ANNUAL REPORT 2016

197 Wellington Street, Launceston www.tasdance.com.au [email protected] ABN 66 009 528 081 (03)63316644 OUR 2016 PARTNERS

MAJOR FUNDING PARTNERS

Tasdance is assisted through Arts Tasmania by the Minister for the Arts and by the Australian Government through the Australia Council, its arts funding and advisory body.

FUNDING PARTNERS

SPONSORING PARTNERS

PRESENTING PARTNERS

PHILANTHROPIC PARTNERS

2 CONTENTS

OUR 2016 PARTNERS 2

OUR PEOPLE 4

TASDANCE OVERVIEW 6

CHAIR’S REPORT 7

ACTIVITY SUMMARY 8

ARTISTIC DIRECTOR/CEO REPORT 10

MAINSTAGE PERFORMANCE 12

FESTIVAL PERFORMANCE 14

PROFESSIONAL DEVELOPMENT HUB 16

EDUCATION 21

COMMUNITY ENGAGEMENT 24

OPERATIONAL REPORT 26

2016 STATISTICS 30

Cover image: Tasdance ensemble members Bec Jones and Joshua Thomson perform at Hal’cyon for Dark MOFO. Image: Jodi Grzyb

3 OUR PEOPLE

TASDANCE’S BOARD OF DIRECTORS, STAFF, DANCERS & SUPPORTERS

The 2016 evolve:revolve team: Nick Roux, Alana Everett, Carol Wellman Kelly, Robert Tinning, Bec Jones, Josh Thomson, Sharon Lee, Felicity Bott, Alya Manzart, Gabrielle Nankivell, and Darren Willmott (absent, Liesel Zink). Image: Dermot McElduff

PATRON ARTISTIC ADVISORY

Graeme Murphy AO Marcus Barker Trisha Dunn BOARD OF DIRECTORS Darren Willmott

CHAIR: Prof. Peter Matthews ARTISTIC STAFF SECRETARY: Isabel Kratzing Trisha Dunn ARTISTIC DIRECTOR: Felicity Bott Marcus Barker REHEARSAL DIRECTOR: Carol Wellman Kelly Felicity Bott (ex officio)

4 COMPANY DANCERS MANAGEMENT

Alana Everett CEO: Felicity Bott Bec Jones Alya Manzart GENERAL MANAGER: Joshua Thomson Irenee McCreevey (Jan-Mar) Robert Tinning Peter Matthews (Acting: Apr-Jun) Sharon Lee (Trainee) PRODUCTION MANAGER: Darren Willmott 2016 CREATIVES ADMINISTRATIVE ASSISTANT: CHOREOGRAPHY: Shannon Douglas Liesel Zink Gabrielle Nankivell ACCOUNTS MANAGER: Felicity Bott Jane Murfett (Jan-Mar) SOUND DESIGN: Martin Tunley (Apr-Dec) Mike Willmett Paul Wakelam MARKETING & DEVELOPMENT MANAGER: Nick Roux Jane Forrest (Apr-Jun, Sep-Nov)

LIGHTING DESIGN: Darren Willmott Nick Roux Nicholas Higgins

AUDIO VISUAL: Nicholas Higgins Christopher Jackson

COSTUME: Tracie Lesley Jodi Grzyb Luke Pither

INSTALLATION DESIGN: Tasdance chair, Peter Matthews with Tasdance Legend, Maggie James. Image: Dermot McElduff Nick Roux Paul Wakelam EDUCATION TEAM Luke Pither

PHOTOGRAPHY: Rikki Mace Dermot McElduff Alison Winn Nicholas Higgins Annie Medling Kasmyn Murfett VIDEOGRAPHY: Joshua Thomson Felicity Bott Hutch TV FRIENDS COMMITTEE GRAPHIC DESIGN: Paul Wakelam CHAIR: Glenn Bromfield Kieran Bradley Hayley Crawford DRAMATURGY: Martyn Coutts Carlene Death John Heathcote WEBSITE: Rebecca Skeers Alison Jales Jocelyn Moore

Esther Ross

5 TASDANCE OVERVIEW

TASDANCE PURPOSE GOALS

We collaborate to create new, dynamic 1 - Produce and Broadcast Excellence and diverse contemporary dance, nurture New Works, Professional Public young and emerging dance artists, and Performances & Touring inspire the community to participate in and develop a passion for dance, 2 - Nurture Excellence particularly in regional Australia. Contemporary dance and dance artist development VISION 3 - Pass It On Education & Training !! Appreciated and valued creator of new Australian contemporary dance. 4 - Come Together, Here and Now Community Relationships, Sector !! Nurturer of contemporary dance artists. Partnerships & Audience Development

!! Primary driver and enabler of dance 5 - Effective and Efficient Arts development and participation Management specifically in Tasmania. Sustainability and innovation

!! Dynamic and creative force enriching regional and national audiences and communities.

!! Accomplished, respected and acclaimed touring company.

VALUES

!! Providing growth opportunities and employment for dance artists in regional Australia.

!! Accessibility, originality, diversity, equal opportunities and fair treatment for all.

!! Integrity and excellence in management, governance and financial probity.

Thorn, by Gabrielle Nankivell, evolve:revolve Image: Jane Forrest

6 CHAIR’S REPORT

Over the last couple of years there has been a generational shift at Tasdance, which coincided with major disruptions in state and federal arts funding arrangements. Last year was one of transition for Tasdance, consolidating the invigorating artistic vision of Artistic Director Felicity Bott while adjusting to reduced government support.

In 2016 Tasdance’s total support from government declined by $50,000, which is reflected in our trading loss of $55,084. While disappointed with this financial result, Tasdance is encouraged by the overwhelmingly positive audience and community response to Hal’cyon, Felicity Bott’s first work for the company presented as part of Dark MOFO 2016.

Tasdance has worked very constructively with our major government partners – Arts Tasmania and the Australia Council – to re-set artistic and organisational aspirations to create bold, innovative contemporary dance, to build audiences around Tasmania and beyond, to strengthen our financial resolve and base, and to engage in authentic partnerships with artists, colleague arts organisations, government, philanthropic agencies and the broader community. Tasdance is committed to financial stability through heightened artistic vibrancy.

