98Th ISPA Congress Melbourne Australia May 30 – June 4, 2016 Reimagining Contents

Home , Arts Centre Melbourne, Catherine McClements, Chunky Move, Dame Edna Everage, Eddie Perfect, Ken Myer

98th ISPA Congress Melbourne Australia May 30 – June 4, 2016 reimagining Contents

ACKNOWLEDGEMENT OF PEOPLE & COUNTRY 2 MESSAGE FROM THE MINISTER FOR CREATIVE INDUSTRIES, 3 STATE GOVERNMENT OF VICTORIA MESSAGE FROM THE CHIEF EXECUTIVE OFFICER, ARTS CENTRE MELBOURNE 4 MESSAGE FROM THE DIRECTOR OF PROGRAMMING, ARTS CENTRE MELBOURNE 5 MESSAGE FROM THE CHAIR, INTERNATIONAL SOCIETY FOR THE PERFORMING ARTS (ISPA) 6 MESSAGE FROM THE CHIEF EXECUTIVE OFFICER, INTERNATIONAL SOCIETY FOR THE PERFORMING ARTS (ISPA) 7 LET THE COUNTDOWN BEGIN: A SHORT HISTORY OF ISPA 8 MELBOURNE, AUSTRALIA 10 CONGRESS VENUES 11 TRANSPORT 12 PRACTICAL INFORMATION 13 ISPA UP LATE 14 WHERE TO EAT & DRINK 15 ARTS CENTRE MELBOURNE 16 THE ANTHONY FIELD ACADEMY SCHEDULE OF EVENTS 18 THE ANTHONY FIELD ACADEMY SPEAKERS 22 CONGRESS SCHEDULE OF EVENTS 28 CONGRESS PERFORMANCES 37 CONGRESS AWARD WINNERS 42 CONGRESS SESSION SPEAKERS & MODERATORS 44 THE ISPA FELLOWSHIP CHALLENGE 56 2016 FELLOWSHIP PROGRAMS 57 ISPA FELLOWSHIP RECIPIENTS 58 ISPA STAR MEMBERS 59 ISPA OUT ON THE TOWN SCHEDULE 60 SPONSOR ACKNOWLEDGEMENTS 66 ISPA CREDITS 67 ARTS CENTRE MELBOURNE CREDITS 68

We are committed to ensuring that everyone has the opportunity to become immersed in ISPA Melbourne. To help us make the most of your experience, please ask us about Access during the Congress. Cover image and all REIMAGINING images from Chunky Move’s AORTA (2013) / Photo: Jeff Busby ACKNOWLEDGEMENT OF PEOPLE MESSAGE FROM THE MINISTER FOR & Country CREATIVE INDUSTRIES, Arts Centre Melbourne respectfully acknowledges STATE GOVERNMENT OF VICTORIA the traditional owners and custodians of the land on Whether you’ve come from near or far, I welcome all which the 98th International Society for the Performing delegates to the 2016 ISPA Congress, to Australia’s Arts (ISPA) Congress is held, the Wurundjeri and creative state and to the world’s most liveable city. Boonwurrung peoples of the Kulin Nation. For the Wurundjeri, Boonwurrung, Taungurong, Dja Dja I cannot think of a more fitting location for this Wurrung and Wathaurung groups that form the Kulin gathering. Melbourne and the state of Victoria more Nation, Melbourne has been an important meeting broadly are home to a diverse, multifaceted performing place for events of social, educational, sporting and arts sector – from the oldest theatre company in the cultural significance.T oday, Melbourne is a significant country and national treasures such as The Australian gathering place for all Indigenous Victorians, and Ballet and Circus Oz, to world-renowned independent as people from all over the world gather for the innovators; magnificent heritage theatres to state-of- Melbourne 2016 ISPA Congress, we acknowledge the the-art performance spaces and gritty venues. people of the Kulin Nation and pay our respects to It is against this backdrop that you’ll be meeting with their Elders past and present. creative leaders from as many as 50 countries to discuss, and shape, the future of the performing arts. This year the Congress focuses on the theme of reimagining. Through a program of performances and keynotes you will develop relationships, exchange knowledge, examine international best practice and imagine what the future holds for your practice and for the performing arts more broadly. Here in Victoria, we’ve been reimagining the future of the creative industries and the role they play in our society, our economy and our culture. Innovation, participation and international engagement are key components of Creative State, the Victorian Government’s recently released creative industries strategy. This strategy brings with it the largest ever government investment in our state’s creative and cultural sectors and it puts them at the forefront of Victoria’s future growth, prosperity and liveability. It’s a strategy that is underpinned by collaboration, partnerships and a global world view, themes that I hope will also characterise the 2016 ISPA Congress and your experience here in Melbourne. Martin Foley MP Minister for Creative Industries, State Government of Victoria

2 3 MESSAGE FROM THE CHIEF EXECUTIVE MESSAGE FROM THE DIRECTOR OFFICER, ARTS CENTRE MELBOURNE OF PROGRAMMING, ARTS CENTRE MELBOURNE Welcome to this year’s ISPA Congress, proudly hosted by Arts Centre Melbourne in Australia’s most creative We’re delighted to welcome you to Melbourne, the state. We look forward to bringing people together for a home of the Wurundjeri and Boonwurrung peoples, the remarkable experience. birthplace of Dame Nellie Melba, Dame Edna Everage, Arts Centre Melbourne, Australia’s largest performing Kylie Minogue, Cate Blanchett and Flea, the laboratory arts centre, sits at the gateway of the Melbourne Arts in which companies such as Chunky Move, ILBIJERRI Precinct and at the intersection of our vibrant business Theatre Company, Polyglot Theatre and Lucy Guerin Inc district and our acclaimed sports and tourism precincts. create the work that they take to the world, on lands where the contemporary performing arts are part of a Our state has been enriched by people from more continuum stretching back tens of thousands of years. than 200 countries around the world who have chosen Melbourne as home, and this continues to influence our In Melbourne in 2016, we look forward with a mind on creative and cultural offering. the past, to discuss issues that concern all of us around the world, and to reimagine what the performing arts With the support of the Victorian Government, and with could be. We at Arts Centre Melbourne have been their clearly articulated strategy Creative State providing delighted to collaborate with our colleagues from a roadmap for the future, it is an exciting time to be around the Melbourne Arts Precinct and beyond to part of the creative industries in Victoria. deliver a program that captures themes of particular I’m sure this important Congress with its theme of relevance and consequence. We hope you’ll be REIMAGINING has much to contribute to our city’s fascinated, intrigued, challenged and inspired. already vibrant cultural dialogue. Moreover, we hope you’ll explore all of Melbourne’s As a leader of the performing arts industry, Arts Centre myriad, mysterious attractions, so that you return Melbourne and our team encourage you to delve deeply home not only with your minds brimming, but also with into that dialogue, to interrogate it, to share your your eyes, ears, taste buds and hearts full of all that thoughts and take with you ideas to help enrich your Melbourne has to offer. I wish you a wonderful Congress. own cultural environment and stimulate engagement Michael Stevens long after the Congress has concluded. Director of Programming, Arts Centre Melbourne We also look forward to hearing your stories and learning Program Director, Melbourne 2016 ISPA Congress from your innovations and successes so we can all continue to evolve. Enjoy your stay. Claire Spencer Chief Executive Officer, Arts Centre Melbourne

4 5 MESSAGE FROM THE CHAIR, MESSAGE FROM THE CHIEF EXECUTIVE INTERNATIONAL SOCIETY FOR THE OFFICER, INTERNATIONAL SOCIETY FOR PERFORMING ARTS (ISPA) THE PERFORMING ARTS (ISPA)

Dear Colleagues, Dear Colleagues, REIMAGINING! It is not merely a Congress theme. Any Welcome to ISPA’s 98th Congress, REIMAGINING. How apt one of us, not just in the cultural sector, but living in the a theme for our first Congress in Melbourne and the first world today, grapples with the need to constantly be in time we have been in Australia for 15 years. The country a state of reimagining just as a matter of daily life. we visited all those years ago has indeed reimagined As we think about the performing arts, today’s rapid itself. The increased recognition of First Nations people pace of change makes it difficult to lead towards and the concerted focus on creating partnerships in Asia a horizon when the other side may be so very have had a significant impact on the country and in unimaginable. So what better place to take up this particular on arts and culture. theme than in Melbourne – a dynamic international city Over the course of the next few days, we will be at the nexus of the Asian Pacific region.T his part of the experiencing the wide diversity that Melbourne has to world grows more influential in its global impact each offer with respect to its arts community – performances day. The 98th Congress will be our third in the region in from many different genres, a variety of venues and 15 years. It is essential that we stay connected here, voices from around the world. As always I encourage you as technology continues to make our world smaller to reach out to individuals you may not have met before and change is the only constant we can embrace. The and broaden your experience. performing arts in this region have made their mark on With every International Congress on which I have the world. Its festival culture has set a standard for us worked, I have always been overwhelmed by the all. Its diverse perspectives are a guiding post for each of commitment and dedication brought by the Congress us to consider and apply in our own communities. host to ensure that you, the delegates, benefit from the In the program curated for us by Congress organisers, experience of the meeting and the local culture. This we are challenged to not just REIMAGINE but to is no less true here where our host team, led by Arts consider where we have been and who gets to Centre Melbourne, has brought together individuals and reimagine with us. As the world begins to address the organisations from throughout Melbourne, and indeed historical effects of global patterns of colonisation, Australia, to collaborate on this Congress. I also wanted shared experiences from First Nations people can only take this opportunity to thank the many speakers who help us connect more authentically. have given so freely of their time and experience. We look forward to these shared days together, and the Enjoy your experience as you explore Melbourne’s Arts experiences and memories they create for us all. Our Precinct and experience the wealth of cultural activity time and energy in participating fully in the Congress happening in the city. gives us more to carry home in our respective arsenals David Baile of ideas, to help us see more broadly and act more Chief Executive Officer, ISPA intentionally in the future. Lastly, we must extend our gratitude to our hosts and all those collaborators who have worked tirelessly on a Congress that is sure to leave us with new thoughts, changed perspectives and profound inspiration to continue REIMAGINING! Mary Lou Aleskie Chair, ISPA Board of Directors

6 7 LET THE COUNTDOWN BEGIN: A SHORT HISTORY OF ISPA

The International Society for the Performing Arts (ISPA) was founded in 1948 as the National Association of Concert Managers. This national (USA) organisation was created in response to spiralling costs and taxation facing concert promoters. The first President was Patrick Hayes, who declared the purpose of the organisation to be primarily constructive. Membership in the new organisation was considered as something to have been earned and appreciated and, therefore, possessing real value. Annual meetings were held every December in New York and by the late 1950s more than 75 delegates were attending the meetings. By the mid-1960s, convention attendance had doubled to more than 150 delegates. Interest in the organisation continued to grow through the 1960s as more and more emphasis was placed on cooperation and in particular cooperative bookings and new business models. There also began a growth in membership, with a more active role from festival managers as well as participation by Canadian managers. European managers also began to engage through a specially designated “foreign” membership. In the 1970s, a growing emphasis on issues facing the industry as a whole precipitated the renaming of the organisation to the International Society of Performing Arts Administrators9 (ISPAA). In 1975 ISPAA introduced the Artist of the Year Award (Distinguished Artist Award) and bestowed it on Beverly Sills. In 1980, a new award entitled the Patrick Hayes Award was instituted for life long service to the association. In 1985, the first philanthropic honourees were acknowledged with ISPAA8 Angel Awards. In that same year, under the leadership of Joe Golden, ISPAA’s first “regional” conference was held in June in Austin, Texas and a national intern program was introduced under the banner of the ISPAA Foundation. At this time, the organisation instituted the first aggressive policy of international expansion, which resulted in the first international Congress in London, England from 1 – 5 June 1987: 200 delegates representing four countries attended. In 1995, following a June Congress in Toronto at which technology itself was put on trial (and lost), ISPA entered the new era with the establishment of its first web site. As the century drew to a close, ISPA membership continued to thrive. The 21st century for ISPA membership began a period of transition. An active program of diversification began, with greater outreach to companies and regions not previously represented. In addition, 2005 saw a shift away from June Congress sites being held exclusively in traditional cultural centres with the emergence of sites such as Gateshead, England, which hosted the 2005 Congress. In 2007, the ISPA Fellowship Program was introduced to support emerging leaders from developing economies to participate in ISPA. That first year, just four fellowships were awarded. As of May 2016 there are approximately 490 members from 55 countries around the world – including 48 Fellowship participants.99 The Congress continues to attract accomplished cultural leaders from around the world, with approximately 500 delegates from 40 countries attending the 97th Congress in New York in 2016. As ISPA celebrates its return to Australia after a 15-year absence with its 98th Congress in Melbourne, we also begin the countdown to the 100th Congress in Montréal in 2017! Thank you for being part of our history! With thanks to Gordon Smith and ISPA: The First Fifty Years

1008 MELBOURNE, AUSTRALIA Congress Venues

Welcome to Melbourne, the vibrant, cosmopolitan capital city of Victoria, awarded the world’s

B most liveable city for the fifth consecutive year in 2015. With a diverse population of over four at Flinders St ma Train Station 4 n et A million people, the city is set around the shores of Port Phillip Bay and is home to many of Stre ve ders Flinders St Flin Australia’s leaders in education, commerce, industry, research, science,Train design,Station finance – and of course the arts. Melbourne has a vibrant ever-expanding arts and culture community that draws artists from Hamer Hall N CBD (City Centre) Riverside Terrace varied cultural backgrounds, with fantastic theatres, music venues, museums and galleries and Federation Square Sake an unparalleled annual calendar of festivals and major events. Fatto Teatro Home to more than 200 different nationalities speaking more than 200 different languages, Riverside Mezzanine Hamer Stalls Foyer Hall 1 Melbourne is one of the world’s great multilingual cities, with nearly half a million native P speakers of Asian languages. e Taxi rank e Av 7 t

9 a

h t Theatres Building

u We invite you to make the most of what the city has to offer by exploring Melbourne on foot – o S The Pavilion State Theatre cafés, bars, restaurants, shopping precincts, beautiful gardens and world class galleries andTram stop 14 2 Cento Espresso museums are all discoverable via a labyrinth of interconnecting streets and laneways. Fairfax Studio Taxi rank t e

8 e Entrance (Level 6) d r 3 Queen Roa St Gallery I The inner Melbourne precinct of Southbank is one of Victoria’s fastest growing areas and y Cit Victoria ng is home to one of the highest concentrations of arts organisations in the world. Within i P Gardens Allegro Fann P

Melbourne’s Arts Precinct sits Arts Centre Melbourne, alongside the nation’s leadingNGV arts and Theve Barre International A St gow th li K Lin Playhouse culture institutions. i t l e da re t Cafe Vic t e S Road gh e tr

