Adelaide Festival Centre Annual Report 2006-07
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Acting with Care: How Actor Practice Is Shaped by Creating Theatre with and for Children – Jennifer Andersen Declaration
Acting with care: How actor practice is shaped by creating theatre with and for children Jennifer Andersen ORCID ID: D-4258-2015 Submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy December 2017 Melbourne Graduate School of Education The University of Melbourne Abstract Research has investigated the backgrounds, dispositions and skills of artists working with children in both school and in out-of-school contexts (Ascenso, 2016; Brown, 2014; Galton, 2008; Jeanneret & Brown, 2013; Pringle, 2002; Pringle, 2009; Rabkin, Reynolds, Hedberg, & Shelby, 2008; Waldorf, 2002). Actors make a significant contribution to this work but few studies focus in depth on how they create theatre with and for children. Incorporating constructivist, phenomenological (Van Manen, 1990) and case study methodologies, this research investigates the practice of nine actors who create theatre with and for children in diverse contexts. Drawing on document analysis, surveys, semi- structured interviews and performance observations, the research explores two key questions: What characterises the practice of actors who create theatre with and for children? and How is actor practice shaped by working with children? This thesis explores actor practice in relation to being, doing, knowing and becoming (Ewing & Smith, 2001). Shaped to be outward facing and ‘pedagogically tactful’ (Van Manen, 2015), actor practice gives emphasis to four key qualities: listening, reciprocating, imagining and empathising. When creating theatre with and for children, pedagogically tactful actors are guided by a sense of care and respect. This thesis adds to the discourse about artists working with children, making actor practice visible and drawing attention to their beliefs, goals, motivations and acting techniques. -
Women and Gender in the Royal Commission Into Aboriginal Deaths in Custody
Missing Subjects: Women and Gender in The Royal Commission Into Aboriginal Deaths in Custody Author Marchetti, Elena Maria Published 2005 Thesis Type Thesis (PhD Doctorate) School School of Criminology and Criminal Justice DOI https://doi.org/10.25904/1912/335 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/366882 Griffith Research Online https://research-repository.griffith.edu.au MISSING SUBJECTS: WOMEN AND GENDER IN THE ROYAL COMMISSION INTO ABORIGINAL DEATHS IN CUSTODY Elena Maria Marchetti BCom LLB (Hons) LLM School of Criminology and Criminal Justice Faculty of Arts Griffith University Submitted in fulfilment of the requirements of the Degree of Doctor of Philosophy May 2005 ABSTRACT Although the Australian Royal Commission into Aboriginal Deaths in Custody (RCIADIC) tabled its National Report over a decade ago, its 339 recommendations are still used to steer Indigenous justice policy. The inquiry is viewed by many policy makers and scholars as an important source of knowledge regarding the post-colonial lives of Indigenous people. It began as an investigation into Indigenous deaths in custody, but its scope was later broadened to encompass a wide range of matters affecting Indigenous Australians. There have been numerous criticisms made about the way the investigation was conducted and about the effectiveness and appropriateness of the recommendations made. Of particular relevance to this thesis are those criticisms that have highlighted the failure of the RCIADIC to consider the problems confronting Indigenous women. It has been claimed that although problems such as family violence and the sexual abuse of Indigenous women by police were acknowledged by both the RCIADIC and other scholars as having a significant impact upon the lives of Indigenous women, the RCIADIC failed to address these and other gender-specific problems. -
Marketing Communications Approval Report - February 2019
MARKETING COMMUNICATIONS APPROVAL REPORT - FEBRUARY 2019 CAMPAIGNS Proposed Budget ID Campaign Title Department Start Date End Date Approval Date Synopsis exGST ($) 18-176 Regional Driver Safety Motor Accident Commission 3/02/2019 2/03/2019 9/01/2019 $190,590 Public education campaign to arrest road trauma experienced in regional South Australia. 18-177 Drug Driving Motor Accident Commission 17/02/2019 27/04/2019 23/01/2019 $259,598 Public education campaign targeting drug driving on South Australian roads. EVALUATIONS Proposed Evaluation Actual Expenditure ID Campaign Title Department Start Date End Date Expenditure Approval Date exGST ($) exGST ($) 18-108 Sydney Roosters (2018) South Australian Tourism Commission 15/05/2018 29/06/2018 25/02/2019 $135,000 $92,775 18-90 Hybrid World Adelaide 2018 Adelaide Film Festival 30/04/2018 27/07/2018 13/02/2019 $349,500 $348,664 18-106 Food and Wine South Australian Tourism Commission 1/07/2018 31/08/2018 21/02/2019 $799,048 $764,278 18-104 2018 Adelaide Fashion Festival Events South Australia 7/08/2018 21/10/2018 10/02/2019 Redacted - Commercial in Confidence 18-129 2018 Credit Union Christmas Pageant South Australian Tourism Commission 14/10/2018 9/11/2018 21/02/2019 $88,000 $75,791 18-118 Short Courses for Anyone and Everyone TAFE SA 1/07/2018 31/12/2018 19/02/2019 Redacted - Commercial in Confidence BRANDING EXEMPTIONS Ministerial Approval ID Entity Department Approval Date Exemption Type Date Nil Sensitive: SA Cabinet - I2 - A1 CAMPAIGN EVALUATION REPORT Campaign: 2018 Adelaide Fashion Festival Department: Events South Australia Campaign Start Date: 07 August 2018 Campaign Completion Date: 21 October 2018 Campaign Total Spend: Redacted - Commercial in Confidence Campaign Approval Date: 30 July 2018 Evaluation Approval Date: 11 February 2019 Evaluation Summary: The campaign was successful, meeting ticket sales (86%) and website visitation (73,450) targets . -