On behalf of the Board and all involved at Tasdance I extend our thanks and gratitude to AO, who after many years of generous service has stepped down as Patron of Tasdance. Graeme, a native Tasmanian and unquestionably one of the great Australian choreographic voices, noted graciously in his farewell letter to Tasdance:

“My best wishes and admiration for Tasdance is a constant and I will continue to be an ambassador, champion and admirer of the amazing contribution this company has made and the new paths it continues to forge in Australian dance … my heartfelt thanks for the wonderful times past and the glorious times ahead.”

We wish Graeme well in his creative endeavours, which will surely be relished by audiences and artists alike.

As always Tasdance is indebted to the warm and passionate support of the Friends of Tasdance: your hospitality, generosity, and practicality never waivers; our appreciation grows constantly.

Tasdance’s future will not be straightforward, but it will be an adventurous journey, we invite you to join us.

Prof. Peter Matthews Chair, Tasdance - April 2017

7 ACTIVITY SUMMARY

ACTIVITY DATES LOCATIONS PERSONNEL PROJECT PARTNERS ATTENDANCES

Exposure 11-22 January Tasdance Studio Felicity Bott, Gabrielle Nankivell 50 (Professional Development Hub)

evolve:revolve 26-28 May Launceston Carol Wellman Kelly, Liesel Zink, Theatre North, Theatre Royal 788 (Mainstage Gabrielle Nankivell, Alana Everett, Bec Performance) 2-3 June Hobart Jones, Alya Manzart, Joshua Thomson, Robert Tinning, Sharon Lee (Trainee), 15 April Tasdance Studio Nick Roux, Martyn Coutts, Darren 13 May (showings) Willmott, Mike Willmett, Felicity Bott

Hal’cyon 20-21 June Odeon Theatre, Hobart Felicity Bott, Bec Jones, Joshua Dark MOFO 850 (Festival Thomson, Darren Willmott, Nick Performance) Higgins, Jody Gryzb, Luke Pither, Paul Wakelam

Twisting for Peace July Northern Suburbs Felicity Bott, Bec Jones, Joshua Tasmanian Community Fund, 280 (Community Community Centres, Thomson Northern Suburbs Community Engagement) Mowbray & Rocherlea Centre, Tamar Valley Peace Festival

Australian Dance September State Theatre Centre, Robert Tinning, Felicity Bott , 540 Awards (Mainstage Western Australia Ausdance National Performance)

8 TRIO Residencies 1-20 August Tasdance Studio James Batchelor 65 (Professional Development Hub) 9-16 October Annette Carmichael

10 November Luke Jaaniste

TRIP Residencies 12-25 Tasdance Studio Isabella Stone 25 (Professional November Development Hub)

MEDAL Program Throughout East Tamar Primary Rikki Mace WD Booth Charitable Trust 9,000 (Education) the year School

Educational Throughout Ogilvie High School, Felicity Bott, Bec Jones, Josh Thomson, Launceston City Council, WD 450 workshops and the year Rosny College, Newstead Sharon Lee (trainee) Booth Charitable Trust residencies College, Scotch (Education) Oakburn, Queechy High School, St Brendan Shaw, West Launceston Primary School, Lorinna Home School Community

Relax The Chimp 8-10 Princes Square, Felicity Bott, Bec Jones, Joshua Junction Arts Festival, 1,564 (Lton) (Festival September Launceston, Salamanca, Thomson, Darren Willmott, Paul Salamanca Moves, University Performance) Hobart Wakelam, UTAS students and staff of Tasmania 388 27 Sept-1Oct UTAS, Inveresk (Hobart)

Tasdance Studio 4 terms, Tasdance Studio Felicity Bott, Rikki Mace, Alison Winn, Theatre North 3,070 Classes(Education) weekly Annie Medling, Kasmyn Murfett

9 ARTISTIC DIRECTOR/CEO REPORT

In 2016, the scope and variety of artistic programming reflected the company’s changing guard.

Taken together, the year’s activities enabled my learning about the internal workings of Tasdance, the company’s rich history and the layers of the company’s present-day operating context, both state-wide and nationally. Tasdance delivered activities for mainstage performance, festivals, communities, arts education settings as well as continuing as a national professional development hub. As indicated throughout this Annual Report, the year held challenges both financially and in establishing operational equilibrium appropriate for a new era. However, in terms of artistic output, we held steady. Herein, our stories, images and statistics evidence an active year, with some moves bold and others quiet, more nuanced.

Both 2015 and 2016 were years illustrative of how competitive the arts funding environment can be and Tasdance was affected by these external shifts. 2016 was the first year of reduced funding from the Tasmanian government, a decision taken in September 2015. Commencing as Artistic Director/CEO in late October 2015, my first task was to apply to secure four-year federal funding from the Australia Council for the Arts for the years 2017- 2020 in the highly competitive environment of a national funding landscape in flux. In May of 2016 we heard that our place in national professional contemporary dance had been endorsed. Further, we received an annual increase of $25,000. In 2016 however, this increase had not yet taken effect. 2016 was a year of significantly less government funding for the company.

Also across recent years we have been noticing trends in mainstage audience numbers that cannot be ignored. Recent major seasons have seen lower audience numbers. Mainstage seasons such as Affinity (2015), which featured celebrated artists Graeme Murphy and Stephanie Lake with full accompaniment of the TSO, had lower ticket sales than expected. In 2016 this continued with evolve:revolve, the mainstage season at Felicity Bott at Relax The Chimp, Junction Arts Festival Theatre North and Theatre Royal Image: Dermot McElduff in May/June.

2016 saw us commence a formal audience review process which included a stakeholder survey and analysis of the Affinity and evolve:revolve seasons. Above all though, we started on the task of finding models of making and delivering that artists can’t resist, that are of our times and that compel our community. Hal’cyon and Relax the Chimp were steps in this direction and community responses attest to this.