S vana Ka rt

S So uth ba Sidney Myer nk Boul e Music Bowl vard 5 6

1 Hamer Hall 5 Melbourne Recital Centre

Arts Centre Flinders Melbourne Street Station Elisabeth Murdoch Hall, and Salon

100 St Kilda- National Road, Galler Melbourney of Victoria Inte rnational 31 Sturt St, Southbank, Melbourne

Located- next Direction to tothe Sidney Yarra Myer Music River. Bowl Located within four minutes’ walking distance

www.artscentremelbourne.com.au- Tram stop 14 outside theatres building of Arts Centre Melbourne, on the corner of Arts Centre Melbourne - Taxi rank outside theatres building Southbank Boulevard and Sturt Street. 100 St Kilda Road 2 The Pavilion Melbourne, Victoria - The break out internal maps as per On Guide for Hamer Hall and Theatres Building www.melbournerecital.com.au Phone: 1300 182 183 Arts Centre Melbourne, Theatres Building artscentremelbourne.com.au 100 St Kilda Road, Melbourne 6 Melbourne Theatre Company Located on Level 8 of the Theatres Building. The Sumner, Southbank Theatre www.artscentremelbourne.com.au 140 Southbank Boulevard, Southbank, Melbourne Located within four minutes’ walking distance of 3 The Barre Arts Centre Melbourne. Walk past the National Arts Centre Melbourne, Theatres Building Gallery of Victoria (NGV) and turn right down 100 St Kilda Road, Melbourne Southbank Boulevard. Located on Level 6 of the Theatres Building. www.mtc.com.au www.artscentremelbourne.com.au Congress Hotels 4 Federation Square, Deakin Edge The Atrium, Flinders Street, 7 The Langham, Melbourne Federation Square, Melbourne 1 Southgate Avenue, Southbank, Melbourne Located within 10 minutes’ walking distance of Arts Centre Melbourne. Deakin Edge is found at 8 Mantra Southbank Melbourne the centre of the Federation Square complex, 31 City Road, Southbank, Melbourne near the entrance to the Ian Potter Centre: NGV Australia. For the easiest access, enter Federation 9 Quay West Square from Flinders Street at the Atrium. 26 Southgate Avenue Southbank, Melbourne www.fedsquare.com

10 11 TRANSPORT PRACTICAL INFORMATION

Public Transport Congress Badges Melbourne is serviced by a network of trams, buses and trains. A myki reusable smart card can Congress badges must be visible and worn for admission to all Congress events with the be used on any tram, bus or train service. Myki cards can be purchased from many tram stops, exception of the ticketed receptions. Questions and concerns should be directed to Congress newsagents, magazine stands, 7/11 stores and train stations. Simply top up your card with personnel located at the registration and information desk. money before your journey and then touch on and touch off at a myki reader as you travel. For urgent situations, please contact For more information, visit www.ptv.vic.gov.au. Ann Pattan, ISPA at +1 (317) 384 3637 Taxi Arts Centre Melbourne, Theatres Building Stage Door: +61 (0)3 9281 8320 (open 8am – 11pm) Melbourne taxis are numerous and easy to spot, as they are all painted yellow. Taxis often wait in designated ranks at central locations such as Arts Centre Melbourne, major hotels and Emergency Telephone Number Flinders Street Railway Station. You can hail a taxi in the street if the rooftop light is illuminated. Dial: 000 Telephone bookings are also available. All taxis are metered and accept credit cards. Compulsory prepaid fares are required for all trips taken between 10pm and 5am. WiFi Melbourne’s major taxi companies include: Free WiFi is available at Congress venues, no passwords are required, network details as per below: 13 CABS: phone 13 22 27 Arts Centre Melbourne Silver Top Taxis: phone 13 10 08 Network: ArtsCentreMelbourne CABiT: phone 13 22 22 Deakin Edge, Federation Square Network: FedSquareFreeWiFi You can find AccessibleT ransport and Parking information specific to each venue on their Melbourne Recital Centre websites: Network: MRC-Guest Arts Centre Melbourne www.artscentremelbourne.com.au Southbank Theatre, Melbourne Theatre Company Federation Square www.fedsquare.com Network: SouthbankTheatre Melbourne Recital Centre www.melbournerecital.com.au When outside of Congress venues, free WiFi is available at Federation Square, Flinders Street Southbank Theatre www.mtc.com.au Station (select “Metro WiFi” network) and the Melbourne Visitor Centre. Located at Federation Square, Melbourne Visitor Centre can provide a list of wireless internet hotspot locations around Melbourne.

Travellers Aid Australia Travellers Aid Australia supports visitors to Melbourne by providing simple, practical travel- related support. Services include transport and travel information, free personal care assistance, breast-feeding friendly environments and mobility equipment hire. For more information, visit www.travellersaid.org.au.

Visitor Information Melbourne’s City Ambassadors are approachable, friendly and equipped with extensive local knowledge, including Access information. They can be mainly found along Swanston Street – you’ll recognise them by their red shirts!

GET SOCIAL Find us on Facebook facebook.com/internationalsocietyfortheperformingarts Follow us on Twitter @ispa_global When referencing the Melbourne Congress, use #me16ispa

All information is correct at the time of publication.

12 13 WHERE TO EAT & DRINK

If you love food and wine, then you’re in for a gastronomical treat in Melbourne. The city’s diverse mix of cultures can be seen in the myriad restaurants, cafés, bistros and bars. Whether you are after contemporary, traditional, exotic or homespun flavours, Melbourne’s eclectic dining scene offers a dizzying array of international cuisines. Within the Theatres Building you can enjoy a modern Australian menu and drinks list at The Barre, open from 3pm – late, Monday to Saturday. Or try Café Vic, also located in the Theatres Building, for lunch and dinner options from 10:30am Monday to Saturday. Arts Centre Melbourne has three additional restaurant options, each offering delicious dining opportunities with spectacular views across the city skyline. Fatto Bar and Cantina is located on the river terrace at Hamer Hall, offering delicious Italian-inspired food across the day and night. Open from 12pm, when the coffee turns to vino, alongside a lunch menu that’s available until 3pm. Each evening kick starts with Aperitivo Hour from 4pm – 6pm, whilst the kitchen offers dinner until late. Saké Restaurant and Bar sits alongside the Yarra River, under Hamer Hall. It has cemented a long-standing reputation as one of the most loved and celebrated Melbourne Japanese restaurants, with mouth-watering dishes that combine the very best of modern and classic Japanese. Open from 12pm – late, seven days a week. Also located alongside the Yarra River is Teatro, specialising in European cuisine with an emphasis on local Australian produce in a menu offering an authentic selection of gourmet pizzas and European-style tapas. Open from 11:30am – late, seven days a week.

ISPA UP LATE

Brought to you by Tessitura Join your fellow delegates every night of the Congress for drinks and a post-show chat at The Barre, Arts Centre Melbourne. Located on Level 6, Arts Centre Melbourne, Theatres Building, 100 St Kilda Road, The Barre is open from 3pm – 1am. Present your Congress badge to receive 10% discount off the cost of your food and drinks. This contemporary bar and eatery offers the highest quality food and beverages, with an emphasis on fresh, seasonal ingredients delivered as small and larger dishes to be shared and enjoyed with friends. Choose from a well-considered wine list (with an emphasis on local wineries), an exciting range of craft beers and ciders, along with a careful selection of cocktails and small-batch Australian gins and single malt whiskies from Australia and New Zealand.

14 15 ARTS CENTRE MELBOURNE

For over 30 years Arts Centre Melbourne has played a leading role in showcasing the best local, national and international performing arts. Arts Centre Melbourne is partner and home to a flagship group of performing arts companies – The Australian Ballet, Melbourne Symphony Orchestra, Melbourne Theatre Company and Opera Australia – who join a range of other regular presenting companies to bring its stages and remarkable spaces to life. As one of the Victorian Government’s major publicly funded agencies, Arts Centre Melbourne also presents its own annual program of performances, events and activities that offer audiences a distinctly multidimensional approach to participation, education and engagement. In 2015, almost 1.2 million people enjoyed performances held across the venues, including over 227,000 people who took part in almost 2,000 participation and learning programs. Adding to the depth of the performing arts experience at Arts Centre Melbourne are the Art and Performing Arts Collections. The Performing Arts Collection is Australia’s largest and most significant collection of performing arts history, comprising more than 640,000 items documenting nearly 200 years of performance in Australia. And as an arts centre in the 21st century, not only does Arts Centre Melbourne provide a comprehensive performing arts program, but an all-encompassing seven-day-a-week offering ranging from fine dining and guided tours to a popular Sunday market, exhibitions and installations.

16 The Anthony Field Academy, an ISPA program dedicated to developing the next generation of talent, is an intensive arts administration program for new and emerging leaders. The Academy is named in honour of long-time ISPA member Anthony Field, who was instrumental in establishing the first Academy at ISPA’s Stockholm Congress in 1998. Presented in association with the National Institute of Dramatic Art (NIDA).

Monday 30 May 2016

The Pavilion, Arts Centre Melbourne

09:00 – 16:00 Registration and Information Desk

09:00 – 10:00 Meet and Greet: Tea and Coffee

10:00 ACADEMY STARTS

10:00 – 10:15 WELCOME Speakers | Claire Spencer (Chief Executive Officer, Arts Centre Melbourne); David Baile THE ANTHONY (Chief Executive Officer, ISPA); Robyn Archer AO. SESSION 1 | Cultural Transformation and Sustainability

How can we as cultural leaders affect change and encourage cultural transformation FIELD ACADEMY in a world in environmental, economic, social and political crisis? What is the value and contribution of culture within the 21st century from the perspectives of the professional practitioner, the participant, the audience member and the institutions? How do the imperatives of social, economic and environmental sustainability affect the arts and SCHEDULE OF cultural sectors? Do arts and culture engage diverse audiences, practitioners and participants, and what are the challenges and opportunities of art and culture in the areas of soft diplomacy, regeneration and digital convergence? EVENTS 10:15 – 11:00 INTRODUCTION Speaker | Angharad Wynne-Jones

11:00 – 11:30 BREAK

11:30 – 12:00 LOCAL PERSPECTIVES Speaker | Cheryl Stock AM Interviewer | Angharad Wynne-Jones

12:00 – 12:30 GLOBAL PERSPECTIVES Speaker | Benson Puah

12:30 – 13:00 Q&A Speakers | Angharad Wynne-Jones; Cheryl Stock AM; Benson Puah.

13:00 – 14:00 LUNCH

14:00 – 14:15 MINDFULNESS EXERCISE Speaker | Isabella Dunwill

18 19 14:15 – 14:30 SESSION 2 | Communication and Advocacy SESSION 4 | Diversity in Cultural Leadership

As front-line advocates for the arts sector, cultural leaders must have the ability to What is cultural leadership in the contemporary global context? How do we ensure that articulate complex ideas with clarity, confidence and credibility.T his session will explore leadership across our sectors is representing the diverse social, cultural and political physical and vocal techniques that are required to deliver a message with success. Applying narratives of our time? the philosophy and expertise of NIDA’s Corporate Performance training, based on NIDA’s If practitioners and organisations wish to engage with communities creatively and world-class actor training, this is an interactive and practical session for personal impact. generously now, and into the future, what is best practice in arts management, Speaker | Isabella Dunwill partnership brokerage and cultural competency? How do we develop leadership skills for social change? How can we support new networks and opportunities for professional experience? SESSION 3 | Leadership and Governance 10:30 – 11:15 INTRODUCTION How might we change our leadership practices and enhance creative outcomes if we critique governance as a restrictive ideology and approach leadership as a diffused exercise Speaker | Jade Lillie of influence on thoughts and outcomes reaching far beyond our specific organisations? 11:15 – 11:45 BREAK While disruption is typically identified with opportunities for global economic “game changers” like the internet and the share economy, perhaps local interruptions and a 11:45 – 12:30 IN CONVERSATION fragmented approach to best-fit governance and leadership can positively mould changes Speakers | Jade Lillie; Phloeun Prim. to “the arts”. 12:30 – 13:00 Q&A 14:30 – 15:15 INTRODUCTION Speakers | Robyn Archer AO; Tania Cañas; Jade Lillie; Sudeep Lingamneni; Phloeun Prim. Speaker | Jo Porter

15:15 – 15:45 LOCAL PERSPECTIVES 13:00 – 14:00 LUNCH Speaker | Claire Spencer Interviewer | Jo Porter SESSION 5 | Cultural Policy and Practice

15:45 – 16:15 GLOBAL PERSPECTIVES An introduction to cultural policy in the context of both our history and international forces including globalisation, technological and environmental change. Current issues in cultural Speaker | Steinunn Birna Ragnarsdóttir policy development and debate include: Indigenous heritage and arts; cultural diversity and 16:15 – 16:45 Q&A inclusion; media pluralism and content diversity; creative industries; rural and regional arts; Speakers | Jo Porter; Claire Spencer; Steinunn Birna Ragnarsdóttir. and innovation. In the conceptually and administratively complex arena of Cultural Policy and Practice, what is the role of arts leaders as advocates? 16:45 ACADEMY DAY ENDS 14:00 – 14:45 INTRODUCTION AND LOCAL PERSPECTIVES 16:45 – 18:15 OPENING RECEPTION Speaker | Fiona Winning

Venues around Melbourne 14:45 – 15:15 GLOBAL PERSPECTIVES Speaker | Graham Sheffield CBE 18:00 – late ISPA OUT ON THE TOWN Free evening with optional performances 15:15 – 15:45 Q&A Speakers | Graham Sheffield CBE; Fiona Winning. The Barre, Arts Centre Melbourne 15:45 – 16:30 WRAP DISCUSSION Until 01:00 ISPA UP LATE Moderator | Robyn Archer AO Brought to you by Tessitura Join us for drinks and a post-show chat at The Barre, Arts Centre Melbourne 16:30 ACADEMY CONCLUDES

Venues around Melbourne Tuesday 31 May 2016 18:00 – late ISPA OUT ON THE TOWN The Pavilion, Arts Centre Melbourne Free evening with optional performances