Adelaide Festival Centre Annual Report 2005-06
ADELAIDE FESTIVAL CENTRE ANNUAL REPORT 2005-06 18 September 2006 Adelaide Festival Centre King William Road ADELAIDE SA 5000 GPO Box 1269 ADELAIDE SA 5001 Telephone: (08) 8216 8600 Facsimile: (08) 8212 7849 Website: www.afct.org.au ABN: 90940 220 425 Contents Our Vision: ...........................................................................................................4 Our Mission is to: ..............................................................................................4 Introduction..........................................................................................................5 Highlights of 2005-06......................................................................................6 Chairman’s Report ...........................................................................................7 Chief Executive Officer’s Report ...............................................................9 Adelaide Festival Centre Trust Act 1971.............................................10 Trustees ..............................................................................................................11 The Objectives of Arts SA ..........................................................................12 The Objectives of the Adelaide Festival Centre Trust ..................12 Objective 1.........................................................................................................14 ENGAGE........................................................................................... 14 Education Program (CentrEd)...........................................................................15 -
VIBE ACTIVITIES Issueyears 186 3-4
Years 3-4 Y E A R Name: 3-4 VIBE ACTIVITIES IssueYears 186 3-4 The 2012 Deadlys – Female Artist of the Year page 7 JESS BECK JESSICA MAUBOY FEMALE ARTIST Originally hailing from Mingbool (near Mt Jessica Mauboy first graced Australian Gambier, SA), Jess drifted into singing while television as a shy 16 year old on studying acting at Adelaide University, Australian Idol in 2006. She was runner- OF THE YEAR but she admits music was always her first up that season, but was subsequently love. Jess wanted to be a performer from signed to Sony Music Australia. In an early age. While studying a Bachelor of February 2007 she released her debut Rainmakers with Neil Murray, founder of Creative Arts (Acting) at Flinders University, LP, The Journey, and in 2008, recorded the Warumpi Band. Following her recording Adelaide, she developed an interest in jazz her album Been Waiting which achieved debut on the Paul Kelly single Last Train, and cabaret. She auditioned for a band, double platinum sales, garnered seven Anu’s debut album Stylin’ Up produced which later became the Jess Beck Quartet. ARIA award nominations and produced numerous hit singles including Monkey Jess released her debut album Hometown her first number-one single Burn, as well and the Turtle, Party, Wanem Time and the Dress earlier this year. It is a combination as the album’s other top-10 hits, Because beautiful My Island Home, the song that of jazz, folk and Indie pop. Since then, she and Running Back. In 2010 she released was to become her signature tune. -
Australian Aboriginal Verse 179 Viii Black Words White Page
Australia’s Fourth World Literature i BLACK WORDS WHITE PAGE ABORIGINAL LITERATURE 1929–1988 Australia’s Fourth World Literature iii BLACK WORDS WHITE PAGE ABORIGINAL LITERATURE 1929–1988 Adam Shoemaker THE AUSTRALIAN NATIONAL UNIVERSITY E PRESS iv Black Words White Page E PRESS Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] Web: http://epress.anu.edu.au Previously published by University of Queensland Press Box 42, St Lucia, Queensland 4067, Australia National Library of Australia Cataloguing-in-Publication entry Black Words White Page Shoemaker, Adam, 1957- . Black words white page: Aboriginal literature 1929–1988. New ed. Bibliography. Includes index. ISBN 0 9751229 5 9 ISBN 0 9751229 6 7 (Online) 1. Australian literature – Aboriginal authors – History and criticism. 2. Australian literature – 20th century – History and criticism. I. Title. A820.989915 All rights reserved. You may download, display, print and reproduce this material in unaltered form only (retaining this notice) for your personal, non-commercial use or use within your organization. All electronic versions prepared by UIN, Melbourne Cover design by Brendon McKinley with an illustration by William Sandy, Emu Dreaming at Kanpi, 1989, acrylic on canvas, 122 x 117 cm. The Australian National University Art Collection First edition © 1989 Adam Shoemaker Second edition © 1992 Adam Shoemaker This edition © 2004 Adam Shoemaker Australia’s Fourth World Literature v To Johanna Dykgraaf, for her time and care -