10

Radiating outwards from our base in Launceston to serve the whole of the state is important. We did more of this in 2016. Via presenting at festivals in the north and south: Dark Mofo (Hobart), Tamar Valley Peace Festival (Launceston), Junction Arts Festival (Launceston), and Salamanca Moves (Hobart), we laid groundwork for increasing the scope of our geographical reach within the state in years ahead. We also remained connected to the big island, travelling as far as Western Australia to perform in Felicity Bott in Hal’cyon, Dark MOFO 2016 the Australian Dance Awards in Image: Charles Chadwick September. This was a first for Tasdance since the awards’ inception. Also, we remained abreast of national matters through advocacy and development activities along with actively seeking touring opportunities for our works in repertoire via the Australian Performing Arts Market (Brisbane), Showcase (Regional Victoria) and the National Touring Selector (SA).

A final reflection: The ephemeral nature of the self is paralleled by the body’s ephemerality. Contemporary dance artists know and love this simple fact. In myriad ways, throughout 2016, Tasdance brought this artistic knowledge to the Tasmanian community by resourcing artists’ pathways and supporting their endeavours. We commissioned new work from leading choreographers and nurtured the ideas of emerging ones. We hosted undergraduates as secondments and offered post graduates tailored mentorship. We went to communities to introduce ourselves and we enlivened festivals up and down the state, dancing to reflect and dancing with abandon. I want to sincerely thank the choreographers, company dancers, designers, teachers, staff, board members, Tasdance Friends, our families, funding partners, sponsors and philanthropic organisations who enabled the achievements of 2016. With great respect, I acknowledge how crucial is the interaction and cooperation between all of these parties to the creation of our present and future.

2016 told us stories of our need to become different, to be nimble, to connect. As a contemporary artist, I can’t help but feel excited about this.

Felicity Bott Tasdance Artistic Director

11 MAINSTAGE PERFORMANCE

EVOLVE : REVOLVE evolve:revolve, Tasdance’s mainstage season for 2016, was a double bill, presented in Launceston at the Earl Arts Centre and Hobart at Theatre Royal. This intrastate tour was a credit to the artistic and production team.

Plain English put a microscope on the way Australian politicians speak; the tactics and techniques they use to communicate to the public via the 24 hour news cycle. The work was warmly received by all audience demographics, from long time contemporary dance supporters to teachers and students.

Thorn, part system and part science-fiction, created an evolving landscape for a brave new world. Drawing a wavering line between reality and fantasy, the work is a small study of humans, nature and human nature. Thorn proved challenging for Tasmanian audiences and has great potential for future development in larger markets.

An elite level of creative and contrasting content was professionally delivered by choreographers Gabrielle Nankivell and Liesel Zink. Both works were consistently well performed by dancers, Joshua Thomson, Robert Tinning, Bec Jones, Alana Everett and Alya Mazart. The ensemble was very ably supported by Rehearsal Director Carol Wellman Kelly and Darren Willmott; Production Manager, Stage Manager and Lighting Designer.

Both Plain English and Thorn are now part of Tasdance’s mainstage repertoire available for touring, along with Stephanie Lake’s The Howl and 2017’s Fragile Matter.

“What is impressive is the focus and range of these dancers. With two such different works, this little company certainly punches well above its weight.” Lesley Graham – reviewer

Gabrielle Nankivell’s Thorn, evolve:revolve. Image: Nicholas Higgins

12

Liesel Zink’s Plain English, evolve:revolve Performers: Joshua Thomson, Robert Tinning, Bec Jones, Alana Everett, Alya Manzart Image: Nicholas Higgins

AUSTRALIAN DANCE AWARDS

On September 18th Tasdance performed for the first time at the Australian Dance Awards held at the State Theatre Centre of Western Australia in the exceptional Heath Ledger Theatre. The annual Australian Dance Awards recognise and honour professional Australian dance artists who have made an outstanding contribution to Australian dance. An excerpt of Plain English performed by Robert Tinning was very well received at the commencement of the second half of this auspicious national celebration of dance.

Robert Tinning performs a solo from Liesel Zink’s Plain English Image: Nicholas Higgins

13 FESTIVAL PERFORMANCE

HAL’CYON In collaboration with Tasdance, creative Hal’cyon was performed as part of Dark duo pither&gryzb created ‘The Lookout’, a Mofo 2016 across the night of the winter work which, in essence is a broad cloaking solstice, representing a vital new of an audience or group, an offering of contemporary performance foray by sensuality via blanketing, caping, holding Tasdance and a work of impact for and cloaking, unifying a body of people audiences. operating in some form of specific role or function – in our case, the audience.

The performance was a great success with over 800 people through the doors throughout the night and over 40 performers sharing the solo. Professional dancers Bec Jones, Joshua Thomson and Felicity Bott were joined by dancers from around Tasmania and Australia, including local dance companies and schools, such as Second Echo, Drill, Ogilvie High School, and even audience members who felt themselves drawn into the work. The audiences responded well, enjoying the experience of being cloaked and Hal’cyon at the Odeon Theatre, Dark MOFO particularly the opportunity to wander in Image: Felicity Bott and out at their leisure. A good number This 15-hour dance performance came more than once through the night installation of sustained beauty and with many reporting staying longer than intensity featured a single performer they had planned. nesting on an ocean of sound, light, and imagery. The solo was comprised of “… the experience was very moving, deeply atmospheric, the dance, design, costuming dancers of all ages and ability, passing the and soundscape all contributing to its success. dance between them in a rite of passage So much so that after a few hours the dancer balanced on the fulcrum of the year. within me could no longer sit and I also Those waiting to dance and those participated in the experience performing on watching were able to move in and out at four occasions.” Trisha Dunn, audience their own will, attending the nesting member and Tasdance Board Member dancer as accoutre voyeurs marking time “I went fully expecting to stay about 20 and space between dusk and dawn, as if minutes. I ended up staying until it wrapped up keeping vigil through a storm. as I was enchanted by the performance, the space and the staging.” Steve Kyne – Acting Sound and installation was by Paul Director, Arts Tasmania Wakelam of A Workshop, assisted by Luke Pither, with lighting and imagery by “I opted for the 5am Hal'cyon slot, as I was Nicholas Higgins of Cape Studios. interested to see how my body would respond to the challenge of dancing under exhaustion, and lucky for me I found the outcome to be very rewarding.” Jessica Bicanski, community dance.