09:00 – 16:00 Registration and Information Desk The Barre, Arts Centre Melbourne 09:00 – 10:00 Tea and Coffee Until 01:00 ISPA UP LATE 10:00 ACADEMY DAY STARTS Brought to you by Tessitura 10:00 – 10:30 DISCUSSION: What did you see last night? Join us for drinks and a post-show chat at The Barre, Arts Centre Melbourne Moderator | Robyn Archer AO 20 21 Robyn Archer AO Isabella Dunwill (Australia) (Australia) Singer/Writer/Artistic Open Manager and Director Corporate Tutor, National Institute of Dramatic Arts Robyn Archer is Strategic Advisor, Gold Coast Arts and Isabella Dunwill has Culture, Artistic Director of extensive experience The Light in Winter, Deputy delivering presentation and Chair of the Australia Council, communication skills training member of the Council for for professionals working Australia and Latin America Relations, and Chair in the public and private sectors. She graduated of NIDA’s inaugural Master of Fine Arts (Cultural from NIDA with a Bachelor of Dramatic Art (Acting), Leadership). An acknowledged exponent of classic studied Law and Commerce, holds a Master of European cabaret, Robyn won the Helpmann Award as Business (Electronic Business and Communication) Australia’s Best Cabaret Performer 2013. Former Artistic and a Graduate Diploma in Education (Secondary). Director of the Adelaide and Melbourne Festivals and She is currently studying a Graduate Certificate in Ten Days on the Island, Robyn has received many Educational Research at Monash University. She has awards including the Dame Elisabeth Murdoch Cultural worked extensively in theatre and TV and is a regular Leadership Award and the ISPA International Citation voice-over artist for radio and animation, including of Merit. She mentors and is patron and ambassador of currently voicing Amy on Australia’s iconic children’s numerous international organisations. show, Bananas In Pyjamas. In addition to her role as NIDA Open Manager for Melbourne, Isabella is a Robyn is Officer of the Order of Australia, Chevalier de talented tutor, and continues to share her high-level l’Ordre des Arts et des Lettres (France), Officer of the experience and insight with NIDA Corporate clients. Crown (Belgium), holds honorary doctorates from five Australian universities and is an Honorary Fellow of the Australian Academy for the Humanities. Jade Lillie (Australia) Director & CEO, Footscray THE ANTHONY Tania Cañas (Australia) Community Arts Centre Tania Cañas is a Melbourne- Jade Lillie is a passionate based performer, facilitator and experienced community- and researcher – particularly engaged practitioner, FIELD ACADEMY within community driven educator and facilitator. settings. Her research Since 2012, she has been and work focuses on the the Director and CEO intersection between at Australia’s leading SPEAKERS performance, community, community-engaged, self-determination and contemporary arts centre, Footscray Community Arts decoloniality. Tania has sat on panels and given talks Centre (FCAC). Now based in Melbourne, Jade has lived on art as a process and practice as sites of resistance and worked across Australia in Queensland, Victoria and dismantling privilege. Tania is a PhD candidate at and the Northern Territory, and throughout South-East the Centre for Cultural Partnerships, VCA, and sits on Asia, particularly Thailand and Indonesia. Her 2011 – the Editorial Board for the International PTO Academic 2012 research in reciprocity and collaboration between Journal. She has published through academic Australian and South-East Asian organisations, journals and her monologue script, Untouchable, was agencies and artists is the basis for the initiative published through Currency Press Australia 2013. Tania Collaborate Asia delivered by FCAC. Jade has developed has presented at conferences both nationally and her practice and philosophy around the belief that internationally, guest lectured as well as facilitated arts and cultural development, underpinned by sound community theatre workshops at universities, within engagement and social justice frameworks, are prisons and youth groups in Australia, Northern Ireland, tools for social and systemic change. Her areas of the Solomon Islands, the USA and most recently South expertise are broad, but her practice is deeply specific Africa. to community and context. Her skills in program design, community-engaged practice, leadership and partnership brokerage are highly sought.

22 23 Sudeep Lingamneni Phloeun Prim Steinunn Birna Claire Spencer (Australia) (Cambodia) Ragnarsdóttir (Iceland) (Australia) Associate Producer/ Executive Director, Artistic Director and CEO, Chief Executive Officer, Arts Emerging Cultural Cambodian Living Arts (CLA) Icelandic Opera, Harpa Centre Melbourne Leader Alumni, Footscray Concert Hall A visionary cultural Claire Spencer was appointed Community Arts Centre entrepreneur, Phloeun Prim Steinunn Birna Ragnarsdóttir Chief Executive Officer of Sudeep Lingamneni is an has spearheaded Cambodian is the founder of the Reykholt Arts Centre Melbourne in Indian-American-Australian Living Arts’ transformation Music Festival and was the November 2014. Prior to this, contemporary artist and from a grassroots project Artistic Director until she Claire was Chief Operating arts worker based between reviving traditional arts to took on the position of the Officer at Sydney Opera Melbourne, Australia and Hyderabad, India with a the leading cultural agency in Cambodia. Phloeun Music Director of Harpa Concert Hall in Reykjavík a House. In this capacity, she was responsible for Precinct background in Community Cultural Development has led the organisation to extend its reach from year before it opened in 2011. Steinunn has been the Businesses (Food and Beverage, Tours & Retail), (CCD) practice. He uses multimedia and digital local to international programming and to evolve its Artistic Director and CEO of the Icelandic Opera since Finance, Information Systems, People and Culture, storytelling to challenge cultural perceptions and role from straightforward transmission of traditions June 2015. She was a member of the City Council of Legal and Strategy and Risk Management. Prior to comment on local and global issues regarding identity, to stimulating expression and innovation. The major Reykjavík in 2002 – 2004 and Vice President of the her 12-year tenure at the Sydney Opera House, Claire place, and history. He collaborates with organisations, Season of Cambodia festival in New York April – May Cultural Committee of Reykjavík. She has been an worked at Ernst and Young (London) and Cable and businesses, cultural and community groups to explore 2013, a $2.6 million project, involving 125 artists and artistic leader for many years in Iceland. She currently Wireless (London and Sydney). Claire is a Member of these ideas. As an artist, he has participated in artist 34 presenting partners, including the Metropolitan sits on the Board of ISPA and the SSÍ (Icelandic Chief Executive Women, the pre-eminent organisation residencies and exhibited his work in group and solo Museum of Art and the Guggenheim, symbolises the Performing Arts Association) and appears frequently representing Australia’s most senior women leaders exhibitions. capacity that Phloeun has brought to CLA. as a speaker and member of panels in various from the corporate, public service, academic and not- Born during the genocide, Phloeun is proud to have international conferences. for-profit sectors. She is also on the Executive Council returned to Cambodia to be part of the movement of Live Performance Australia (LPA), the national peak body formed to ensure the long-term sustainability of Jo Porter (Australia) to use the arts for healing, social transformation and economic development. Graham Sheffield CBE the Australian live performance industry. Jo Porter Consulting (UK) Jo Porter is a consultant in not-for-profit and commercial Director Arts, British Council Benson Puah (Singapore) Cheryl Stock AM performing and visual arts. Graham Sheffield is Roles in Australia, UK and Chief Executive Officer, The responsible for leading and (Australia) USA have included: Executive Esplanade Co Ltd delivering a global arts Head of Cultural Leadership, Producer of Malthouse Benson Puah as CEO of strategy and program across National Institute of Dramatic Theatre, General Manager of The Esplanade Co Ltd the British Council’s 110 Arts a range of commercial theatre country operation. In the last (TECL) is responsible for With a career spanning productions, Head of Creative Development at Richard five years he has driven a the overall management four decades as a dancer, Frankel Productions in New York and Head of Business major expansion and reshaping of the arts program at and programming direction choreographer, director, Development at Really Useful Group in London. Jo the British Council, defining a new vision, developing of Esplanade – Theatres educator, researcher and teaches Governance and Leadership in NIDA’s MFA new arts specialists in the global network, planning on the Bay, Singapore’s advocate, Cheryl Stock in Cultural Leadership program and guest lectures major extended seasons of work in Brazil, China, Qatar, national performing arts centre and also oversees is currently also Secretary General of World Dance in Arts Management at the University of Melbourne. India, Mexico, Russia and South Africa, as well as the management of Drama Centre and Victoria Alliance and Adjunct Professor in the Creative Recent and current clients include the Centre for responding ambitiously to social and political change in Theatre and Victoria Concert Hall, on behalf of the Industries Faculty at Queensland University of Contemporary Photography, Chamber Made Opera, the Middle East, Gulf and North Africa. National Arts Council. Benson serves on the Board Technology where she previously held positions as Arts House, the Australia Council, Hackman (NZ), Four of The Esplanade Company Limited, National Gallery From 1995 – 2010 Graham was Artistic Director of the Head of Dance and Director of Postgraduate Studies. Larks Theatre, Museum Victoria, The Australian Ballet, Singapore, Parkway Trust Management Pte Ltd, Rakan Barbican Centre in London. Previous roles include: CEO Founding Artistic Director of Dance North and Theatre Works and St Martins Youth Theatre. Jo is very Riang Pte Ltd, Ascendas Hospitality Fund Management of the West Kowloon Cultural District, Hong Kong, and currently Artistic Advisor, Cheryl has created over proud to be the Chair of Back to Back Theatre. Pte Ltd & Ascendas Hospitality Trust Management Pte Music Projects Director at the Southbank Centre during 50 dance-theatre works, as well as 20 collaborative Ltd and sits on committees of various government which time he founded the world-renowned Meltdown exchanges in Asia. Her publications and practice agencies. He was a past Chair of ISPA and past Festival. He has won many awards including the CBE encompass interdisciplinary and interactive site-specific Chairman of the Association of Asia Pacific Performing for services to the arts and the Chevalier de l’Ordre des performance, contemporary Australian and Asian Arts Centres. Benson held a dual appointment for Arts et des Lettres. dance, and practice-led research. Cheryl is a recipient 4 years as CEO of Singapore’s National Arts Council of the Australian Dance Award’s Lifetime Achievement whilst serving as TECL CEO. and in 2014 was awarded an Order of Australia.

24 25 Fiona Winning Angharad Wynne-Jones (Australia) (Australia) Head of Programming, Artistic Director, Arts House, Sydney Festival City of Melbourne Fiona Winning has been Appointed Artistic Director at Head of Programming at Arts House in 2011, Angharad Sydney Festival since 2012. Wynne-Jones has developed Prior to that she worked as Australia’s dance festival a programmer and producer Dance Massive, initiated in contemporary arts. She curated the 2011 Australian Australia’s first international Theatre Forum; co-convened Siteworks 2010 – 2011, biennial Festival of Live Art and Green Room Award- a conversation between artists, environmentalists winning Going Nowhere – an environmentally and scholars; and has developed intercultural and sustainable international arts event. Angharad is interdisciplinary projects by independent artists. From currently co-designing and delivering NIDA’s Cultural 1999 – 2008, Fiona was Director of Performance Leadership course. She is Founder-Director of Space, a national contemporary arts hub where she TippingPoint Australia, developing international and conceived and produced events in theatres, galleries local projects with artists, scientists and communities and public spaces and developed a range of festival, energising the cultural response to climate change. touring, training and residency programs. This included Angharad directed the first AustralianT heatre Forum producing and co-curating Liveworks Festival 2008; six in 2009. Prior to this she was Director and CEO of Time_Place_Space interdisciplinary arts laboratories; London International Festival of Theatre (2005 – 2008), Mobile States – Touring Contemporary Performance Associate Director on Peter Sellars’ 2002 Adelaide Australia; and programming international exchanges. Festival, Director of Performance Space and established She was instrumental in the development phase of Chunky Move with Gideon Obarzanek. She serves on Carriageworks, collaborating with the sector, Arts NSW numerous boards and panels. and the architects Tonkin Zulaikha Greer.

26 Wednesday 1 June 2016 Arts Centre Melbourne; Chunky Move; The Coopers Malthouse; Melbourne Recital Centre; Southbank Theatre, Melbourne Theatre Company

10:00 – 12:45 ISPA OPEN HOUSE Guided tours of theatres and venues in the Melbourne Arts Precinct

Hamer Hall, Arts Centre Melbourne

11:30 – 16:00 Registration and Information Desk 13:00 CONGRESS DAY STARTS 13:00 – 13:15 PERFORMANCE | excerpt from Ghostly Machines Produced by Arts Centre Melbourne.

13:15 – 13:30 WELCOME TO COUNTRY Aunty Carolyn Briggs and Jindi Woraback Dance Group Programmed by Jason Tamiru (Associate Producer, Malthouse Theatre).

13:30 – 13:45 OPENING CEREMONY and WELCOME Speakers | Claire Spencer (Chief Executive Officer, Arts Centre Melbourne); David Baile (Chief Executive Officer, ISPA); Mary Lou Aleskie (Chair, ISPA).

13:45 – 14:00 REIMAGINING: CULTURAL POLICY Speaker | Martin Foley MP, Minister for Creative Industries, State Government of Victoria

14:00 – 14:30 BREAK

CONGRESS Session 1 | Reimagining: Identity Society tends to refer to regions in terms that imply a homogenous cultural identity. Regions as vast as Asia, Africa or Latin America are often perceived as a mono-culture, SCHEDULE OF yet this era of mass movement of peoples is radically altering our understanding of the world. Through the creation and presentation of art we establish cultural identity. How is this identity reflected somewhere like Australia, where the diversity of immigrant EVENTS populations, deepening awareness of Indigenous culture and a growing closeness to the Asian world defy any notions of homogeneity?

14:30 – 14:45 PERFORMANCE | William Yang: excerpt from Blood Links Written and performed by William Yang, produced by Performing Lines.

14:45 – 16:00 PANEL Speakers | Seong Hee Kim; Nakkiah Lui; Annette Shun Wah. Moderator | Sanjoy K Roy

28 29 The Pavilion, Arts Centre Melbourne Thursday 2 June 2016

16:15 – 18:15 OPENING RECEPTION Deakin Edge, Federation Square Co-Host Sponsor Monash University 09:30 – 16:00 Registration and Information Desk

PERFORMANCE | Monash Art Ensemble and the Young Wägiluk Group of South East 09:30 – 10:00 Tea and Coffee (provided by Asylum Seeker Resource Centre Catering) Arnhem Land: excerpt from Nyilipidgi 10:00 CONGRESS DAY STARTS Composed by Paul Grabowsky AO and the Young Wägiluk Group. 10:00 – 10:05 WELCOME 18:15 CONGRESS DAY ENDS Speaker | Deborah Beale (Chair, Federation Square) Venues around Melbourne SESSION 2 | REIMAGINING: PROTEST AND ACTIVISM 18:30 – late ISPA OUT ON THE TOWN Art and politics have long been interrelated, but the artist-activist is an endangered Free evening with optional performances species. Do we reflect the world we live in on our stages? Artists in some countries are risking their lives to make art that comments on the current climate. Do presenters and The Barre, Arts Centre Melbourne audiences engage in their work? And if so, how do we best support those artists for Until 01:00 ISPA UP LATE whom art is both a social and a moral action? Brought to you by Tessitura 10:05 – 10:50 KEYNOTE Join us for drinks and a post-show chat at The Barre, Arts Centre Melbourne Speaker | Natalia Kaliada (Founding Artistic Director, Belarus Free Theatre) Natalia Kaliada appears by video-link from London. Her refugee status currently prohibits her from travelling outside the UK. Moderator | Sarah Neal

10:50 – 12:05 PANEL Tenderness and Risk, an exhibition by established Melbourne photographer Paul Dunn, captures over 20 Speakers | Penny Arcade; Richard Frankland; Mallika Taneja. years of ground-breaking inclusive performance in Victoria, Australia. Moderator | Wesley Enoch Selected images from Tenderness and Risk are purposefully screened throughout the Congress, provoking 12:05 – 13:35 LUNCH (provided by Asylum Seeker Resource Centre Catering) individual reflection on the theme REIMAGINING. Optional self-guided tours of cultural institutions at Federation Square

SESSION 3 | REIMAGINING: PERMANENCE

Sponsored by ARUP

In the cultures of its Indigenous people, Australia is home to the longest continuous performing arts traditions in the world. And in these times of increased globalisation, First Nations around the world are united in their shared experiences of colonisation. Inclusion of Indigenous perspectives and stories is critical to moving forward together towards a more equitable post-colonial future. There is a growing appetite amongst audiences and presenters to engage with contemporary First Nations performance. How do established networks and organisations support this development and leverage crossover into mainstream international presentation? What external factors affect the way First Nations work is made, promoted and viewed?