Hop, Skip and Jump: Indigenous Australian Women Performing Within and Against Aboriginalism
JOURNAL OF RESEARCH ONLINE MusicA JOURNAL OF THE MUSIC COUNCIL OF AUSTRALIA Hop, Skip and Jump: Indigenous Australian Women Performing Within and Against Aboriginalism Introduction KATELYN BARNEY was in The University of Queensland library talking to one of the librarians, James, about my PhD research. He asked, ‘So, what are you researching again?’ and I replied, ‘Well, I’m working with Indigenous Australian1 women ■ Aboriginal and Torres Strait Iwho perform contemporary music, you know, popular music singers’. James Islander Studies Unit looked confused, ‘Oh, so are you going to interview that guy from the band The University of Queensland 2 Yothu Yindi ?’ This was not the first time I had been asked this and inwardly I Brisbane sighed and replied, ‘No, I’m just focusing my research on Indigenous Australian QLD 4072 women’. Streit-Warburton’s words immediately reverberated in my mind: ‘Ask Australia an Australian to name an Aboriginal singer and there is a fair chance that the answer will be Yothu Yindi’s Mandawuy Yunupingu. Ask again for the name of an Aboriginal woman singer and there is an overwhelming chance that the answer will be Deafening Silence. Deafening Silence is not the name of a singer; it is the pervasive response to most questions about Aboriginal women.’ (1993: 86). As Email: [email protected] I looked at James, I wondered if anything had really changed in more than 10 years. The account above highlights how Indigenous Australian women performers continue to be silenced in discussions and discourses about Indigenous Australian 3 www.jmro.org.au performance. -
Reclaiming the Kaurna Language: a Long and Lasting Collaboration in an Urban Setting
Vol. 8 (2014), pp. 409-429 http://nflrc.hawaii.edu/ldc/ http://hdl.handle.net/10125/4613 Series: The Role of Linguists in Indigenous Community Language Programs in Australia1 Reclaiming the Kaurna language: a long and lasting collaboration in an urban setting Rob Amery University of Adelaide A long-running collaboration between Kaurna people and linguists in South Australia be- gan in 1989 with a songbook. Following annual community workshops and the estab- lishment of teaching programs, the author embarked on a PhD to research historical sources and an emerging modern language based on these sources. In response to numer- ous requests for names, translations and information, together with Kaurna Elders Lewis O’Brien and Alitya Rigney, the author and others formed Kaurna Warra Pintyandi (KWP) in 2002. It is a monthly forum where researchers, and others interested in Kaurna lan- guage, can meet with Kaurna people to discuss their concerns. KWP, based at the Univer- sity of Adelaide, is not incorporated and attendance of meetings is voluntary. The com- mittee has gained a measure of credibility and respect from the Kaurna community, gov- ernment departments and the public and has recently signed a Memorandum of Under- standing with the University of Adelaide. However, KWP and the author sit, uneasily at times, at the intersection between the University and the community. This paper explores the nature of collaboration between Kaurna people and researchers through KWP in the context of reliance on historical documentation, much of which is open to interpretation. Linguistics provides some of the skills needed for interpretation of source materials. -
THURSDAY 27 – SUNDAY 30 OCT Adelaidefilmfestival.Org @Adlfilmfest #Adlff Thank You
GOES ROGUE THURSDAY 27 – SUNDAY 30 OCT adelaidefilmfestival.org @AdlFilmFest #adlff Thank you Principal Partner Government Partners Major Partners Supporting Partners Ali’s Wedding Ali’s Screen Australia congratulates all those Australian films selected for the Adelaide Film Festival. Stories that stay with you 2 GOES ROGUE For Adelaide Film Festival 2015, we packed eleven October days with The Fund supports feature fiction films and feature documentary premieres, talks, and post-film soirees aplenty. Frankly, the thought projects along with short films, animation, digital and interactive of waiting two more years to do it all again is too much to bear. projects, hybrid reality and moving image works. Say, why not go rogue? In 2016, we’re breaking the biennial cycle to bring a streamlined mini- Thanks to the ADL Film Fest Fund, we’re pleased as punch to present fest to Adelaide’s screens. Featuring brand new Australian titles and three new works, each from the frontlines of thematic, stylistic and an array of retrospective gems, let this four-day fiesta be your screen- technological storytelling. Ali’s Wedding is Australia’s first Muslim based oasis until ADL Film Fest proper returns, full throttle. rom-com, so funny you’ll cry. ADLFF patron David Stratton gives us a sneak peek at his Stories of Australian Cinema. Lynette Wallworth’s ADL Film Fest Fund, rare in the screen landscape and revered radical work Collisions unites the world’s oldest culture with the internationally, forms the backbone of our Rogue program. vanguard of virtual reality tech. So: rogue. Not Nicolas Roeg, whose decisive work Walkabout features in Stratton’s series; nor the neo-Ozploitation creature feature about that ocker-eating croc – though we value the chutzpah of both. -