14

RELAX THE CHIMP

JUNCTION ARTS FESTIVAL

Relax The Chimp premiered at Junction Arts Festival in September for three nights, in Launceston’s iconic Princes Square. Tasdance Studio Classes students, Stompin company members, University of Tasmania performing arts students were invited to perform at the event and provided inspiration for Junction festival goers, especially children and young people, who couldn’t wait to get on the dance floor. Over the three nights, over 1,500 people came through Princes Square and watched or participated in the Relax The Chimp dance party.

The Launceston community enjoys Relax The Chimp at Junction Arts Festival SALAMANCA MOVES Image: Mel de Ruyter Highlighting Relax The Chimp’s Relax The Chimp is an outdoor community adaptability as a live and interactive dance event where both trained and festival event, it was featured also within untrained bodies are invited to play and the Salamanca Moves contemporary get physical dancing with their own larger dance festival in late September. than life screen-based avatars. Following three days of masterclasses and Relax The Chimp was developed during a late night experimental DJ/VJ session, an eight week residency at the University with participants from around the country, of Tasmania, Tasmanian College of the Relax The Chimp was relished by Arts (TCoTA), with TCoTA’s theatre students professional and recreational taking an active role in the exploration contemporary dance enthusiasts at the and creation of the event. Festival Hub closing night party in Salamanca Square. The technology behind Relax the Chimp is a tailored application of the Isadora® Software, which is designed to detect cues from your body and movements and relay them in a larger than life form on the big screen.

Audiences were invited to let their inner dancer free in an environment where there is no right or wrong, nor any limits on age, ability or style.

“The Chimp” in need of relaxation at Junction Arts Festival. Image: Dermot McElduff

15 PROFESSIONAL DEVELOPMENT HUB

EXPOSURE 2016

During January, Tasdance successfully presented Exposure, our annual summer intensive that offers professional development for aspiring dancers. In 2016, Week 1 was led by Artistic Director Felicity Bott and Week 2 by guest artist and mentor Gabrielle Nankivell. Nine emerging and pre-professional dancers took part, responding that they garnered valuable professional and artistic insights:

“It was enriching to have the whole week “Such an amazing week, I loved being to discuss the experience of being a surrounded by such passionate people dancer in a very human and personal and developing my choreography was way” very valuable”

“I enjoyed the opportunity to work “I really enjoyed the diversity of skills we intensively on creative process and were able to learn and practice in the one working towards a finished product – week… not only dance but writing, lighting something to take away from the week” and film” Rhys Ryan Katie Douglas

Exposure 2016 participants; Gabby Martin, Luke Fryer, Lauren Stanley, Katie Douglas and Sharon Lee Image Felicity Bott

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RESIDENCIES

Tasdance residencies offer an exciting opportunity for professional dance artists and choreographers Australia-wide, for both project-based and research-based residencies. In 2016, Tasdance hosted four artists-in-residence throughout the year. Artists have use of the Tasdance Studio and stay on-site in the Tasdance Cottage, which provides space and time for reflection, invigoration, collaboration and response.

Coupled with each residency is a public showing or workshop, where members of the community are invited to experience the work in development, and provide feedback to the artist.

From the immediate source of the body JAMES BATCHELOR through to visual and sonic translations, Deepspace examines the processes of In August, Tasdance welcomed James searching for, collecting and ordering Batchelor and collaborators for a information that we use to understand the residency for the development of universe. It proposes a fluid and uncertain Deepspace, a new contemporary dance space, in which conventions and symbols performance combining movement sound are deconstructed. The known once and installation. In January 2016 James again becomes unknown. and collaborator Annalise Rees were part of a two-month expedition to the Heard Since the residency, Deepspace has gone and McDonald Islands in the Southern on to be featured at Salamanca Moves in Ocean on the Marine National Facility’s September 2016, MONA in November 2016 Investigator. and Dance Massive in March 2017.

James Batchelor’s Deepspace performance at Science Week in Hobart immediately following his residency

17 ANNETTE CARMICHAEL LUKE JAANISTE

Annette Carmichael spent a week in residence at Tasdance researching and developing ideas for a new community dance project called The Beauty Index. The Beauty Index is a collaboration with men from the Great Southern region to develop a site-specific dance performance that will investigate the experience of beauty within a world dominated by unpredictable violence and acts of terrorism.

During her week in the studio, Annette worked with 250 egg shells flown from A visual representation of the sound and music Western Australia to investigate patterns of workshop led by Luke Janiste. repetition, visual balance and disharmony. Drawing by Paul Wakelam These egg shells were an important part of a previous community work called The During a working trip to Tasmania late in Creation of Now. Carried by seven 2016, Luke Jaaniste brought his performers, these eggs have already had considerable explorations within the realm extensive performance time. of immersive sound to the Tasdance studio. A day of ‘swimming’ in aural The Beauty Index project was launched to ephemera was provided by Luke for artists the public in December 2016 and will Isabella Stone (Tasdance TRIP resident) feature in Denmark Arts Brave New Works Caitlin Comerford (Stompin Artistic Festival in 2017. Director) Felicity Bott and Paul Wakelam (architect, sound and set installation designer for Hal’cyon).

In surround-sound settings, the palpable vibrational qualities of sound were experienced through immersive whole- body listening and moving. The sound aesthetic had profound power, triggering a range of responses in the participating creatives. The lucid discussion around the sessions was another valuable feature of this masterclass experience.