13:35 – 13:50 PERFORMANCE | ILBIJERRI Theatre Company: excerpt from Jack Charles V The Crown Written by Jack Charles and John Romeril, performed by Jack Charles, musical direction by Nigel Maclean, directed by Rachael Maza.

13:50 – 15:05 PANEL Speakers | Airileke Ingram; Rachael Maza; Santee Smith. Moderator | Rhoda Roberts

30 31 15:05 – 15:35 BREAK Friday 3 June 2016 15:35 – 15:45 REGIONAL PERSPECTIVE Elisabeth Murdoch Hall, Melbourne Recital Centre Speaker | Richard Evans (Chairman, Confederation of Australian International Arts Festivals) 09:00 – 16:00 Registration and Information Desk

15:45 – 16:45 ISPA AWARDS CEREMONY 09:00 – 09:30 Tea and Coffee Sponsored by Ticketmaster 09:30 CONGRESS DAY STARTS

Host | Michael Stevens 09:30 – 9:35 WELCOME As a leadership network, ISPA is committed not only to providing leadership development Speaker | Mary Vallentine AO (Chief Executive Officer, Melbourne Recital Centre) opportunities, but also to recognising excellence in the performing arts globally. Awards presented include the Distinguished Artist Award, presented to artists who have made 09:35 – 11:35 PITCH NEW WORKS an outstanding contribution of talent, artistry, dedication, and service to the world of This session provides delegates the opportunity to become involved in commissioning the performing arts; the International Citation of Merit, presented for unique lifetime and/or presenting new works before they fully enter the international marketplace. achievement which has enriched the international performing arts; and the Angel Host | Robyn Archer AO Award, presented to an individual or organisation that has demonstrated a significant and lasting contribution to the support of the performing arts, which transcends the 11:35 – 11:45 REGIONAL PERSPECTIVE boundaries of one country or institution, and merits international recognition. Speaker | Dr Wendy Were (Executive Director, Strategic Development and Advocacy, Australia Council for the Arts) 16:45 – 16:55 INVITATION TO THE LIGHT IN WINTER OPENING Speaker | Robyn Archer AO (Artistic Director, The Light in Winter) 11:45 – 13:25 PROEX | Professional Exchange Join us in a relaxed and intimate environment for networking, establishing new contacts 16:55 CONGRESS DAY ENDS and maintaining existing relationships.

Federation Square 12:15 – 13:25 LUNCH 17:00 – 19:15 OPENING CEREMONY THE LIGHT IN WINTER Working lunch served onsite to enable participation in ProEx

Venues around Melbourne The Sumner, Southbank Theatre, Melbourne Theatre Company

19:00 – late ISPA OUT ON THE TOWN 13:25 – 13:30 WELCOME Optional performances Speaker | Virginia Lovett (Executive Director, Melbourne Theatre Company)

The Pavilion, Arts Centre Melbourne SESSION 4 | REIMAGINING: ACCESS AND TRANSFORMATIVE PRACTICE

In New York this year we debated audience behaviour in theatres. In Melbourne we want 21:00 – 00:00 ISPA PARTY to explore how diversity, disability and mental health are reflected on both our stages Let your hair down and come join us for a fun evening of food and drink, dancing and and in our audiences. Inclusive practice makes a vital creative contribution to the arts informal networking. Arts Centre Melbourne invites you to enter the world of Melbourne’s and ensures representation of a diversity of lived experiences. But full participation magical culinary landscape with offerings from our favourite street eats and tear up the doesn’t just happen with an invitation – it has to be planned. What leadership is required dance floor with Melbourne favourite, DJ Phone Home. to steer this transformation and what are we doing about it now?

13:30 – 13:45 PERFORMANCE | The Delta Project: excerpt from Under My Skin The Barre, Arts Centre Melbourne Produced by Fiona Cook, Arts Access Victoria, choreographed by Jo Dunbar and Lina Limosani with the dancers Anna Seymour, Elvin Lam, Amanda Leverand and Luigi Vesco. Until 01:00 ISPA UP LATE Brought to you by Tessitura 13:45 – 15:00 PANEL Join us for drinks and a post-show chat at The Barre, Arts Centre Melbourne Speakers | Rebecca Dawson; Alice Nash; Joshua Pether. Moderator | Veronica Pardo

15:00 – 15:25 BREAK

32 33 Saturday 4 June 2016 15:25 – 15:30 WELCOME Speaker | Rafael Bonachela (Artistic Director, Sydney Dance Company) Hamer Hall, Arts Centre Melbourne

09:30 – 13:00 Registration and Information Desk SESSION 5 | REIMAGINING: LIVENESS AND INTIMACY 09:30 – 10:00 Tea and Coffee The possibilities for the “audience experience” are expanding faster than ever before. Culture is being consumed in ways that could not have been imagined even 10 or 20 10:00 CONGRESS DAY STARTS years ago. What keeps the “live” experience special? How is “digital” transforming the 10:00 – 10:05 WELCOME way we make, present and experience art? Storytelling remains at the vital heart of the performing arts, but the limitless ways in which we can now connect with an audience Speaker | Claire Spencer (Chief Executive Officer, Arts Centre Melbourne) mean that everything about how we think about the live experience is in constant flux. SESSION 6 | REIMAGINING: PLACEMAKING 15:30 – 15:45 PERFORMANCE | Sydney Dance Company: excerpt from Lux Tenebris Choreographed by Rafael Bonachela, composed by Nick Wales. We are visiting one of the world’s great cultural districts, which was developed over time and with intent. What do cultural districts contribute to communities? What 15:45 – 17:00 PANEL can research tell us about the link between the vibrancy and health of the creative Speakers | Bill Bragin; Sue Giles; Richard Tognetti AO. community and a city’s actual health? Are cultural districts only manifested as physical Moderator | Yana Taylor entities or are cultural groups also “cultural districts”? Urban centres are often identified as cultural centres but how do you stimulate arts and culture in unlikely or unexpected 17:00 CONGRESS DAY ENDS locations?

Venues around Melbourne 10:05 – 10:50 KEYNOTE Speaker | Michael Lynch CBE AM 19:30 – late ISPA OUT ON THE TOWN Free evening with optional performances 10:50 – 12:05 PANEL Speakers | Robyn Archer AO; Suba Das; Jill Garner. The Barre, Arts Centre Melbourne Moderator | Pera Wells

Until 01:00 ISPA UP LATE 12:05 – 12:35 BREAK Brought to you by Tessitura 12:35 – 12:45 REGIONAL PERSPECTIVE Join us for drinks and a post-show chat at The Barre, Arts Centre Melbourne Speaker | Douglas Gautier AM (Chair, Association of Asia Pacific Performing Arts Centres)

12:45 – 13:05 CLOSING PERFORMANCE Performers | Eddie Perfect with Iain Grandage.

13:05 – 13:35 PLENARY: WHAT HAVE WE LEARNED? Speaker | Jonathan Holloway

13:35 – 13:45 INVITATION TO NEW YORK and CLOSING CEREMONY Speakers | Claire Spencer (Chief Executive Officer, Arts Centre Melbourne); David Baile (Chief Executive Officer, ISPA).

13:45 CONGRESS CONCLUDES

Venues around Melbourne

14:00 – late ISPA OUT ON THE TOWN Free evening with optional performances

The Barre, Arts Centre Melbourne

Until 01:00 ISPA UP LATE Brought to you by Tessitura Join us for drinks and a post-show chat at The Barre, Arts Centre Melbourne

34 35 PERFORMANCES

Ghostly Machines (Australia) Created and presented by Arts Centre Melbourne. In many performance spaces, large and complex machinery plays a variety of roles in enhancing the audience experience, including determining what is technically possible to create on the stage. Ghostly Machines looks at what would happen if these machines starred in their own show and the venue itself became the performance. A combination of mechanical ballet, kinetic art and sound design, Ghostly Machines is a visual and sonic experience designed to engage audiences. By the performance’s crescendo, the “machines” have taken over – generating sound and controlling samples through movement and operation with projections onto and above the stage, and stage systems lit with the use of haze and smoke. This “other world” of Hamer Hall becomes a mysterious and enchanting place. Created by the highly skilled people who work behind the scenes at Arts Centre CONGRESS Melbourne, Ghostly Machines is an imaginatively visual masterpiece where the theatrical machinery they work with every day is made to appear and behave in totally HIGHLIGHTS unexpected ways. Creative Team – Automation: Rob Jannke, Sean Vournazos; Lighting: Trent Barclay; Projection: Alison Murphy; Sound: Marcus Cook.

REIMAGINING: OPENING (Wednesday 1 June)

Jindi Woraback Dance Group (Australia) Programmed by Jason Tamiru (Associate Producer, Malthouse Theatre) The Wurundjeri-Willam people of the Kulin Nation are the Traditional Owners of the land that is now known as Melbourne. Their relationship with the land extends back tens of thousands of years to when their creator spirit “Bunjil” formed their people, the land and all living things. Jindi Woraback Dancers honour their Ancestors by following ancient Songlines through performance ensuring the future is connected to the past. The attendance of Jason Tamiru at the 98th ISPA Congress is sponsored by ARUP.

REIMAGINING: WELCOME TO COUNTRY (Wednesday 1 June)

36 37 William Yang (Australia) ILBIJERRI Theatre Company (Australia) Blood Links Jack Charles V The Crown Blood Links is an intriguing blend of storytelling, An extraordinary tale told by one of Australia’s near social history, performance and documentary forgotten treasures. photography exploring the identity of renowned Uncle Jack Charles is an Australian legend – veteran Australian artist William Yang. Through Blood Links actor, musician, Koori elder and activist. But for a good William traces his family, who migrated from China portion of his more than 70 years he has also been an to Australia over a hundred years ago. addict, a thief and a regular in Victoria’s prisons. With humour and irony, this visual history of one From Stolen Generation to Koori theatre in the 70s, from migrant family takes us around the world and back film sets to Her Majesty’s prisons, Jack Charles V The again. Hauntingly familiar in content, this family Crown runs the gamut of a life lived to its utmost. Jack’s story of identity, birth, traditions, skeletons, death, unswerving optimism transforms this tale of addiction, love and cuisine has been acclaimed across the crime and doing time into a kind of vagabond’s progress globe. – a map of the traps of dispossession and a guide to William Yang is one of Australia’s most celebrated reaching the age of grey-haired wisdom. independent photographers and performers. Born This one-man show is a theatrical delight brought to William Young in North Queensland in 1943, he changed his name to William Yang in 1983. His first solo us by ILBIJERRI, Australia’s leading and longest running exhibition in 1977, Sydneyphiles, caused a sensation with its frank depiction of the Sydney gay scene. In the Aboriginal and Torres Strait Islander theatre company. mid-80s, William began to explore his Chinese heritage, lost to him by his complete assimilation into the Australian way of life. ILBIJERRI Theatre Company creates challenging and inspiring theatre creatively controlled by Indigenous In 1989 he began his career in performance theatre, performing monologues with slide projection. William artists. Each year ILBIJERRI travels to national, regional has created and performed 11 full length monologues in all, including Sadness, Blood Links, Friends of and remote locations across Australia and the world. Dorothy, My Generation, Objects For Meditation, Shadows, China, I Am A Camera and The Story Only I Can Born from community, ILBIJERRI has become a Tell, touring each piece nationally and internationally. spearhead for Australian Aboriginal and Torres Strait In addition to his famed monologues, William Yang has presented over 20 individual photographic Islander peoples in telling stories of what it means to exhibitions across Asia, Australia, Europe and North America. be Indigenous in Australia today. Their work possesses the power to reach out and remind audiences of every REIMAGINING: IDENTITY (Wednesday 1 June) person’s need for family, history and heritage. ILBIJERRI’s collaborative relationships with communities and artists are at the heart of their creative process, and all of their Monash Art Ensemble and the work empowers and enlightens audiences. Young Wägiluk Group of South The performance of Jack Charles V The Crown, and the attendanace of Naretha Williams and Ben Graetz at the East Arnhem Land (Australia) 98th ISPA Congress is sponsored by ARUP. Nyilipidgi Nyilipidgi is a landmark work that explores the musical traditions of Australia’s first REIMAGINING: PERMANENCE (Thursday 2 June) people. The ancestor creates his land again, makes spears, hunts, weaves, dissolves into the wind and leaves us in the form of a plover. The Monash Art Ensemble, a project of Monash University’s Sir Zelman Cowen School of Music and the Australian Art Orchestra, joins forces with the Young Wägiluk Group of South East Arnhem Land to perform this new multi-movement suite by Paul Grabowsky. Nyilipidgi blends the musical heritage of Australia’s first people with contemporary composition and improvisation, celebrates the reconciliatory power of music, showcases master musicians from the world’s oldest living culture, and highlights some of the country’s finest jazz artists. REIMAGINING: OPENING (Wednesday 1 June)

38 39 The Delta Project (Australia) Eddie Perfect (Australia) Under My Skin Eddie Perfect is one of Australia’s most diverse, respected and Under My Skin is The Delta Project’s highly prolific writer/composer/performers, having made his mark in anticipated new work, choreographed by Jo the fields of comedy, music theatre composition, playwriting, Dunbar and Lina Limosani, featuring dancers screenwriting, classical music, jazz and acting for stage Anna Seymour, Elvin Lam, Amanda Lever and screen. Perhaps best known for his TV portrayal of Mick and Luigi Vesco. Working together with new Holland on Channel Ten’s Offspring and as the new host of media artist Rhian Hinkley, lighting designer Play School, Eddie has won multiple awards for his work both Richard Vabre and sound designer Russell as a performer and a writer. Goldsmith, choreography blends with images His stage credits include Baz Luhrmann and Global Creatures’ and sound, building access into aesthetics. Strictly Ballroom; Malthouse Theatre Company (Babes In Layered and revealing, Under My Skin The Wood, Drink Pepsi Bitch, The Big Con); Shane Warne challenges what it is to listen and be heard. The Musical; Keating! The Musical; Songs From The Middle in The Delta Project is a Melbourne-based collaboration with ANAM, Iain Grandage and the UK’s Brodsky company that is produced by Arts Access Quartet; Victorian Opera’s The Threepenny Opera; and Opera Victoria. It formed in 2012 to explore and present work that brings untold perspectives to the Australian Australia’s South Pacific. His solo music comedy shows (Angry stage through dance. Working with visuals and sound, The Delta Project creates performances that are Eddie, Drink Pepsi Bitch, Misanthropology) have received accessible for both hearing and deaf audiences. Comprised itself of deaf and hearing dancers, this ground- Helpmann and Green Room Awards, touring Australia, New breaking company creates cross-cultural work that uses dance as a universal communicator. Zealand, Edinburgh and London. Eddie is currently co-Artistic Director of Adelaide Cabaret Festival. Under My Skin is a new dance-theatre work presented through the lens of deaf culture and exploring what www.eddieperfect.com.au we choose to hide and what can be revealed. REIMAGINING: CLOSING (Saturday 4 June) REIMAGINING: ACCESS AND TRANSFORMATIVE PRACTICE (Friday 3 June)

Sydney Dance Company (Australia) Iain Grandage (Australia) Lux Tenebris, from CounterMove Iain Grandage composes, conducts and performs. His concert works have been performed by the Australian Chamber Lux Tenebris is a world premiere work by Rafael Orchestra, Brodsky Quartet, Australian String Quartet, Australian Bonachela exploring light and darkness. Movement Brass Quintet, Jean-Yves Thibaudet, Sara Macliver, Craig Ogden follows deep, unexpected, visceral beats and sharp, and choirs and orchestras around Australia. Recent highlights sudden twists to discover a dark place where there is include the Victorian Opera production in 2014 of his opera The space for beauty and light. Riders, based on the Tim Winton novel with libretto by Alison Lux Tenebris is a fiercely physical piece performed Croggon, and the oratorio Towards First Light, written with Kate by the full Sydney Dance Company to the dusky Mulvany for the centenary of ANZAC. His compositions for the electronic sonic landscape sounds of composer Nick theatre (including scores for Cloudstreet, The Secret River, When Wales. Sydney Dance Company is a legendary force Time Stops and, in collaboration with Kate Miller-Heidke, The in Australian contemporary dance. Its performances Rabbits) have been awarded several Helpmann and Green Room have appeared on the great dance stages of the Awards. As music director he has been similarly acclaimed and world, from the Sydney Opera House in Australia, to awarded for his work with, among others, Meow Meow, Sydney the Joyce Theatre in New York, the Grand in Shanghai Theatre Company’s The Secret River, Gurrumul, Tim Minchin, and and the Stanislavsky in Moscow. Black Arm Band.