Families Like Mine
LesbIan, gay, bIsexuaL, IntroductIon gender dIverse young peopLe Glossary resources and references GET SUPPORT questIonIng young peopLe Families like mine A guide for parents and families of young people who are lesbian, gay, bisexual, gender diverse or who are questioning their sexuality or gender identity Lesb Ian, gay, bIsexuaL, IntroductIon g ender dIverse young peopLe Gl ossary r esources and references GET SUPPORT questIonIng young peopLe ACknowLedgements beyondblue would like to thank all individuals who contributed to the development of this guide by providing advice and valuable feedback during the draft review’s, and/or participating in the questionnaire that helped us gain further insight and understanding into individual’s experiences. We recognise the diversity of identity among families living in Australia including families who identify as Aboriginal and Torres Strait Islander, or of migrant or refugee background. We have attempted to be as inclusive of this diversity as possible without referring to specific strengths and concerns of individual cultures or religions. The development of this guide included consultation with blueVoices members, beyondblue’s national reference group for people who have personal experience of anxiety and depression, or support someone who does. Their contributions have been invaluable, including to the Project Advisory Group, which was established to help lead the development of this guide. For more information on blueVoices, visit www.beyondblue.org.au/bluevoices beyondblue thanks our key collaborators on this guide, the National LGBTI Health Alliance and Parents, Families and Friends of Lesbians and Gays (PFLAG) Brisbane, for their invaluable support and advice through their representation in the Project Advisory Group and significant contributions to the writing of the guide. -
1. Law Reform in Australia " ,!
If you have issues viewing or accessing this file contact us at NCJRS.gov. __-------;0------------------ ---- , ,\ The Lc;tw Reform j , This microfiche was produced from documents received for Commission-') inclusion in the NCJRS data base. Since NCJRS cannot exercise corttrol over the physical condition of the documents submitted, ~. ('; the individual frame quality will vary. The resolution chart on this frame may be used to evaluate the d9cument quality. Annual ,Report '" r, 1 ! \ ~ \, 1.0 1111.1 i/'l 111111.25 111111.4 \\\\\1.6 o u.s. Department of Justice 82818 Nat/onallnslltute of Justice MICROCOPY RESOLUTION TEST CHART This document-has been reproduced exa'~tiy is ;eceived from the_ NATIONAL BUREAU Of STANDARDS~1963~A person or organization originating it. Points of View,or opinions stated in Ihis documenlare those of the <luthors and do, not necessarily represent the officiaFjJosilion or policies of the National Institule of Justice. ' ,,: } Permission 10 reproduce this copyrighted material has been 1 granted by , 'j !, Australian Government Publishing Microfilming procedures used to create this fiche comply with , - Service, - ,-, the standards set forth"in 41CFR 101-11.504. ~ to the National Criminal Justice Reference Service (NCJRS). - . Further reproduclfon oUJside of the NCJRS system requires pe/mis- sion of the qopyright owner. \,- ,', "- I . (,,; :) Points of view or opinions stated in this document are '1'· those of the author(s) and do not represent the official ",'" position or policies of the U. S. Department',of Justice. ~ .,..- -' C "",',"O National Institute of Justice o United States Department of Justice qs". .. Washington, D.C. 20531 'z '", . .. ,""',.".',".,'; _ • c:: • 0, - "- ~ *" • o ._---------- ---~ -----~~-------~~ --.---~- - . -
Adelaide Festoval Centre
ADELAIDE FESTIVAL CENTRE ANNUAL REPORT 2011-12 September 2012 Adelaide Festival Centre King William Road ADELAIDE SA 5000 GPO Box 1269 ADELAIDE SA 5001 Telephone: (08) 8216 8600 Facsimile: (08) 8212 7849 Website: www.adelaidefestivalcentre.com.au ABN: 90940 220 425 ISBN: 978-0-9807040-6-8 Contents Introduction ......................................................................................................... 4 Chairman’s Report .............................................................................................. 5 CEO & Artistic Director’s Report ......................................................................... 7 ROLE, PERFORMANCE AND GOVERNANCE ................................. 9 Adelaide Festival Centre Trust Act 1971............................................................. 9 Trustees .............................................................................................................. 9 Risk and Audit Committee ................................................................................ 10 Risk Management ............................................................................................. 10 Remuneration Committee ................................................................................. 10 Precinct Reference Group ................................................................................ 10 The Adelaide Festival Centre Foundation Board .............................................. 10 Organisational Chart ........................................................................................