Tasdance looks forward to further experiences both with and from Luke as

his practice continues to radiate further Annette Carmichael in development for and further from his Brisbane base. The Beauty Index Image: Felicity Bott

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Isabella presented a solo studio showing of ISABELLA STONE ideas worked on during the residency that were subsequently developed with a large In November, emerging choreographer, ensemble as part of Tasdance’s Brew in Isabella Stone completed a week-long early 2017. residency at Tasdance. Isabella’s focus lies in the body’s ability to become a vessel of emotion, a container that holds endless stories that can be shared via nuanced physicality in performance. The residency offered Isabella a chance to further develop her choreography. During the residency Isabella focused on human interactions, the simplicity (or lack of) of living, the simple routines and seemingly mundane events, drawing attention to the way in which we relate and exist with each other, at the same time providing space in the choreographic structure for people to imagine and reflect on their Isabella Stone during her residency own state of being. Image: Felicity Bott

EXTEND MENTORING AND SECONDMENT PROGRAM

Furthering the company’s role in nurturing future talent, Tasdance offered twelve secondment placements throughout the development and performance period of evolve:revolve, Secondees Sarah Mealor, Paul Walker, Madalene Maceau, Viola Iida, Isaac Di Natale, Cazna Brass, Marcus Alessandrini, Marlo Benjamin, Tra Mi Dinh, Jack Ryan, Sophia- Rose Berini and Sharon Lee all spent time with the Company.

Secondments provide participants a very real experience of the dance industry. Joining the company for daily class, followed by a full day of rehearsals, the young dancers are exposed to the demands of the profession. For Tasdance, the week is an opportunity for Artistic Director, Felicity Bott, to assess potential company dancers for future projects, and witness firsthand whether these young dancers would be an appropriate fit within the ensemble.

Secondee Sharon Lee joined the Company for an extended period of time, as a trainee dancer for evolve:revolve, understudying the Company dancers and working with Felicity Bott to deliver schools dance workshops.

Trainee dancer Sharon Lee and Company dancer Bec Jones in company class Image: Dermot McElduff

19 STUDIO SHOWINGS

Throughout the year, Tasdance opens up the dance studio for public showings of work in development. This provides valuable feedback for choreographers, dancers and artists in residence on their works in development, and a performance opportunity for Exposure participants.

We would like to acknowledge the Tasdance Friends who are strong supporters of the studio showings, providing catering and staff which make these events a success.

2016 STUDIO SHOWINGS Hal’cyon Week 1 Exposure Participatory workshop/showing th Friday 15 January Thursday 16th June

Week 2 Exposure James Batchelor (TRIO Residency) st Thursday 21 January Thursday 18th August evolve:revolve – Plain English Annette Carmichael (TRIP Residency) th Friday 15 April Thursday 13th October evolve: revolve – Thorn Isabella Stone (TRIP Residency) th Friday 13 May Friday 25th November

Hal’cyon paticipatory workshop and Tasdance studio showing Image Nicholas Higgins

20 EDUCATION

TASDANCE STUDIO CLASSES (TSC)

Square. The TSC dancers helped to create a great atmosphere in the square and were superb in promoting the great work Tasdance does.

An important focus of the classes is to give students comprehensive tuition and experience in dance, with a strong emphasis on the developmental process, creative expression, and finding the joy in dance.

The year culminated in a Christmas barbecue and a performance at the Princess Theatre, with just under 200 parents, friends and supporters in attendance. This is the first time the TSC has performed at the Princess Theatre

Hip-Hop students perform at the TSC end of made possible by the support of Theatre year showcase. Image: Dermot McElduff North.

The Tasdance Studio offered a total of 1,800 classes in 2016, resulting in total attendances of 3,070 students from ages 5 -50+. This is a significant increase from 2015 due to an increase in the number of classes offered each week – up to 12. Classes included Contemporary Dance, Hip-Hop and Street Dance Jam and Dance+ Discovery with teachers Rikki Mace, Annie Medling, Felicity Bott and Kasmyn Murfett. Ensemble dancers Robert Tinning, Joshua Thomson and Alya Manzart also worked with the Boys Only class as teachers and mentors. New for 2016 was the inclusion of children and adult ballet classes, taught by highly experienced dance educator Alison Winn.

In September, the TSC students took part in Relax The Chimp at Junction Arts Festival. Each class prepared a piece based around the music that ‘triggers their inner dancer’, and performed in front of the Ballet students perform at the TSC end of year Relax The Chimp big screen in Princes showcase. Image: Dermot McElduff

21 MOVEMENT EXPERIENCE SUPPORTING DANCE AND LITERACY (MEDAL) PROGRAM

MEDAL in 2016 continued strongly and built on the ground-work laid in 2015. Rikki FLASH CARD DANCE PILOT Mace taught the program at East Tamar Primary School throughout the year - all In late June, Tasdance held the first pilot of students from the school attending over Flash Card Dance during a residency at two half-days each week. West Launceston Primary School. The workshops are launched from a simple The dedication and talent of teacher, Rikki education resource consisting of 3-4 sets Mace is a key part of the project’s of different kinds of 'flash cards', an ongoing success. Her workshop content integrated set of visual stimuli that includes and delivery style foster a rapport with words, symbols, graphics and drawings. students that encourages creativity and The education objectives are to blend agency. literacy and movement in ways At the end of 2016, Tasdance was pleased meaningful to students. In 2016 the to present a free dance tuition prize to drawings were created by award winning Jessica Lane of East Tamar Primary, in based choreographer and acknowledgement of her enthusiasm and visual artist Antony Hamilton commitment throughout her participation Over 180 students from early and middle in the MEDAL dance program. primary school participated in the pilot

program, participating in workshops with Felicity Bott, Bec Jones and Joshua Thomson. Following the workshops, the students worked with their class teachers on some artwork and writing in response to their experience.

Students at West Launceston Primary School in a Tasdance workshop. Image: Janet Best

Tasdance would also like to acknowledge the support of the WD Booth Charitable Trust for their support of the MEDAL program in 2016. Artwork from a West Launceston Primary student in response to their experience with In 2017 the program will be re-launched as Flash Card Dance Learning Through Dance, which better reflects its educational aspirations and ethos.