Led since 2009 by Spanish-born Artistic Director REIMAGINING: CLOSING (Saturday 4 June) Rafael Bonachela, the Company has cemented its reputation as a creative powerhouse, actively creating and touring new work with an ensemble of 16 exceptional dancers, featuring collaborations with emerging and established Australian and international choreographers, designers, composers and musicians.

REIMAGINING: LIVENESS AND INTIMACY (Friday 3 June)

40 41 AWARD WINNERS International Citation of Merit Sue Nattrass AO Distinguished Artist Award Archie Roach AM NOMINATING STATEMENT A lifetime in the performing arts, as a practitioner, in management NOMINATING STATEMENT and leading large performing arts centres, has afforded Dr Sue Archie Roach occupies a unique place in Australian music, as one of Nattrass a unique position in the performing arts industry. She Australia’s most celebrated Indigenous artists and influential singer- has inspired generations to learn, to collaborate and to build an songwriters, a committed campaigner for Indigenous rights and social appreciation of live theatre. justice, and a mentor and inspiration to Indigenous and performing arts Sue Nattrass’ professional arts career began when she was asked to communities. operate the lighting for Barry Humphries’ first one-man show, There are few Australian voices in the debate on social justice and A Nice Night’s Entertainment in 1962. This was the start of her long, Indigenous welfare that resonate as strongly as Archie Roach’s. His continuing contribution to the commercial and publicly-funded impact on this country’s musical landscape is equally strong. sectors of the Australian entertainment industry. Archie’s song Took The Children Away (from his 1990 debut album In 1983 Sue became Operations Manager at the Victorian Arts Centre Charcoal Lane) shone a spotlight on the impact of the forcible removal (now Arts Centre Melbourne). She was later appointed General of Indigenous children from their families and brought it to the attention Manager, a position she held until 1996. During this time she led the campaign to connect performing arts of the global community. It won two ARIA Awards and, uniquely for a centres around the South East Asian region by establishing the Association of Asia Pacific Performing Arts song, an international Human Rights Achievement Award. Centres. She later served as a Trust Member and acting CEO of the Melbourne and Olympic Parks Trust and the 25 years and eight albums later, Archie’s work has been recognised internationally, in mainstream and Sydney Opera House Trust. Indigenous circles, and he has toured with some of the world’s most iconic artists, including Leonard Cohen, Sue was the Artistic Director of the 1998 and 1999 Melbourne Festivals; Interim CEO and Artistic Director, 2002 Rodriguez, Bob Dylan, Tracy Chapman, Billy Bragg, Paul Simon, Joan Armatrading, Suzanne Vega and Patti Adelaide Festival of the Arts; chaired the Cultural Working Group for the 2006 Commonwealth Games and the Smith. cultural program of the 2007 World Swimming Championships. She has been appointed to many boards in the His work reflects issues facing Indigenous Australians, as well as exploring universal themes of love, friendship, Arts, Health, Tertiary Education and Sporting sectors. family and community. His commitment to being a catalyst for change remains undiminished; he is a Sue was President of Live Performance Australia (LPA) from 1995 until 2003 and has received numerous awards spokesperson for social justice, working in Indigenous communities and mentoring young and emerging including Officer of the Order of Australia; and an LPA Lifetime Achievement Award. In 2015 Deakin University Indigenous artists. celebrated her work with an Honorary Doctorate of Letters and the creation of a scholarship fund in her name for training future arts managers. Archie’s new album, Let Love Rule, will be released later this year.

Angel Award INTERNATIONAL EXCHANGE FOR The Myer Family THE PERFORMING ARTS NOMINATING STATEMENT This award honours the remarkable vision of Sidney Myer and successive generations of his family, who have reimagined and responded to the new future, enriching cultural life through their support of reflection; risk taking and innovation; capacity building; and fostering of international relationships. NOVEMBER 14 − 19 2016 The Myer family tradition of giving dates back five generations to MONTRÉAL QUÉBEC › CANADA Sidney Myer’s late 19th-century arrival in Australia after fleeing the violence and religious persecution of Belarus. Sidney, joined by his brother Elcon, started a small drapery business that went on to become one of the foundation stories of Australian business success. 1500 Later, Sidney and his wife Dame Merlyn Myer had four children, each DELEGATES of whom went on to become generous and spirited leaders in our community. Ken Myer, Bails Myer, Neilma Gantner and Lady Southey have each shouldered their parents’ 40 legacy in their own ways and now their children, their grandchildren and Sidney and Merlyn’s great, great COUNTRIES grandchildren carry the philanthropic torch lit by their forebears. REPRESENTED The Myer Foundation and Sidney Myer Fund are just two of the entities through which the family direct their philanthropy. The truth is that through gifts too numerous to list, by many family members, over successive 150 generations, in times of hardship and in times of celebration, the Myer family has made an indelible mark on SHOWCASES, the lives of many Victorians. Indeed it is hard to imagine what Melbourne, Victoria and Australia would look WORKSHOPS & EVENTS CINARS.ORG like without their generosity, acumen and steadfast belief that the world can be a better place for us all.

42 4343 KEYNOTE SPEAKERS

Natalia Kaliada (Belarus/UK) Founding Co-Artistic Director, Belarus Free Theatre Natalia Kaliada is Founding Co-Artistic Director of Belarus Free Theatre (BFT), a writer, human rights campaigner, producer and one of the most outspoken critics of Belarus’ repressive regime. She has co- authored many plays with her husband Nicolai Khalezin, including Generation Jeans, Discover Love, Trash Cuisine and Time of Women. Natalia has also acted as Executive Producer alongside Nicolai Khalezin on all BFT productions including Generation Jeans, Being Harold Pinter, Zone of Silence, Discover Love, Minsk, 2011: A Reply to Kathy Acker, King Lear, Trash Cuisine, Red Forest and Price of Money. In 2008, together with Nicolai Khalezin and Vladimir Shcherban, she set up Fortinbras, the only underground arts school. Under her leading role, BFT has received a series of awards including the Human Rights Prize of French Republic, a Atlantic Council award, Special Mention at the XII Edition of the Europe Theatre Prize and an OBIE Award. CONGRESS REIMAGINING: PROTEST AND ACTIVISM (Thursday 2 June)

SESSION SPEAKERS Michael Lynch CBE AM (Australia) Michael Lynch was Chief Executive of London’s Southbank Centre from 2002 until 2009 and was & MODERATORS responsible for the major renovation of Royal Festival Hall and the transformation of the Southbank cultural precinct. Previously, Michael held positions as Chief Executive of the Sydney Opera House, General Manager of the Australia Council and General Manager of the Sydney Theatre Company. From 2011 to 2015 he was Chief Executive of the West Kowloon Cultural District, an ambitious project which will see a huge arts precinct built on the shores of Hong Kong’s Victoria Harbour. Michael was awarded the Order of Australia (AM) in 2001 and in 2008 he was named a Commander of the British Empire (CBE), both for services to the arts. REIMAGINING: PLACEMAKING (Saturday 4 June)

44 45 CONGRESS SPEAKERS & MODERATORS

Penny Arcade (USA) Bill Bragin (UAE/USA) Rebecca Dawson (UK) Richard Evans Writer/Poet/Actress/Theatre Executive Artistic Director, Executive Director, Candoco (Australia) maker The Arts Center, NYU Abu Dance Company Managing Director, Dhabi Penny Arcade is an icon Rebecca Dawson is Executive Australian Chamber of artistic resistance. She Bill Bragin is the Executive Director of Candoco Dance Orchestra; Chairman, debuted at 18, in New York’s Artistic Director of The Arts Company. Candoco is Confederation of Australian explosive Playhouse of The Center at New York University internationally recognised International Arts Festivals Ridiculous, the rock and Abu Dhabi, establishing it as the flagship professional An experienced CEO, roll, glitter/glam, political as the first performing arts company employing disabled non-executive director, theatre that influenced centre of its kind in the and non-disabled dancers everything from Hair, to punk, to David Bowie. Auteur UAE. Previously, as Director of Public Programming of delivering its vision through excellent live work, learning cultural precinct leader, producer and public of over 10 theatre and performances pieces, Penny’s Lincoln Center for the Performing Arts in New York, he programs and by advocating for a more accessible servant, Richard Evans has held roles as Executive work examines the boundaries between traditional attracted hundreds of thousands of audience members and diverse cultural sector. Prior to joining Candoco, Director of Bell Shakespeare, Managing Director theatre and performance art and she is known for to the popular Midsummer Night Swing and Lincoln Rebecca was at Arts Council England, firstly as of Sydney’s Bridge Climb, Executive Director of The her quotable aphorisms and content-rich writing. Her Center Out of Doors festivals, and commissioned Relationship Manager in the Dance Team and secondly Australian Ballet, Interim Managing Director of the decades-long focus on the creation of community as and premiered numerous new works in a variety of as Senior Project Manager for their London 2012 Melbourne Symphony Orchestra and CEO of Sydney the goal of performance and her use of performance disciplines. He also helped set the artistic vision for Cultural Programme, focusing on the development of Opera House. Following a 20-year career Richard as a transformative act mark her as a true original. A the free weekly programs at the David Rubenstein 12 large-scale multi art-form commissions across the Evans established REA Consulting Pty Ltd in early teenaged Andy Warhol Factory Superstar, featured Atrium, which opened during his tenure. Bill is also UK. Rebecca is Chair of the Board of Daily Life Ltd, a 2013. This boutique consulting firm offers business, in the Warhol/Morrissey film Women In Revolt, Penny a co-founding producer of the not-for-profit world creative organisation producing work that challenges philanthropic, contemporary communications occupies a unique position in the American avant- music festival and service organisation globalFEST, the way people think about mental health, and a garde through her long association with the architects and has just completed service as a member of the Board member of ISPA. She has a degree in History and marketing insights and strategies, including of the American counter culture. www.pennyarcade.tv board of trustees of the Association of Performing of Art from University of Cambridge, an MA in Arts team building and experience planning in the arts, Arts Presenters (APAP). As “Acidophilus” he has DJed Management from City University and is a Fellow of the culture, events and broader community and cultural REIMAGINING: PROTEST AND ACTIVISM (Thursday 2 June) internationally as part of GlobeSonic Sound System. Royal Society of Arts. infrastructure and development environments. Currently Richard is the Managing Director of the REIMAGINING: LIVENESS AND INTIMACY (Friday 3 June) REIMAGINING: ACCESS AND TRANSFORMATIVE PRACTICE (Friday 3 June) Australian Chamber Orchestra, and the Chairman Robyn Archer AO of the Confederation of Australian International (Australia) Arts Festivals. Singer/Writer/Artistic Suba Das (UK) Wesley Enoch (Australia) REGIONAL PERSPECTIVE (Thursday 2 June) Director Associate Director, Curve Festival Director, Sydney Theatre Robyn Archer is Strategic Festival Advisor, Gold Coast Arts and After reading English at Wesley Enoch is the Director Martin Foley MP Culture, Artistic Director of Cambridge, Suba Das of the Sydney Festival. (Australia) The Light in Winter, Deputy trained on the prestigious He has been a theatre Chair of the Australia Council, Arts Council/Birkbeck MFA Minister for Creative director and writer for over member of the Council for in Theatre Directing. His Industries, State Government 25 years, specialising in Australia and Latin America Relations and Chair ground-breaking, site- of Victoria of NIDA’s inaugural Master of Fine Arts (Cultural Aboriginal theatre. Wesley specific production of his Martin Foley MP is the Minister Leadership). An acknowledged exponent of classic has been Artistic Director of own translation of Medea (with choreography by for Creative Industries in the European cabaret, Robyn won the Helpmann Award as Queensland Theatre Company (2010 – 2015), ILBIJERRI Kenrick Sandy of the Olivier Award-winning Boy Blue Victorian State Government. Australia’s Best Cabaret Performer 2013. Former Artistic Theatre Company (2003 – 2006) and Kooemba Jdarra Entertainment) at Theatre Royal Stratford East led He also has responsibility for Director of the Adelaide and Melbourne Festivals and (1994 – 1997) and Resident Director at Sydney Theatre to his role as the youngest ever Director-in-Residence the social justice portfolios Ten Days on the Island, Robyn has received many Company (2000 – 2001), Associate Artistic Director at the National Theatre Studio. Suba co-founded the of Housing, Disability and Ageing, Mental Health, and awards including the Dame Elisabeth Murdoch Cultural Company B Belvoir (2007 – 2010) and worked on the theatre and training company Custom/Practice, which Equality, advancing the rights of LGBTI people. He has Leadership Award and the ISPA International Citation Opening Ceremony of the 2006 Commonwealth seeks to connect diverse practitioners with the best been a Member of Parliament since 2007 and served of Merit. Robyn is Officer of the Order of Australia, Games. He has worked with all the large theatre classical practice. He has created award-winning work as opposition spokesperson for the arts. His electorate Chevalier de l’Ordre des Arts et des Lettres (France), companies, arts centres and festivals in Australia and for the Young Vic and Tamasha Theatre Company, of Albert Park has a rich cultural heritage, and is Officer of the Crown (Belgium), holds honorary won multiple awards. Wesley was a Trustee of the and a trilogy of highly acclaimed site-specific classical home to a wide range of creative organisations, doctorates from five Australian universities and is an Sydney Opera House (2006 – 2013) and is the Chair of productions across London: Othello, The Winter’s Tale venues, businesses and practitioners, as well as the Honorary Fellow of the Australian Academy for the the Aboriginal and Torres Strait Islander Strategy Panel and The Revenger’s Tragedy. Suba is currently Associate Melbourne Arts Precinct. In April 2016, Minister Foley Humanities. for the Australia Council. Director at Curve, Leicester – the largest producing launched Victoria’s first creative industries strategy, Invitation to The Light In Winter Opening (Thursday theatre in the East Midlands and situated in one of the REIMAGINING: PROTEST AND ACTIVISM (Thursday 2 June) Creative State. 2 June); Pitch New Works (Friday 3 June); and UK’s most diverse communities. REIMAGINING: CULTURAL POLICY (Wednesday 1 June) REIMAGINING: PLACEMAKING (Saturday 4 June) REIMAGINING: PLACEMAKING (Saturday 4 June)

