboriginal and Torres Strait Islander Dance Page 4: Timeline of Key Dates in the Contemporary History of Aboriginal and Torres Strait Islander Dance Page 5: Contemporary Aboriginal and Torres Strait Islander Dances Page 7: Aboriginal and Torres Strait Islander Dancers and Choreographers Page 8: Aboriginal and Torres Strait Islander Dance Companies/Institutions Page 10: Celebratory Aboriginal and Torres Strait Islander Dance Events Page 11: Other Online Guides/Reference Materials Page 12: Reflective Questions for Dance Staff and Students Please be aware this guide may contain references to names and works of Aboriginal and Torres Strait Islander people that are now deceased. External links may also include names and images of those who are now deceased.to Page | 1 Background and Introduction to Aboriginal and Torres Strait Islander Dance “The dancing grounds are where we connect with our Ancestors, where our heritage, language and identity are passed on.” — Phillemon Mosby, Torres Strait Island Regional Councillor. It is important to appreciate that, while this guide predominantly focuses on Aboriginal and Torres Strait Islander peoples, perspectives and dance conventions since European colonisation, dance has been an integral part of Aboriginal and Torres Strait Islander cultures for thousands of years, and continues to play an active and important part in cultural life to this day.
    [Show full text]
  • Performing Cultures 6/11
    .. Aboriginal and Torres Strait Islander Arts Board, Australia Council PO Box 788 Strawberry Hills NSW 2012 Tel: (02) 9215 9065 Toll Free: 1800 226 912 Fax: (02) 9215 9061 Email: [email protected] www.ozco.gov.au cultures . PERFORMING ..... Protocols for Producing Indigenous Australian Performing Arts An initiative of the Aboriginal and Torres Strait ISBN: 0 642 47241 6 Islander Arts Board of the Australia Council Performing Cultures: Protocols for Producing Indigenous Australian Performing Arts Indigenous control 19 contents Communication, consultation and consent 20 Duration of consultation on performances 20 Introduction 1 Caution with consultation 20 Using the Performing Cultures guide 2 Interpretation, integrity and authenticity 21 What are protocols? 2 Interpretation 21 What is Indigenous performance? 3 Integrity 21 Special nature of Indigenous performance 4 Authenticity 21 Indigenous heritage 5 Interpretation, integrity and authenticity when recording 21 Current protection of heritage 6 Secrecy and confidentiality 22 Drama principles and protocols 8 Representation of deceased people 22 Respect 8 Secret and sacred materials 22 Acknowledgment of country 8 Personal privacy 22 Representation 8 Attribution 22 Accepting diversity 9 Proper returns 23 Living cultures 9 Continuing cultures 23 Indigenous control 9 Recognition and protection 23 Communication, consultation and consent 9 Common issues 26 Time frames for consultation and consent 12 Welcome to country 26 Complexity of the consultation process 12 Fees and employment conditions
    [Show full text]
  • Download Media Release
    Media Release Friday, 2 February 2018 – for immediate release Dance is for everyone – let’s get moving Big Dance is the largest dance celebration in the world and it’s hitting Australia on International Dance Day (29 April 2018) where thousands of people will dance together in some of the most iconic places in the world. Encouraging people to be active through dance, Big Dance is a free large-scale participatory celebration open to everyone of all ages, all abilities and all experiences. In the months leading up to Big Dance, Ausdance Victoria and New South Wales will motivate aspiring dancers and community groups to learn the Big Dance 2018 routine in a series of fun free dance workshops. The Big Dance 2018 routine includes versions to suit a variety of capabilities and circumstances, including standing, seated and suggestions on adapting the choreography for different abilities. Online tutorials will be available where the Big Dance 2018 routines are guided and taught by developing dance college artists from National Aboriginal Islander Skills Development Association (NAISDA) and the dance cues will also be provided in an easy-to-follow learning guide. Created by acclaimed Indigenous choreographer Frances Rings and New Zealand born Craig Bary, and with an original score by Huey Benjamin, the Big Dance 2018 choreography is a five-minute contemporary Indigenous routine that anyone can learn. Rings explains that all Australians have a shared connection to this land, “We are lucky to live in an incredible country that still emits ancient energy and incredible living culture. This year’s Big Dance choreography represents our bloodlines, our culture and everyone coming together as we acknowledge the red earth as our spiritual centre.
    [Show full text]
  • Michelle Silby.Pdf
    In Australia the arts have to compete The rise and rise of with many other activities. Australia is an ‘outdoors’ nation: many people embrace sports, leisure, arts and other recreational activities. Dance can community dance often be an indoors and a seemingly mysterious occupation, only for those in the know. Michelle Silby , independent arts consultant based in Sydney Increasingly, however, dance is and working in the UK and Australia, sets out some of the becoming less mysterious. Australia current developments in community dance in Australia is witnessing an increased participation in a broad range of activity from community dance practice orchestrated by professional practitioners through to flash mobs and all the blurred line of activity in-between. In writing this article I am looking through a dual lens of the UK and Australia. I have had the privilege of living in Australia for the last five years, working in various capacities as a director, artist and until recently Program Manager for Dance at The Australia Council for the Arts. In the UK following a performance career during which I always sought to work with companies that had a high level of community involvement, I led teesdanceinitiative (now Tees Valley Dance) and later became an Arts Education Consultant to the city of York. What was amazing for me during this 15 year period was witnessing the breadth of dance activity and the capacities dance was used and appreciated in. I was very fortunate early on in my career to encounter fantastic professional artists who introduced me to working with the wider aspects of the community.