22 DANCE WORKSHOPS Feedback from students and teachers was Throughout the year, Tasdance provided overwhelmingly positive, including one a range of workshops to schools around group who made a video of their the State, including seven workshops in experience and shared it on social media. June based on the evolve:revolve mainstage season, a workshop with Tasdance would like to acknowledge the Newstead College’s Early Childhood support of the City of Launceston for their Studies students on 29th June, and a support of this project. dance workshop with St Brendan Shaw College later in the year. COMMUNITY WORKSHOPS

In late September, Felicity Bott met with a large group of families from the isolated community of Lorinna, in Launceston at Sawtooth Gallery to conduct a movement workshop for their home-school families, with both adults and children. The workshop was a great success, with the whole community taking part, and requesting future opportunities. Another example of Tasdance’s commitment to dance enhanced education for those living in remote areas.

Scotch Oakburn College students at an evolve:revolve workshop. Image: Sonya Batten DANCE EDUCATION

EVOLVE:REVOLVE WORKSHOPS DEVELOPMENT

Throughout June, Tasdance company At the end of 2016, Tasdance developed members Bec Jones, Joshua Thomson and a packaged education offering for both Sharon Lee (trainee) along with Artistic primary and secondary schools, featuring Director Felicity Bott, taught contemporary residencies, workshops, performances and dance workshops in secondary schools in teacher professional development related Hobart and Launceston. Learning to Tasdance’s 2017 artistic program. repertoire straight from the recent main Mailed to all schools in the state in stage theatre season, students at November, the offer received a strong Queechy High School, Newstead College, response, with an increased number of Scotch Oakburn College, Rosny College schools bookings for shows, workshops and and Ogilvie High School were exposed residencies directly to professional practice - they rose Further development is planned in 2017 to superbly to the challenge. enable Tasdance to meet this increased The workshops went hand in hand with the demand. evolve:revolve schools performances, ensuring participating students had an authentic experience of the concepts and movements explored in the workshops.

23 COMMUNITY ENGAGEMENT

TWISTING FOR PEACE

Throughout July, Felicity Bott and Tasdance also held open invitation Tasdance company dancers Joshua workshops and events. Thomson and Bec Jones collaborated with Launceston’s Northern Suburbs In total, seven Northern Suburbs groups, Community Centre and the Tamar Valley comprising over 100 individuals took part in Peace Festival on Twisting for Peace. dance workshops and a short film was made titled Twisting for Peace. All The project was originally conceived as a members of the Launceston Northern series of community dance workshops in a Suburbs community were invited to a central location, but after consideration community dance event, to premiere the and consultation with the community film and perform together as part of the groups, it was concluded that Tamar Valley Peace Festival. This project participants’ confidence would be greatly enabled people of Launceston’s Northern enhanced through workshops in their own Suburbs to come together, celebrate both spaces. Over the project, guided by their diversity and togetherness and Tasdance dance artists, participants explore the concept of peace within their gradually become more confident in community dancing, expressing themselves and sharing their cultural stories.

Felicity Bott with the Make Time to Play group Image: Joshua Thomson

24 SOCIAL ENGAGEMENT THROUGH PROFESSIONAL WORK

Tasdance brings professional contemporary dance artists and their craft into relationship with communities, audiences and industry partners. 2016 saw Tasdance's resonant cultural profile and community connections reinvigorated in a variety of projects and activities.

Via our website, email and community liaison, projects such as Hal'cyon and Relax the Chimp had considerable community invitation processes. These extended to both the North and South of the state and beyond Tasmania. In the case of Dark MOFO, participation from outside the state was successfully encouraged.

HAL'CYON

The six community workshops and information sessions that prepared community dancers to perform at at Dark MOFO in Hal'cyon took place as follows:

Launceston: 1. For Tasdance Friends, Stompin dancers and interested others - June 10 2. For Tasdance Studio Classes Open Adults and Youth - June 16

Hobart: 3. Workshop with dance ensemble Second Echo - June 1 4. Short information and invitation session with Drill company members - June 1 5. Community Workshop #1 for youth and mature dancers at Ogilive High School - June 17 6. Community Workshop #2 for youth and mature dancers at Ogilive High School - Tasdance Studio Classes students perform at June 18 Relax The Chimp. Image Dermot McElduff

STUDIO SHOWINGS RELAX THE CHIMP The Tasdance Studio showings are an Participation in this project was actively accessible way for community members encouraged from University of Tasmania and new audiences to connect with us. student and staff communities, Hobart Throughout 2016 the eight studio showings dance groups and Launceston private enabled access to works-in-progress by dance schools. This built community both the company and our artists in investment in the Junction Arts Festival residence. This valuable point of interface event and also awareness of the with the company seeds knowledge and company and our commitment to positive relationships locally, as well as communities in Tasmania. back in the communities our associated artists hail from.

25 OPERATIONAL REPORT

Significant personnel changes and shifts in the external funding environment requiring organisational stabilisation made 2016 a challenging year for Tasdance.

2016 was the first year of a new funding agreement with the Tasmanian government of $1m over four years, a reduction of $50,000 per year on previous levels.

Consolidation of Australia Council policy was welcomed, and Tasdance was pleased to be advised of our successful application for multi-year funding of $600,000 over 4 years for 2017- 2020. Once funding was confirmed, a recovery and revitalisation strategy commenced in the second half of the year and will continue throughout 2017-18.

OTHER FUNDING AND FINANCE PHILANTHROPIC SUPPORT Tasdance recorded an operating deficit In 2016, Tasdance received the support of of $55,084 in the twelve months to 31 the WD Booth Charitable Trust for the December 2016. MEDAL program, the Tasmanian There were a number of contributing Community Fund for the Twisting for Peace factors to this disappointing result: a net project and the City of Launceston for the reduction in government funding of Education Workshops program. $50,000, lower than anticipated box-office Philanthropic support is an important for evolve:revolve, a net loss for TSC, and factor in ensuring Tasdance can reach as less than expected sponsorship and many Tasmanians as possible with our fundraising. programs. Subsequent to the 2016 AGM in March and following a number of staff and board resignations, Tasdance undertook a CORPORATE SPONSORSHIP thorough review of its 2016 budget.