46 47 Richard Frankland Douglas Gautier AM Jonathan Holloway Seong Hee Kim (South (Australia) (Australia) (Australia) Korea) Singer/Songwriter/Author/ CEO and Artistic Director, Artistic Director, Melbourne Artistic Director, Asian Poet/Filmmaker Adelaide Festival Centre; Festival Culture Center-Theater, Chair, Association of Asia Richard Frankland is a Jonathan Holloway is Artistic Korea Pacific Performing Arts proud Gunitjmara man Director of the Melbourne Seong Hee Kim was the Centres whose lifetime work has Festival, having completed founder and Artistic been to facilitate the voice Adelaide Festival Centre is four years as Artistic Director Director of Festival B:om, an of Indigenous Australians. South Australia’s principal of the Perth International Arts international interdisciplinary One of Australia’s foremost performing arts venue and a leading Asia Pacific Festival. His time in Perth arts festival from 2007 – 2013; culminated with the Australian exclusive presentation cultural polymaths, Richard has worked on the frontline cultural institution. Since arriving at Adelaide Festival Artistic Director of Station 2 at Nam June Paik Arts of Indigenous issues for the past 30 years and his of Royal de Luxe’s The Giants, one of the largest arts Centre in 2006, Douglas Gautier has initiated a Center’s inaugural festival (2008); and Artistic Director projects encompass community capacity building events ever seen in Australia, playing to audiences of of MODAFE (International Modern Dance Festival, “program-led” strategy, which has significantly ranging from organisation establishment, preventative 1.4 million people over three days. He came to Australia Seoul, 2001 – 2005). She is a co-representative of violence workshops, healing circle establishment and grown audiences and positioned the Festival Centre after six years as Artistic Director and Chief Executive multidisciplinary arts magazine . cultural immersion programs. Richard was nominated as a hub for Asian/Australian cultural engagement. of the Norfolk & Norwich Festival, and from 1997 – 2004 Seong Hee’s major achievements in the performing for Australian of the Year in 2011 and 2013, and was Prior to arriving in Adelaide, Douglas lived and established and headed the National Theatre’s events arts field include producing and collaborating with a finalist for the Human Rights Medal in the 2013 worked in Asia, where he was a Director of the Hong department and founded and directed their Watch world-renowned artists such as Pina Bausch, Robert Australian Human Rights Commission Awards. Richard Kong Arts Festival and Deputy Executive Director This Space festival. In 2003 he was Creative Director of Wilson, William Forsythe, Romeo Castellucci, William is Head of Curriculum and Programs at the Wilin Elemental, a large-scale theatre, music and spectacle of the Hong Kong Tourism Board. In 2013, Douglas Kentridge and more. At Asia Culture Center-Theater she Centre for Indigenous Arts and Cultural Development event at Chalon-sur-Saône Festival in France. Jonathan was elected as the Chair of Association of Asia has produced and co-produced works of Asian artists at the University of Melbourne. Richard constantly started out as a theatre director (working under the Pacific Performing Arts Centres (AAPPAC), the peak such as Apichatpong Weerasethakul, Toshiki Okada, reminds people that, ‘We are not a problem people, name Jack Holloway), including co-writing/directing cultural body in the Asia-Pacific region. Douglas is Ho Tzu Nyen and TAO Dance Theater, whose works are we are people with a problem and that problem was Robin Hood for the National Theatre in London. currently on international tour. At the same time, she colonisation.’ the Director of the Asia-Pacific Centre for Arts and Cultural Leadership, an Executive Councillor of Live PLENARY (Saturday 4 June) has been discovering, producing and promoting the REIMAGINING: PROTEST AND ACTIVISM (Thursday 2 June) Performance Australia and a Council member of work of local Korean artists to world partners. Flinders University. REIMAGINING: IDENTITY (Wednesday 1 June) Airileke Ingram (Papua REGIONAL PERSPECTIVE (Saturday 4 June) Jill Garner (Australia) New Guinea/Australia) Victorian Government Musician/Producer/Artistic Nakkiah Lui (Australia) Architect, Department of Director/Activist, Makoda Sue Giles (Australia) Writer/Actor/Playwright Premier and Cabinet, State Productions & Rize of the Nakkiah Lui is a writer and Government of Victoria Artistic Director, Polyglot Morning Star Theatre actor, and a Gamillario/ Jill Garner’s architectural Airileke Ingram is a PNG/ Torres Strait Islander woman. background includes an Sue Giles has been Artistic Australian artist. He is She is a co-writer and star apprenticeship over 10 years Director of Polyglot Theatre recognised across the Pacific of Black Comedy on ABC TV with several of Melbourne’s since 2000, leading the as a pioneer of Pacific music, and is a monthly columnist influential design practices. company into new territory leading innovative musical and cultural projects. for Australian Women’s She went on to co-found Garner Davis Architects, a St with participatory works, Airileke was Co-Artistic Director of the Opening and Weekly Online. Nakkiah was Kilda-based studio whose work has received numerous community process and Closing Ceremonies for the 2015 Pacific Games – the the inaugural recipient of the Balnaves Foundation industry awards in over 20 years of practice. Based inclusion of play in the biggest cultural event ever staged in the South Pacific. Indigenous Playwright’s Award, as well as the Malcolm on her built and unbuilt work she was one of the early company’s theatrical offerings for children. She His debut album Weapon of Choice was nominated Robertson Prize and a Green Room Award for Best graduates of the innovative practice-based Masters by has directed, written or devised 14 works that have for an ARIA Award and listed in the top 10 World Independent Production. Nakkiah has worked as a Design at RMIT. She has taught at both RMIT and the toured nationally and internationally, including to the Music Albums of 2012 by UK’s Songlines magazine. playwright for Belvoir, Melbourne Theatre Company, University of Melbourne in design, contemporary history international arts festivals of Perth, Sydney, Darwin and His unique sound brings together futuristic ideas with Malthouse Theatre and Sydney Festival among many and architectural theory. She is a regular contributor Melbourne, Singapore Arts Festival, National Theatre of traditional beats that hark back to ancient Melanesian others. She is also a broadcaster with ABC Radio, a to architectural events, awards juries, publications and Korea, Hong Kong International Arts Carnival, Shanghai roots and his music has been featured in film and young leader in the Australian Aboriginal community journals, seminars and local and interstate lectures. International Children’s Theatre Festival (winning the television. Airileke was Co-Founder of the Wantok Musik and has contributed to The Guardian and Junkee. She Over a career of 30 years she has been a visible and Excellent Production Award), UNIMA International foundation, Founder of PNG’s Makoda Productions has appeared on Q&A and The Drum on ABC TV. active contributor to the discourse of architecture and Puppetry Festival in Perth and ASSITEJ International and Rize of the Morning Star, a global solidarity music a passionate advocate for design excellence. congress in Adelaide and Warsaw, Poland. In 2003, Sue movement for West Papua. REIMAGINING: IDENTITY (Wednesday 1 June) was the Australian representative at the International REIMAGINING: PERMANENCE (Thursday 2 June) REIMAGINING: PLACEMAKING (Saturday 4 June) Director’s Forum hosted by ASSITEJ Germany. She has been the Victorian Representative on the National Board of YPAA and a keynote speaker for the YPAA National Symposium in Sydney 2012.

REIMAGINING: LIVENESS AND INTIMACY (Friday 3 June)

48 49 Rachael Maza Sarah Neal (Australia) Joshua Pether Sanjoy K Roy (India) (Australia) Executive Producer & Co- (Australia) Managing Director, Artistic Director, ILBIJERRI CEO, Malthouse Theatre Dancer/Choreographer Teamwork Films and Theatre Company Teamwork Arts Sarah Neal is a curator, Based in Western Australia, Rachael Maza is one of programmer and producer Joshua Pether is originally Sanjoy established Teamwork Australia’s most recognisable with a Bachelor of Arts degree from Queensland, of in 1989, a production house faces of the Australian in Drama and a Master of Kalkadoon heritage and in film, television, performing film, television and theatre Arts in Creative Writing. Her identifies with having a and visual arts, and the social industry, with performance interests are contemporary disability. His practice takes sector. Teamwork designs credits including the performance practice, many forms and moves and produces over 25 highly Australian Film Institute (AFI) Award-winning Radiance, international engagement, and developing artists between the more traditional investigative processes acclaimed performing arts, visual arts and literary Cosi and Lillian’s Story. A Western Australian Academy and audiences. Prior to joining Malthouse Theatre, to moments of the bizarre. He is an activist, passionate festivals in more than 40 cities across the globe, of Performing Arts (WAAPA) graduate, Rachael’s Sarah was the Acting Artistic Director and Head of about providing opportunities for those who are unseen including the world’s largest literary gathering – the outstanding performances have been acknowledged Programming of Brisbane Powerhouse where she and making work that is relevant both politically and annual Jaipur Literature Festival. Sanjoy designed and with a Green Room Award and a Sydney Theatre Critics’ commissioned and curated Australian and international culturally in the disability-led arts practice environment. directed the Closing of the Commonwealth Games Circle Award. Rachael has also worked as a presenter theatre, dance, music and film. Sarah has also He toured nationally and internationally for LINK Dance Arts Festival 2006, ASEAN Heads of State Summit for ABC Message Stick and as Indigenous Liaison worked as a writer, director and producer in film and Company, and has been awarded two Australia Council 2013 and the Africa Summit 2015. He was advisor to Advisor on films such as Rabbit Proof Fence. Her first television and contributed to a range of national and grants for professional development where he engaged The Kennedy Centre on their Maximum India Festival. taste of directing was on Stolen (1992) for ILBIJERRI international performing arts and film festival panels, internationally with companies such as Candoco, Spinn, Sanjoy is a founder trustee of Salaam Baalak which has Theatre Company, however it wasn’t until 2009 that including the Theatre Board of the Australia Council Indepen-Dance, Stopgap and Skånes Dansteater. He provided education, training and residential services to she re-joined the company as Artistic Director. Since for the Arts, the Sidney Myer Performing Arts Awards, currently divides his time between the east coast on over 55,000 street children in Delhi. The White House then she has directed Sisters of Gelam (2009), Jack the Helpmann Awards, and panels for the Berlinale various artistic projects and New Zealand, where he recently presented him the US Presidents Committee of Charles V The Crown (2010), Foley (2011) and Beautiful Film Festival, Cannes Film Festival and Frameline Film works as a dancer for the integrated dance company Arts and Humanities award. He is advisor for numerous One Day (2012). Festival San Francisco. Touch Compass. Government and non-governmental organisations across the world. REIMAGINING: PERMANENCE (Thursday 2 June) REIMAGINING: PROTEST AND ACTIVISM (Thursday 2 June) REIMAGINING: ACCESS AND TRANSFORMATIVE PRACTICE (Friday 3 June) REIMAGINING: IDENTITY (Wednesday 1 June)

Veronica Pardo Alice Nash (Australia) (Australia) Rhoda Roberts Annette Shun Wah Executive Producer & Co- Executive Director, (Australia) (Australia) CEO, Back to Back Theatre Arts Access Victoria Head of Indigenous Executive Producer of Alice Nash has been the Performance 4a and Veronica is the Executive Programming, Sydney Opera Executive Producer and Co- Directorate, National Theatre Director of Arts Access House; Creative Director, CEO of Back to Back Theatre of Parramatta Victoria, the State’s Rhoda Roberts Gallery & since 2003. During the last leading arts and disability Events; Festival Director, Annette Shun Wah is a decade, the company has organisation. In this role, she Boomerang Festival; producer, actor, writer and presented 44 national and has led an ambitious agenda Creative Director, Vivid Sails broadcaster. Since 2012 she 68 international seasons of of social and artistic transformation for people with Projection has been Executive Producer its work. This includes presentations at the world’s a disability and the communities in which they live. of Performance 4a, a leading producer of contemporary preeminent contemporary arts festivals and venues A member of the Bundjalung nation, Widjabul clan, With a passion for social justice and equity, she has Asian Australian performance. She devised the original and a wide range of equally rigorous community Rhoda Roberts is an experienced arts executive working spearheaded campaigns relating to the inclusion concept for the 2014 Sydney Festival hit The Serpent’s contexts, with a focus on artists with disabilities and internationally and nationally within commercial, of people with a disability in arts and culture, as Table. She also produced the multi-artform work of difference and their role in forging new forms of community and non-profit organisations. Rhoda was audiences and cultural innovators. Veronica has a Yasukichi Murakami – Through A Distant Lens (Darwin aesthetics. the Founder and Festival Director of the Dreaming successful history of employment at senior levels in Festivals (1995 – 2009). As an actor, producer and Festival 2014; Shinju Matsuri Festival Broome; OzAsia Alice is a founding member and Deputy Chair of the not for profit sector, with a major focus on policy director, she continues to work as a consultant, and is Festival; GriffinT heatre; Riverside Theatres), the Theatre Network Australia, the Australian peak body for and advocacy. She has a long track record of leading a sought after speaker and performer in theatre, film, theatrical storytelling show Stories Then & Now, which the small-to-medium theatre sector and independent research programs aimed at addressing barriers to television and radio. She recently completed 21 years she co-directed with William Yang (Carriageworks 2013) performance artists, serves on the Trust of the Geelong participation. Veronica currently holds positions on the as radio broadcaster with the national music program and the music and storytelling show In Between Two Performing Arts Centre and the Victorian Government’s boards of the Arts Industry Council and VicHealth. Deadly Sounds. for Sydney Festival 2016 on which she and William Yang Creative State Advisory Board. She is passionate about were co-dramaturgs. In 2015 Annette was appointed to REIMAGINING: ACCESS AND TRANSFORMATIVE PRACTICE supporting exemplary contemporary artistic practice as Rhoda’s previous roles include: Artistic Director of the the Directorate of the National Theatre of Parramatta, (Friday 3 June) vital to democratic civil society. Festival of the Dreaming staged in the lead up to the a new resident company at Riverside Theatres Sydney 2000 Olympic Games, and Australia Day events; REIMAGINING: ACCESS AND TRANSFORMATIVE PRACTICE producing contemporary works. She is also a member Creative Director for the Awakening Segment Sydney of the Asian Producers Platform. (Friday 3 June) Olympic Games 2000 Opening Ceremony, Rugby World Cup 2003, Athens handover ceremony, and opening REIMAGINING: IDENTITY (Wednesday 1 June) ceremony of the Musee Du Quay Branly. REIMAGINING: PERMANENCE (Thursday 2 June)