    [Show full text]
  • Exchanges of Australian Indigenous Music, Dance and Media
    Circulating Cultures Exchanges of Australian Indigenous Music, Dance and Media Circulating Cultures Exchanges of Australian Indigenous Music, Dance and Media Edited by Amanda Harris Published by ANU Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Title: Circulating cultures : exchanges of Australian Indigenous music, dance and media / edited by Amanda Harris. ISBN: 9781925022193 (paperback) 9781925022216 (ebook) Subjects: Social change--Australia--Cross-cultural studies. Culture diffusion--Australia. Intercultural communication in art. Music in intercultural communication. Aboriginal Australians--Music--21st century--Cross-cultural studies. Art, Aboriginal Australian--21st century--Cross-cultural studies. Other Creators/Contributors: Harris, Amanda, 1976- editor. Dewey Number: 306.4840994 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Front cover image: Johnny Divilli and Joanne Nulgit perform Dudu Mardudu (the ‘circling’ plane dance) at the Mowanjum Festival, 11 July 2013. Photo by Matt Scurfield. Copyright Mowanjum Art and Culture Centre. Used with permission. Dudu Marduda (the ‘circling’ plane) is a balga/junba dance-song created by Worrorra composer Wati Ngerdu following the extensive search for a Royal Flying Doctor Service aeroplane that disappeared and crashed after leaving Tablelands Station in the Kimberley in 1956. The dance was revived in 2013 by the performers and the Mowanjum Art and Culture Centre for the annual Mowanjum Festival, after their recovery and circulation of an archival photo of the dance taken in the Mowanjum Community in the late 1950s.
    [Show full text]
  • Australia Dances Creating Australian Dance 1945–1965 Australia Creating Australian Dance 1945–1965 Dances
    Australia Dances Creating Australian Dance 1945–1965 Australia Creating Australian Dance 1945–1965 Dances ALAN BRISSENDEN AND KEITH GLENNON Wakefield Press 1 The Parade West Kent Town South Australia 5067 www.wakefieldpress.com.au First published 2010 Copyright © Alan Brissenden, 2010 Unless otherwise stated, all illlustrations are reproduced courtesy of the Barr Smith Library, University of Adelaide. All rights reserved. This book is copyright. Apart from any fair dealing for the purposes of private study, research, criticism or review, as permitted under the Copyright Act, no part may be reproduced without written permission. Enquires should be addressed to the publisher. All efforts have been made to trace owners of copyright of illustrations and names of photographers but the author and publisher apologise for any omissions. Designed by Liz Nicholson, designBITE Typeset by Clinton Ellicott, Wakefield Press Printed in China at Everbest Printing Co. Ltd National Library of Australia Cataloguing-in-Publication entry Author: Brissenden, Alan. Title: Australia dances: creating Australian dance 1945–1965/ Alan Brissenden, Keith Glennon. ISBN: 978 1 86254 802 2 (hbk.). Notes: Includes index. Bibliography. Subjects: Dance – Australia – History – 1945–1965. Ballet – Australia – History – 1945–1965. Other Authors/Contributors: Glennon, Keith. Dewey Number: 792.80994 Contents and Dedication pages: Line drawings by Elaine Haxton. For two Australian Giselles Laurel Martyn and Dorothy Stevenson and in memory of Keith Glennon CONTENTS Acknowledgments ix Introduction 1 1. The Borovansky Ballet 7 2. The National Theatre Ballet Company 37 3. The Australian Ballet 55 4. New South Wales 79 SYDNEY 80 The First Australian Ballet 82 The Kousnetzova Ballet Company 85 The Sydney Ballet Group 88 Ballet Theatre le Français 93 Ballet Australia 94 NEWCASTLE 102 5.
    [Show full text]
  • Companion to Music and Dance in Australia
    Research Report: Companion to Music and Dance in Australia John Whiteoak and Aline Scott-Maxwell The Companion to Music and Dance in Australia, the second volume in the Currency Press series of Companions to the Performing Arts and Media in Australia, is currently scheduled for publication in September 1998. The launch of the volume will mark the completion of what is undoubtedly the broadest study of music or dance in Australia ever undertaken. The following report documents aspects of research undertaken for this project and highlights some of the special features of the project. Given the nature of this journal, this report focuses on the music rather than the dance content of the Companion. In 1995 we were approached by Currency Press, on the recommendation of Richard Vella, to come up with a concept for a Companion to Music and Dance that would reflect a contemporary and progressive view of the topic. Not the least of the obstacles we faced at that time was the existence of a well advanced and prestigious Oxford Companion to Australian Music project.' Our first task was to try to gauge contemporary and emerging perceptions of what is significant about music and dance in post-Mabo, multicultural Australia. As part of this process we re-examined, amongst other things, much of the discourse on Australian music historiography that followed in the wake of Richard Crawford's 'Musicology and the Australian Bicentenary: a Methodological Prospectus from an American Viewp~int.'~We were also informed by our combined familiarity with current discourse in the fields of ethnomusicology and popular music studies, and discussions with progressive Australian music scholars such as Graeme Smith, Bruce Johnson, Philip Hayward, and ethnomusicologist Adrian McNeil.
    [Show full text]