After a drop in corporate sponsorship over Stronger financial controls and monitoring recent years, in 2016 Tasdance conducted were implemented, and a recovery a full review of our sponsorship practices strategy was developed which focuses on: and offerings. Strengthening internal financial Some areas for improvement were governance by: identified and a sponsorship development •! Developing a merit based board strategy for the next two years was with financial literacy. created. As part of this strategy, we •! Improved financial reporting to moved to a tiered sponsorship model for board, with a new dashboard 2017, ensuring efficient administration and reporting system. management of sponsors, and ensuring •! Establishment of a finance and sponsors receive appropriate benefits for audit committee (2017) their contributions.

26 Consolidating our underlying financial Production Manager, Darren Wilmott position by: provided outstanding support for visiting choreographers and the ensemble •! Working towards a target of throughout the year. $200,000 reserves by the end of 2018. For a total of 20 weeks, Tasdance had •! Once reserves target achieved, ensemble dancers on contract. This establishing a creative included 13 weeks encompassing the development fund for investment evolve:revolve season for Alya Manzart, in creative work. Alana Everett, Bec Jones, Joshua Thomson, Robert Tinning and Sharon Lee Tasdance will broaden its income base for (trainee), supported by Rehearsal Director future program expansion through pursuit Carol Wellman Kelly, and a further six and of additional multi-source funding, both seven weeks for Joshua Thomson and Bec project and recurrent. Jones respectively for the Twisting For Peace project, Hal’cyon at Dark Mofo, Overall, Tasdance’s financial budgeting, Relax The Chimp Launceston and Hobart, monitoring and reporting has shown Flash Card Dance pliot and a series of considerable improvement and financial other educational activities. management is now more stable and predictable. Led by Felicity Bott, TSC teachers Rikki Mace, Alison Winn and Annie Medling STAFF were engaged during school terms throughout the year, delivering Tasdance The start of 2016 saw significant staffing Studio Classes and the MEDAL program. changes. New Administrative Assistant, Shannon Douglas commenced in March and a new CPA qualified Accounts Manager, Martin Tunley also commenced early in the year.

General Manager, Irenee McCreevey resigned in April. Tasdance opted to not immediately appoint a replacement, while undertaking a broader organisational review. The General Manager duties were shared by Felicity Bott, Peter Matthews and arts consultant, Jane Forrest who was engaged on a number of occasions throughout the year to manage vital operational tasks including marketing, development and funding acquittals.

In response to the increased uncertainty in government funding, the review concluded that Tasdance, like other dance companies, should have a small core staff, with the balance of creative, Tasdance Studio Classes Dance + Discovery production and administrative as contract class performing at the end of year showcase employees. This arrangement will take full at the Princess Theatre effect in early 2017 when a General Image: Dermot McElduff Manager will be recruited.

27 DEVELOPMENT SURVEY

Felicity Bott attended Showcase Victoria In August, we conducted a survey – the on May 17th to present three works: The first step in a detailed analysis of our Howl, Thorn and Plain English. Presenters audience, markets and effectiveness in preferences at the pitch informed the line with our strategic plan. The survey was selection for a new double bill entitled designed to find out how people perceive Body on the Line which was subsequently Tasdance as a company, perceive the developed for presentation to touring work we create and want to be involved selectors nationally. with Tasdance in the future. In total, 131 responses were received. Tasdance Chair, Peter Matthews represented Tasdance at the Regional Arts A large proportion of the respondents Victoria Forum, which is part of a national were audience members, and a large touring network. The workshop provided proportion of these had seen more than 5 updates on the latest online touring Tasdance performances, demonstrating a system, as well as forums with artists, loyal supporter base. venues and presenters. A large amount of detailed and Peter Matthews also represented constructive feedback received Tasdance at the Annual Australian demonstrated clearly that Tasdance is Performing Arts Centres Association held in high esteem, and that our Conference in Melbourne. The audiences feel a real ownership of the conference provided an overview of company. Most had very strong views national touring and its operational and about what the Company is/should be, policy developments, emphasising and how they see its future. This highlights programming work of First Nations artists the importance of strong stakeholder and organisations. engagement, and consultation when developing Tasdance’s future offerings Felicity Bott was a delegate to the and strategy. Australian Performing Arts Market (APAM) in late February. The feedback includes several potential new opportunities to guide Tasdance’s ADVOCACY AND REPRESENTATION future strategy for audience development.

Felicity Bott attended the National Dance Manager’s Meeting in Perth, WA in September. Discussion was focused on the inherent concerns and realities affecting current professional dance practice in Australia, including discussion about the changes to the national landscape following the Australia Council for the Arts 4 year funding decisions in May 2016.

Felicity Bott also participated in a meeting of key stakeholders of the Tasmanian dance sector at the University of Tasmania to progress a dance curriculum initiative Carol Wellman Kelly leads the ensemble in for the University. company class. Image: Dermot McElduff

28 INFRASTRUCTURE TASDANCE FRIENDS AND LEGENDS

Tasdance’s beautiful building, studio and The Tasdance Friends provided strong gardens received ongoing maintenance support for the dancers and staff. The throughout 2016. Friends’ continued support of studio showings, after-show catering, end of year The Tasdance Friends continue to assist, barbecues and the 2017 Tasdance with garden maintenance managed by Program Launch is highly valued by the Glenn Bromfield, who over the past few company. years has brought the garden back to its former glory. A testament to their hard The Friends group are masters of staff work, the Tasdance garden was a morale, arranging for gift baskets and featured garden as part of Blooming airport pickups and assisting with ushering Tasmania 2016 for the company’s performances. They also maintain the gardens, which over the A large internal painting and plastering last few years have undergone a major project commenced in December, which facelift, and are a beautiful space for our will see the studio ceiling and inside of the people to gather, work and relax in. main building completely repainted and repairs were made to guttering throughout We also appreciate the generous, the year to ensure protection from leaks ongoing support of The Tasdance Legends and water damage. Club, comprising: Esther Ross, Glenn Bromfield, Julie and Graham Turner, Maggie and Dick James, Marjorie Deeth, Elizabeth Daly and Jenny Kinder, who

have all given their time and expertise to Tasdance since 1981.