50 51 Santee Smith (Canada) Mallika Taneja (India) Richard Tognetti AO Wendy Were (Australia) Artistic Director/ Theatre Artist; Founder- (Australia) Executive Director, Strategic Choreographer/Performer, Director, Lost & Found Trust Artistic Director, Australian Development and Advocacy, Kaha:wi Dance Theatre Australia Council for the Arts Mallika Taneja is a New Delhi Chamber Orchestra Santee Smith based artist and Founder- After studying both in Dr Wendy Were is Executive (Tekaronhiáhkhwa) is from Director of Lost & Found, Australia and overseas at Director, Strategic the Kahnyen’kehàka Nation, a non-profit organisation the Bern Conservatory with Development and Advocacy Turtle Clan from Six Nations, bringing the arts to Igor Ozim, Richard Tognetti at the Australia Council for Ontario. She attended neighbourhoods in alternative returned home in 1989 to lead the Arts. She has wide- Canada’s National Ballet spaces. She believes in the several performances with ranging experience in School and holds Kinesiology and Psychology degrees power of performance to bring about change in the the ACO. In November that year, he was appointed arts management and curation, with prior roles from McMaster University and a MA in Dance from society that she inhabits. Her performances as well as the Orchestra’s lead violin and, subsequently, Artistic including Artistic Director and Chief Executive of York University. Santee choreographed The Gift (1996) the endeavours undertaken by her organisation seek Director. He is also Artistic Director of the Festival for the National Film Board, Kaha:wi at Toronto’s to challenge audiences, raise uncomfortable questions Maribor in Slovenia. As director or soloist, Richard has Sydney Writers’ Festival, CEO of West Australian Harbourfront Centre in 2004 and later founded and make a dent in popular, hardened notions and appeared with many of the world’s leading orchestras, Music and Producer at the Perth International Arts Kaha:wi Dance Theatre. With a body of work including cultures. She was awarded the ZKB Acknowledgement including the Orchestra of the Age of Enlightenment Festival. 12 productions, seven short works, many works for Prize at the Zurich Theatre Spektakel 2015 for Thoda and the Academy of Ancient Music. Richard is also an REGIONAL PERSPECTIVE (Friday 3 June) special events and film/video, Santee is a sought after Dhyaan Se (Be Careful), a twenty-minute satirical acclaimed composer. He was appointed an Officer teacher and speaker – most recently at Walrus Talks, piece on how women should be “safe”. Mallika has since of the Order of Australia in 2010, holds honorary York University and APAM. Since 2005 she has been performed at festivals such as Les Urbaines, Lausanne, doctorates from three Australian universities and was creating opportunities for international Indigenous ITFoK, India and La Villette, Paris. Alternate spaces are a made a National Living Treasure in 1999. He performs collaborations working in Japan, New Zealand, particular interest, one that she explores by performing on a 1743 Guarneri del Gesù violin, lent to him by an Australia, Mexico and the USA. Her artistic work speaks and curating in unusual spaces. anonymous Australian private benefactor. about identity and embodied Indigenous practice REIMAGINING: PROTEST AND ACTIVISM (Thursday 2 June) generated from body, story and place. REIMAGINING: LIVENESS AND INTIMACY (Friday 3 June)

REIMAGINING: PERMANENCE (Thursday 2 June) Yana Taylor (Australia) Pera Wells (Australia) Independent Artist Michael Stevens Pera Wells was an Australian Dr Yana Taylor is a career diplomat from 1973 – (Australia) performance maker, 1998. She served overseas Director of Programming, researcher, dramaturg and in Africa, in the Australian Arts Centre Melbourne performer. As a dramaturg, mission to the United Yana worked with directors Nations, New York, in the Michael Stevens was Roslyn Oades on Hello, Commonwealth Secretariat, appointed Director of Goodbye & Happy Birthday London and as Deputy High Programming at Arts Centre and Ros Horin on Baulkham Commissioner in New Delhi, Melbourne in February Hills African Ladies Troupe. As a core artist of the India. While in Canberra she 2014, before which he was ensemble company, version 1.0 Inc, Yana directed and served on the staff of the Governor General, Sir Ninian Head of Programming at performed The Disappearances Project, was performer/ Stephen, for 18 months. She developed a strong interest Melbourne Festival. A Melbourne native, Michael spent deviser in The Table of Knowledge, Deeply Offensive in working on multilateral issues, and in 2000 joined over a decade in the UK, initially pursuing a career as and Utterly Untrue and The Second Last Supper and the World Federation of United Nations Associations in a consort singer, then later working as assistant to was deviser/production dramaturg on this kind of New York, where she was elected to be the Secretary- composer and conductor John Rutter and for Sir John ruckus, The Wages of Spin and A Certain Maritime General from 2006 – 2009. She is currently the Vice- Eliot Gardiner as Choir Manager of the Monteverdi Incident. She also performed in Urban Theatre Projects’ President of the Australian Council for Human Rights Choir. He returned to Australia in 2008 to the role site-specific The Last Highway. Yana has lectured in Education, a Research Fellow of Ormond College, of Head of Artistic Planning and Operations at the performance practice and history at UWS/Nepean, University of Melbourne, Fellow of the Australia India Australian Chamber Orchestra. Michael holds an AFTRS, Monash, Wollongong, Macquarie and Flinders Institute and on the Committee for Australians for War M.Phil. (in American Literature) and an MBA from the Universities, chaired UTP, and for ArtsNSW worked Powers Reform. University of Cambridge and an MA in Cultural Policy on the Western Sydney Arts’ Strategy and Dance and Management from City University, London. In 2004 REIMAGINING: PLACEMAKING (Saturday 4 June) Committees. he co-founded – and has since managed – the Choir of London, a UK-based charity enabling professional REIMAGINING: LIVENESS AND INTIMACY (Friday 3 June) musicians to contribute their time and talents to music education projects in Palestine. ISPA AWARDS CEREMONY HOST (Thursday 2 June)

52 53 The Canada Council for the Arts is proud to partner with ISPA on its Global Leadership Development Programs

Join us at ISPA’s 100 th Congress Montreal, 23-27 May, 2017

Re-Quickening, Artist: Santee Smith PHOTOGRAPHY: JULIA JAMIESON THE ISPA FELLOWSHIP CHALLENGE – 2016 FELLOWSHIP PROGRAMS MAKING A WORLD OF DIFFERENCE! ISPA’s 2016 Fellowship programs support participation in ISPA for 48 emerging and mid-career The ISPA Fellowship Challenge is just that – a challenge to you as a leader in your organisation arts leaders from 24 countries. and community to support ISPA’s Global Fellowship Program. Hundreds of individuals have The 12 Fellows listed on the following pages are attending ISPA’s 98th Congress in Melbourne. directly invested in ISPA’s remarkable Global Fellowship participants, with annual donations Please take a moment to introduce yourself to these Fellows and share in their ISPA experience. ranging from five to 1,500 USD or more. These individual donations form a real core of support The Fellowships are financially supported by individuals and organisations who donate through without which we could not undertake this important program. ISPA’s Fellowship Patron and Challenge Programs and by partnerships with specific regions. In 2016, we need your help to raise 25,000 USD. Your gift – in any amount – ensures that we Our thanks to: may continue to support and develop the next generation of performing arts leaders. The full amount of your support goes to an ISPA membership, Congress registration and a stipend to Patrons cover travel, accommodation and per diem for a Global Fellow. Every dollar (krona, won, euro, peso, renminbi, real) helps us get closer to supporting another Fellow to attend a Congress and Patrons are individuals and organisations who have pledged a minimum 5,000 USD per year for participate in ISPA. three years to ensure the ongoing viability of the Global Fellowship Program. Thank you to the many individuals who have contributed to ISPA’s Fellowship Challenge in 2016! Ambassadors Circle: Past Board Chairs and Patrick Hayes Award Winners Artifax Software Limited: Nina Kaye and Sarah Verge

2016 Fellowship Challenge Fund Donors ARUP: Raj Patel and David Taylor (In Memoriam) $25,000 David Baile 1,000 USD+ Up to 499 USD Beijing Poly Theatre Management Co., Ltd. David Baile Ane Alslov CANPAC: Arts Commons (Johann Zietsman); The Corporation of Massey Hall & Roy Thompson Jim Beirne* Fannie Bellefeuille $20,000 Hall (Deane Cameron); Place des Arts (Marc Blondeau); Sony Centre for the Performing Arts Louise Herron* Sue Bernstein (Mark Hammond) Tisa Ho* Cathie Boyd Dr. C.F. Koo Foundation: Vivien Ku Benson Puah Linda Brumbach $15,000 UK Presenters: Barbican Centre, London; Kings Place, London; The Sage Gateshead, Gateshead Anna M. Thompson Jacqueline Z. Davis USA University Presenters: UMS at the University of Michigan (Ken Fischer); Carolina Rebecca Dawson* Performing Arts at the University of Chapel Hill (Emil Kang); Stanford Live (Jan Sillery); Ted DeDee 500 – 999 USD $10,000 DeBartolo Performing Arts Center at the University of Notre Dame (Anna Thompson); Center Jean-Pierre Dion Mary Lou Aleskie* for the Performing Arts at Pennsylvania State University (George Trudeau); UW World Series at Marie-Christine the University of Washington (Michelle Witt) Kenneth Fischer* Dufour Rob Gibson $5,000 Wisconsin Presenters: Overture Center for the Arts (Ted DeDee) Nora Fleury Nina Kaye* Alison Friedman* Regional Partners Anthony Sargent* Margaret Genovese Regional Partners provide funding for arts professionals from their regions to experience an Cathy Graham extended engagement with ISPA. Maria Hansen Australia Council for the Arts, Australia Regional Fellowship Judy Harquail Canada Council for the Arts, Canada Regional Fellowship Glenn Hodgins Kulturstyrelsen/Danish Agency for Culture, Denmark Regional Fellowship Allen Moon Now that ISPA 2016 has just begun, we hope you can help us achieve our goal. As of May 12, Maria Claudia Parias* Arts Council England, England Regional Fellowship 2016, we had pledges totalling 12,440 USD Steinunn Birna for the 2016 Fellowship Challenge. If you Cultura UDG and eje 7, Latin America Regional Fellowship Ragnarsdóttir* haven’t made your commitment yet, visit the British Council, Middle East & Northern Africa Regional Fellowship Ian Smith* registration desk or make your donation online at www.ispa.org/donations. Dutch Performing Arts/Performing Arts Fund NL, Netherlands Regional Fellowship Piotr Turkiewicz* * Denotes ISPA Thank you. Creative Scotland, Scotland Regional Fellowship Board Member Michelle Witt* Musikverket and Svensk Scenkonst, Sweden Regional Fellowship

56 57 ISPA FELLOWSHIP RECIPIENTS ISPA STAR MEMBERS

We thank our ISPA Star Members who have elected to participate at this enhanced membership level. Please contact Ann Norris Pattan at [email protected] to learn more about becoming a Star Member. (List current as of 22 April 2016.)

Aegeus Library of Congress Tony Grierson Donna Williams

Artifax Software Limited Mazowsze – The Polish State Folk Song and Sarah Verge Dance Ensemble Arts Centre Melbourne Jacek Boniecki Michael Stevens Musik i Syd Arts Midwest Peter Wilgotsson Katrin Amberntsson Lene Bang Henningsen Charlie Cush Rebecca Dawson Adam Perry ReOrient Lene Bang Org Circa Contemporary Candoco Dance National Forum of Music Stockholm, Sweden Hellerup, Denmark Circus Company Asia-Iberoamerica Cultural Foundation Andrzej Kosendiak Brisbane, Australia London, England Samil Yang Opera Australia Auerbach Pollock Friedlander Sandra Willis Leonard Auerbach Riksteatern Carolina Performing Arts – UNC Chapel Hill Magnus Aspegren Emil Kang Schirmer Theatrical Charcoalblue LLP Robert Thompson Gary Sparkes Searchlight Recruitment Inc. City of Gold Coast Arts and Culture Daniel Weinzweig Robyn Archer

Columbia Artists Management Inc. SESC – Servico Social do Comercio Tim Fox Danilo Miranda

David A. Straz, Jr. Center for the Teatro Mayor Julio Mario Santo Domingo Catherine Jones Fiona MacDonald Simeon Moran Akilah Newton Performing Arts Juan Camilo Rincón Burgos Arts House Imaginary Theatre ILBIJERRI Theatre Overture with the Arts Judith Lisi Texas Performing Arts Melbourne, Australia Brisbane, Australia Company Kirkland, Canada David Lieberman Artists’ Representatives Kathleen Panoff Melbourne, Australia David Lieberman The British Council De La Salle – College of Saint Benilde Cathy Graham Ma. Magdalena de Leon The Esplanade Company Ltd Double M Arts & Events Benson Puah Michael Mushalla The Sydney Festival Limited Harris Theater for Music and Dance Christopher Tooher Michael Tiknis Threshold Acoustics LLC Hong Kong Arts Festival Society Carl Giegold Tisa Ho

IMG Artists LLC TITAS/ATTPAC Romana Jaroff Charles Santos

Oluwole Oguntokun Corey Payette Sarah Rogers Rachael Whitworth International Festival of Arts and Ideas Universidad de Guadalajara (Cultura UDG) Renegade Theatre/ Urban Ink Productions Montreal, Canada Performing Lines WA Mary Lou Aleskie Igor Lozada Theatre Republic Vancouver, Canada Perth, Australia Latvijas Koncerti West Kowloon Cultural District Authority Lagos, Nigeria Sanda Katkevica Louis Yu

58 59 Saturday 28 May

13:00 – 15:00 The Pearlfishers Arts Centre Melbourne Opera Australia 13:00 – 15:45 The Glass Menagerie The Coopers Malthouse A Belvoir production at Malthouse Theatre 14:00 – 15:40 Brahms’ Fourth Symphony Arts Centre Melbourne Melbourne Symphony Orchestra 16:00 – 17:15 Heart is Racing Melbourne Recital Centre The Letter String Quartet ISPA 16:00 – 17:30 Straight White Men Arts Centre Melbourne Melbourne Theatre Company 18:00 – 21:30 Pasifika Showcase Eastbank Centre, Shepparton OUT ON Multicultural Arts Victoria 19:00 – 20:15 Heart is Racing Melbourne Recital Centre The Letter String Quartet THE TOWN 19:30 – 20:30 L U C I D Chunky Move Studio Chunky Move 19:30 – 21:45 La Bohème Arts Centre Melbourne SCHEDULE Opera Australia 19:30 – 22:15 The Glass Menagerie The Coopers Malthouse A Belvoir production at Malthouse Theatre Melbourne is Australia’s most culturally 20:00 – 21:30 CounterMove Southbank Theatre vibrant city and all year round audiences Sydney Dance Company can experience an incredible diversity of live 20:30 – 22:00 Straight White Men Arts Centre Melbourne performances. Whilst you are in Melbourne Melbourne Theatre Company for the 98th ISPA Congress, REIMAGINING, we encourage you to see as much as you can – Monday 30 May you never know what gem you might discover. 18:00 – 19:00 Joe Chindamo & Zoë Black Melbourne Recital Centre The following list of events captures some 18:30 – 20:00 Straight White Men Arts Centre Melbourne performances that are happening over Melbourne Theatre Company the week of the Congress. From work-in- 20:00 – 21:45 Double Indemnity Arts Centre Melbourne development showings to parties, meet-and- Melbourne Theatre Company greets to world-class theatre, it certainly gives Tuesday 31 May you a snapshot of live performance in our vibrant and inspiring city. 18:00 – 19:10 Rhapsody Melbourne Recital Centre Southern Cross Soloists To find out more about any of the events or 18:30 – 20:00 Straight White Men Arts Centre Melbourne companies, speak to the team at the Congress Melbourne Theatre Company Registration and Information desk throughout 18:30 – 21:15 The Glass Menagerie The Coopers Malthouse the week. A Belvoir production at Malthouse Theatre 19:00 – 20:00 Out of Earshot (development showing) Abbotsford Convent KAGE 19:30 – 20:30 L U C I D Chunky Move Studio Chunky Move 19:30 – 20:40 Resident Alien by Tim Fountain fortyfivedownstairs Cameron Lukey Presents

All information is correct at the time of publication. 61 20:00 – 21:30 CounterMove Southbank Theatre 19:30 – 21:15 The Magic Hour La Mama Courthouse Sydney Dance Company Cicero’s Circle Theatre Company 20:00 – 21:45 Double Indemnity Arts Centre Melbourne 19:30 – 21:30 Gasworks Circus Showdown Gasworks Arts Park Melbourne Theatre Company Various Artists

Wednesday 1 June 19:30 – 20:30 Three Short Works La Mama Lloyd Jones 10:00 – 11:10 en route Outside Melbourne Central 19:30 – 22:15 The Glass Menagerie The Coopers Malthouse one step at a time like this A Belvoir production at Malthouse Theatre 10:30 – 12:05 Back at the Dojo Arena Theatre Company 20:00 – 21:30 Straight White Men Arts Centre Melbourne Stuck Pigs Squealing/Belvoir Theatre rehearsal room Melbourne Theatre Company 10:30 – 12:30 Weekly Ticket: the artist at the station Footscray Train Station 20:00 – 21:30 CounterMove Southbank Theatre Madeleine Flynn and Tim Humphrey Art Projects Sydney Dance Company 12:15 – 13:25 en route Outside Melbourne Central 20:00 – 21:45 Double Indemnity Arts Centre Melbourne one step at a time like this Melbourne Theatre Company 18:30 – 20:15 The Magic Hour La Mama Courthouse 20:30 – 21:40 MIRA FUCHS Arts House Cicero’s Circle Theatre Company Melanie Jame Wolfe/Savage Amusement 19:00 – 20:00 Blood on the Dance Floor Arts House Friday 3 June ILBIJERRI Theatre Company 19:00 – 21:00 For Heaven’s Sake City Square 18:00 – 18:45 Lucy Guerin Inc: Meet and Greet The Coopers Malthouse, Born in a Taxi Lucy Guerin Inc Hoopla Room 19:30 – 20:30 A Taste of Circus Oz & TWENTYSIXTEEN Circus Oz Collingwood 19:00 – 19:45 Confusion for Three The Coopers Malthouse, Circus Oz Jo Lloyd Hoopla Room 19:30 – 20:30 L U C I D Chunky Move Studio 19:00 – 20:00 Blood on the Dance Floor Arts House Chunky Move ILBIJERRI Theatre Company 19:30 – 20:40 Resident Alien by Tim Fountain fortyfivedownstairs 19:30 – 20:30 L U C I D Chunky Move Studio Cameron Lukey Presents Chunky Move 19:30 – 21:30 Gasworks Circus Showdown Gasworks Arts Park 19:30 – 20:30 Three Short Works La Mama Various Artists Lloyd Jones 19:30 – 22:15 The Glass Menagerie The Coopers Malthouse 19:30 – 20:40 Resident Alien by Tim Fountain fortyfivedownstairs A Belvoir production at Malthouse Theatre Cameron Lukey Presents 19:30 – 20:30 Three Short Works La Mama 19:30 – 20:45 Confrontations: PBS Young Elder of Jazz bennetts Lane Jazz Club Lloyd Jones Melbourne International Jazz Festival 20:00 – 21:30 Straight White Men Arts Centre Melbourne 19:30 – 21:15 The Magic Hour La Mama Courthouse Melbourne Theatre Company Cicero’s Circle Theatre Company 20:00 – 21:30 CounterMove Southbank Theatre 19:30 – 21:30 Things NOT of this EARTH NICA National Circus Centre Sydney Dance Company Circus Showcase 2016: Dress Rehearsal 20:00 – 21:45 Double Indemnity Arts Centre Melbourne 19:30 – 21:40 Gary Bartz Quartet (USA) Melbourne Recital Centre Melbourne Theatre Company Melbourne International Jazz Festival

Thursday 2 June 19:30 – 22:15 The Glass Menagerie The Coopers Malthouse A Belvoir production at Malthouse Theatre 17:00 – 19:15 Opening Ceremony The Light In Winter Federation Square 20:00 – 21:30 Straight White Men Arts Centre Melbourne 19:00 – 20:00 Blood on the Dance Floor Arts House Melbourne Theatre Company ILBIJERRI Theatre Company 20:00 – 21:30 CounterMove Southbank Theatre 19:30 – 20:30 L U C I D Chunky Move Studio Sydney Dance Company Chunky Move 20:00 – 21:50 Prokofiev’s Romeo and Juliet Arts Centre Melbourne 19:30 – 20:40 Resident Alien by Tim Fountain fortyfivedownstairs Melbourne Symphony Orchestra Cameron Lukey Presents

62 63 20:30 – 21:40 MIRA FUCHS Arts House 19:30 – 21:40 Robert Glasper Trio Melbourne Recital Centre Melanie Jame Wolfe/Savage Amusement Melbourne International Jazz Festival 20:30 – 22:00 Edmund. The Beginning Arts House 19:30 – 22:15 The Glass Menagerie The Coopers Malthouse Brian Lipson/Antechamber Productions A Belvoir production at Malthouse Theatre 20:30 – 00:00 Arts House Party Arts House 20:00 – 21:30 CounterMove Southbank Theatre 23:00 – late Late Night Jams with the Hue Blanes Trio bennetts Lane Jazz Club Sydney Dance Company Melbourne International Jazz Festival 20:00 – 21:50 Prokofiev’s Romeo and Juliet Arts Centre Melbourne Melbourne Symphony Orchestra Saturday 4 June 20:30 – 21:40 MIRA FUCHS Arts House 13:00 – 15:45 The Glass Menagerie The Coopers Malthouse Melanie Jame Wolfe/Savage Amusement A Belvoir production at Malthouse Theatre 20:30 – 22:00 Straight White Men Arts Centre Melbourne 13:30 – 14:40 en route Outside Melbourne Central Melbourne Theatre Company one step at a time like this 20:30 – 22:15 Double Indemnity Arts Centre Melbourne 14:00 – 15:00 Blood on the Dance Floor Arts House Melbourne Theatre Company ILBIJERRI Theatre Company 21:30 – 22:45 Lionel Loueke + the Vampires Bennetts Lane Jazz Club 14:00 – 15:10 The Walking Neighbourhood Arts Centre Melbourne Melbourne International Jazz Festival Lenine Burke 23:00 – late Late Night Jams with the Hue Blanes Trio bennetts Lane Jazz Club 14:00 – 15:30 CounterMove Southbank Theatre Melbourne International Jazz Festival Sydney Dance Company Sunday 5 June 15:30 – 17:00 Edmund. The Beginning Arts House Brian Lipson/Antechamber Productions 10:00 – 11:10 The Walking Neighbourhood Arts Centre Melbourne 15:45 – 16:55 en route Outside Melbourne Central Lenine Burke one step at a time like this 14:00 – 15:10 The Walking Neighbourhood Arts Centre Melbourne 16:00 – 17:30 Straight White Men Arts Centre Melbourne Lenine Burke Melbourne Theatre Company 15:00 – 16:00 Blood on the Dance Floor Arts House 16:00 – 17:45 Double Indemnity Arts Centre Melbourne ILBIJERRI Theatre Company Melbourne Theatre Company 15:00 – 17:00 Jazz High Tea – Chelsea Wilson Arts Centre Melbourne 17:30 – 18:40 MIRA FUCHS Arts House Arts Centre Melbourne Melanie Jame Wolfe/Savage Amusement 16:00 – 17:45 The Magic Hour La Mama Courthouse 19:00 – 20:00 Blood on the Dance Floor Arts House Cicero’s Circle Theatre ILBIJERRI Theatre Company 17:00 – 18:00 L U C I D Chunky Move Studio 19:00 – 20:15 Lionel Loueke + the Vampires Bennetts Lane Jazz Club Chunky Move Melbourne International Jazz Festival 17:00 – 19:45 The Glass Menagerie The Coopers Malthouse 19:30 – 20:30 L U C I D Chunky Move Studio A Belvoir production at Malthouse Theatre Chunky Move 17:30 –18:40 MIRA FUCHS Arts House 19:30 – 20:30 Three Short Works La Mama Melanie Jame Wolfe/Savage Amusement Lloyd Jones 18:00 – 19:10 Resident Alien by Tim Fountain fortyfivedownstairs Saturday 28 May 19:30 – 20:40 Resident Alien by Tim Fountain fortyfivedownstairs Cameron Lukey Presents Cameron Lukey Presents 19:30 – 20:30 Three Short Works La Mama 13:00-15:00 the Pearl Fishers 19:30 – 21:15 The Magic Hour La Mama Courthouse Lloyd Jones Opera Australia at Arts Centre Melbourne Cicero’s Circle Theatre Company 23:00 – late Late Night Jams with the Hue Blanes Trio bennetts Lane Jazz Club Melbourne International Jazz Festival 14:00 – 15:40 brahms’ Fourth Symphony 19:30 – 21:30 Gasworks Circus Showdown Gasworks Arts Park Melbourne Symphony Orchestra at Arts Centre Various Artists Melbourne 16:00 – 17:15 Heart is Racing: The Letter String Quartet Melbourne Recital Centre 18:00 – 21:30 Pasifika Showcase eastbank Centre, Shepparton 19:00 – 20:15 Heart is Racing: The Letter 64 65 String Quartet Melbourne Recital Centre 19:30 – 20:30 l U C I D Chunky Move Studio 19:30-21:45 la Bohème Opera Australia at Arts Centre Melbourne 20:00-21:30 CoutnerMove Sydney Dance Company at Southbank Theatre SPONSOR ACKNOWLEDGEMENTS ISPA CREDITS

2016 Board Officers 2016 Committee Chairs This project has been assisted by the Australian Mary Lou Aleskie, Chair; United States Jeff Daniel, Audit Committee Government through the Australia Council for the Arts, its arts funding and advisory body. Ian Smith, Treasurer; United Kingdom Ken Fischer, Development Committee Maria Claudia Parias, Secretary; Colombia Ian Smith, Finance Committee Anthony Sargent CBE, Past Chair; Canada Chris Lorway, Governance Committee David Baile, ISPA CEO; United States Luiz Coradazzi, Membership Committee Jim Beirne, Nominating Committee 2016 Board Members Tisa Ho, and Piotr Turkiewicz, Program Alicia Adams, United States Committee Hosang Ahn, South Korea Jim Beirne, United Kingdom Staff Tim Brinkman, United Kingdom David Baile Chief Executive Officer Luiz Coradazzi, Brazil Melanie Hopkins Bookkeeper Jeff Daniel, United States Minji Kim Communications and Events Coordinator Rebecca Dawson, United Kingdom Nora Fleury Program and Development Eugene Downes, Ireland Associate Åsa Edgren, Sweden Ann Norris Pattan Manager of Membership Ken Fischer, United States and Events Alison Friedman, China Kaitlyn Jackson Intern Julia Glawe, United States Arts Centre Melbourne extends special thanks to the Playking Foundation for enabling artists and thought leaders Louise Herron, Australia from our region to participate in this event. Tisa Ho, Hong Kong Nina Kaye, United Kingdom

Corporate Sponsors Gaurav Kripalani, Singapore Chris Lorway, Canada Steinunn Birna Ragnarsdóttir, Iceland Simon Reinink, Netherlands Piotr Turkiewicz, Poland Michelle Witt, United States

Venue Partners

66 67 ARTS CENTRE MELBOURNE CREDITS

Victorian Arts Centre Trust Executive Group Mr James MacKenzie (President) Claire Spencer Chief Executive Officer Mr Sandy Clark Deirdre Blythe Chief Financial Officer and Ms Dana Hlavacek Executive, Operations Ms Catherine McClements Sarah Hunt Executive, Development and Audience Engagement Mr Ian Roberts Sonia Lindsay Executive Director, Ms Helen Silver AO Human Resources Mr Graham Smorgon AM Fiona Poletti Executive Director, External Liaison Congress Team Melanie Smith Executive, Performing Arts Michael Stevens Director of Programming; Program Director, Melbourne 2016 ISPA Congress Thank you Tam Nguyen Producer, Melbourne 2016 ISPA Thanks to Robyn Archer AO, Stephen Congress Armstrong, Kate Ben-Tovim, Lee Cumberlidge, Paul Grabowsky AO, Catherine Jones, Matt Kara Ward Senior Producer, Programing Lyndon Jones, Virginia Lovett, Rachael Maza, Melissa Battersby Producer, Programming Simeon Moran, Sarah Neal, Brad Spolding and Trish Carlon Producer, Programming Mary Vallentine AO for their consultation and collaboration. Emma Anderson Production Manager A big thank you to our tireless and Ellena King Marketing Campaign Manager hardworking volunteers. (Tourism & Auxiliary Services) Sara Bergström Manager, Corporate Partnerships Photo credits Chris Clark Manager, Trusts, Foundations and Penny Arcade by Jasmine Hirst Government Grants Iain Grandage by Pia Johnson Cory Parfett Manager, Communications ILBIJERRI Theatre Company Jack Charles V The Crown by Bindi Cole Wendy O’Neill Manager, Access and Community Engagement Nyilipidgi by Tobias Titz (photo from Crossing Roper Bar) Daniel Bese Senior Marketing Campaign Manager Eddie Perfect by Julian Kingma Santee Smith by Nadya Kwandibens Daniel Clarke Programmer, Performing Arts Michael Stevens by Penny Aracde Lucy Day Coordinator, Programming Sydney Dance Company Lux Tenebris by Anneli Dyall Coordinator, Presenter Services Peter Greig Wendy Beveridge Account Manager, Richard Tognetti by Jack Saltmiras Presenter Services Cover image and all REIMAGINING images Sasha Bradbury Account Manager, from Chunky Move’s AORTA (2013) by Jeff Presenter Services Busby Jeremy Vincent Executive Officer

68 What cutting WWhathat cutticuttingng Cover imageedge and all REIMAGININ G imageslooks from Chunky Move’s A ORTlikeA (2013) / Photo by Jeff Busby edgeedge lookslooks likelike

Arts Centre Melbourne, Hamer Hall - Melbourne

ArtsArts CentreCentre Melbourne, Melbourne, Hamer Hamer Hall Hall - -Melbourne Melbourne

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