The beautiful Tasdance gardens provide the backdrop for a range of events, supported by the Tasdance Friends. Image: Dermot McElduff

29 2016 STATISTICS

GOAL 1 – PRODUCE AND BROADCAST EXCELLENCE NEW WORKS, PROFESSIONAL PUBLIC PERFORMANCES & TOURING

MEASURES 2016 2016 DETAILS TARGET RESULT Number of works produced Thorn and presented 6 7 Plain English Hal’cyon, Relax The Chimp for Junction Arts Festival and Salamanca Moves Deep Space The Beauty Index Twisting for Peace Number of Australian Gabrielle Nankivell Choreographers engaged 5 4 Liesel Zink Felicity Bott Annette Carmichael Number of young and James Batchelor emerging choreographers 3 3 Isabella Stone supported Joshua Thomson Number of opportunities for Dancer-led Company class company members to 22 50 Hal’cyon community workshops teach, choreograph and Primary Schools residencies act as mentors Secondary schools workshops Twisting for Peace project Intrastate, interstate and evolve ; revolve international touring activity 4 3 Hal’cyon Relax The Chimp

Felicity Bott at Relax The Chimp for Junction Arts Festival. Image: Dermot McElduff

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GOAL 2 – NURTURE EXCELLENCE CONTEMPORARY DANCE AND DANCE ARTIST DEVELOPMENT

MEASURES 2016 2016 DETAILS TARGET RESULT Number of TRIP / TRIO Luke Janiste residencies 5 4 James Batchelor Isabella Stone Annette Carmichael Alix Reigner (cancelled)

Number of national Australian Dance Awards partnerships and 2 8 Ausdance National collaborations Gabrielle Nankivell (Exposure) Luke Janiste (QLD) James Batchelor (ACT/VIC) Isabella Stone (WA) Annette Carmichael (WA)

Number of groups and Secondments (12) individuals guided, 20 25 UTAS TCoTA students (8) mentored, advised & Residencies (3) assisted Minx Dance Company (1) Stompin (1)

Number of opportunities for Showcase Victoria pitch, National dance advocacy 18 29 Touring Selector panel, National Dance Manager’s meeting, Australian Dance Awards, Twisting for Peace (8 groups), Relax The Chimp (7 opportunities), Schools workshops and residencies (9 school communities)

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GOAL 3 – PASS IT ON EDUCATION AND TRAINING

MEASURES 2016 2016 DETAILS TARGET RESULT School residency and Secondary schools workshops (18) teacher days, community 300 537 Primary schools residencies (6) projects, Tasdance Studio Twisting for Peace project (15) Classes, tertiary dance Relax The Chimp for Junction Arts student programs Festival (17) Relax the Chimp Salamanca Moves (9) Hal’cyon community workshops (12) TSC classes (420) MEDAL (40) Number of pre & post show evolve:revolve schools Q&A (4) talks, studio previews, 2 13 Studio showings (8) workshops, master classes Master class with Luke Jaaniste (1) and lecture series Partnerships that assist Tasmanian Community Fund delivery of education goals 20 20 City of Launceston WD Booth Charitable Trust Junction Arts Festival Salamanca Arts Centre Life without Barriers West Launceston Primary School East Tamar Primary School Ogilvie High School Rosny College Newstead College Scotch Oakburn Queechy High School St Brendan Shaw Lorinna Home School Community Second Echo University of Tasmania WAAPA Queensland University of Technology AC Arts Victorian College of the Arts

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GOAL 4 – COME TOGETHER, HERE AND NOW COMMUNITY RELATIONSHIPS, SECTOR PARTNERSHIPS & AUDIENCE DEVELOPMENT

MEASURES 2016 2016 DETAILS TARGET RESULT All programs and performances Total attendance (‘000) 20 17 throughout the year

Private-giving, philanthropic WD Booth Charitable Trust and corporate support $106 $55 City of Launceston (‘000) Tasmanian Community Fund Corporate sponsorship (including in- kind support $18k) Members (friends database and donors) 3,354 3,170

Partnerships that assist the Northern Suburbs Community Centre delivery of community goals 10 14 Tamar Valley Peace Festival Dark Mofo Junction Arts Festival Salamanca Moves University of Tasmania WD Booth Charitable Trust Tasmanian Community Fund City of Launceston Australian Dance Awards Ausdance National Second Echo Drill Stompin

Media coverage, website, Local newspapers, TV and radio reach social media use, number of 15,172 921,651 Social media reach newsletters E-newsletters Direct mail

APACA, APAM, Showcase Victoria National sales promotion 5 7 pitch, National Touring Selector pitch awarded, Jukstapoz (Greece), Regional Arts Victoria touring workshop, National Dance Manager’s meeting

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GOAL 5 – EFFECTIVE AND EFFICIENT ARTS MANAGEMENT SUSTAINABILITY AND INNOVATION

MEASURES 2016 2016 DETAILS TARGET RESULT Delivery of development This was replaced with undertaking plan strategies 70% n/a and completing a broader organisational review. Delivery of marketing plan Project focused marketing strategies 80% 100% management was commissioned for 2016 and focused on: evolve:revolve, Social media, 2017 program launch, Education and schools offerings, Project based communications, Survey Implementation of priority Sponsorship review, Attention to controls for high risk items on 80% 75% acquittal requirements and relationship risk register building with funding stakeholders, Focus on funding and development opportunities in high demand areas (ie education), Engaging a highly experienced rehearsal director, Project based risk assessments, Review of box office targets and programming strategy, New financial strategy with stretch targets Annual performance Performance Measures for the Artistc planning, including training 100% 70% Director/CEO formulated, AD and development, assessed completed 25% of professional and reported development offered, Comprehensive planning with existing staff, Training and Development opportunities offered to staff throughout the year Staff turnover and organizational restructure affected delivery Annual audit results in an unqualified audit report 100% 100%

Reserves maintained at least 20% annual income 20% 25%

Number of policy and New social media policy developed procedures reviewed 100% 60% Employment processes and procedures reviewed

Number of initiatives to drive Implementation of Xero accounting administrative innovation 3 4 system, Improved financial reporting to board, with a new dashboard reporting system, New board reporting processes, New tiered sponsorship structure and process

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evolve:revolve poster artwork Photography: Dermot McElduff Graphic Design: Paul Wakelam

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