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Chief Executive's Review
ANNUAL REPORT 2010-2011 Department of the Premier and Cabinet State Administration Centre 200 Victoria Square Adelaide SA 5000 GPO Box 2343 Adelaide SA 5001 ISSN 0816‐0813 For copies of this report please contact Corporate Affairs Branch Services Division Telephone: 61 8 8226 5944 Facsimile: 61 8 8226 0914 . The Hon Mike Rann MP Premier of South Australia 200 Victoria Square ADELAIDE SA 5000 Dear Premier I am pleased to submit to you the Annual Report of the Department of the Premier and Cabinet for the year ended 30 June 2011. The Report has been prepared in accordance with the requirements of the Public Sector Act 2009, the Act’s accompanying regulations, the financial reporting requirements of the Public Finance and Audit Act 1987 and DPC Circular PC013 ‐ Annual Reporting Requirements. It demonstrates the scope of activities undertaken by the Department in meeting our targets for all departmental programs including the South Australia’s Strategic Plan targets for which we have lead agency responsibility. It also provides evidence of our performance in key areas, financial accountabilities and resource management. Yours sincerely Jim Hallion Chief Executive / /2011 Contents Contents ............................................................................................................................................ 2 Chief Executive’s Review................................................................................................................... 4 Our Department............................................................................................................................... -
2008, WDA Global Summit
World Dance Alliance Global Summit 13 – 18 July 2008 Brisbane, Australia Australian Guidebook A4:Aust Guide book 3 5/6/08 17:00 Page 1 THE MARIINSKY BALLET AND HARLEQUIN DANCE FLOORS “From the Eighteenth century When we come to choosing a floor St. Petersburg and the Mariinsky for our dancers, we dare not Ballet have become synonymous compromise: we insist on with the highest standards in Harlequin Studio. Harlequin - classical ballet. Generations of our a dependable company which famous dancers have revealed the shares the high standards of the glory of Russian choreographic art Mariinsky.” to a delighted world. And this proud tradition continues into the Twenty-First century. Call us now for information & sample Harlequin Australasia Pty Ltd P.O.Box 1028, 36A Langston Place, Epping, NSW 1710, Australia Tel: +61 (02) 9869 4566 Fax: +61 (02) 9869 4547 Email: [email protected] THE WORLD DANCES ON HARLEQUIN FLOORS® SYDNEY LONDON LUXEMBOURG LOS ANGELES PHILADELPHIA FORT WORTH Ausdance Queensland and the World Dance Alliance Asia-Pacific in partnership with QUT Creative Industries, QPAC and Ausdance National and in association with the Brisbane Festival 2008 present World Dance Alliance Global Summit Dance Dialogues: Conversations across cultures, artforms and practices Brisbane 13 – 18 July 2008 A Message from the Minister On behalf of our Government I extend a warm Queensland welcome to all our local, national and international participants and guests gathered in Brisbane for the 2008 World Dance Alliance Global Summit. This is a seminal event on Queensland’s cultural calendar. Our Government acknowledges the value that dance, the most physical of the creative forms, plays in communicating humanity’s concerns. -
Newsletter - July 2009
Tanja Liedtke Foundation Newsletter - July 2009. www.tanja-liedtke-foundation.org Australian Dance Awards 2009 Tanja Liedtke’s work construct won two major awards at the Australia In this edition: Dance Awards, held in Melbourne on June 7th 2009 – Outstanding Achievement in Choreography and Outstanding Australian Dance Awards Achievement in Independent Dance. The audience at the 2009 Victorian Arts Centre’s State Theatre celebrated the ongoing success construct on tour of Tanja’s work, and as her partner and creative associate Sol Twelfth Floor on tour Ulbrich, who accepted the awards on Tanja’s behalf, noted, “It’s a ...and more moment to stand and share with everyone in the dance community. A big moment to acknowledge Tanja”. The work received an additional award with Kristina Chan receiving the award for Outstanding Achievement by a female dancer. Kristina and Tanja were friends from 1999 when they both joined the Australian Dance Theatre as young dancers. Since that time, with Tanja as choreographer, they created several works together in collaboration with other artists such as Paul White, who was also nominated for Outstanding Performance by a male dancer in construct. Sol Ulbrich - remount Director, construct, Paul White & Kristina Chan performers, construct. construct on tour On the 17th of June Tanja’s construct began its Australian national tour taking in Canberra, Frankston, Lismore, Caloundra, Toowoomba, Brisbane, Hobart and finishing in Adelaide. This tour is part of the Australia Council’s Mobile States initiative and is produced and managed by Performing Lines. The touring cast consists of original members Kristina Chan and Paul White, who will be joined by Lisa Griffiths in the role that Tanja created for herself when the work premiered in 2007. -
Shaun Parker & Company
Choreographic Workshop 2016 Education Resource Pack PresentedSHAUN by FORM DancePARKER Projects and Shaun & Parker COMPANY & Company Contents 1. Introduction 2. Curriculum links 3. About Shaun Parker & Company 4. About Shaun Parker 5. Introducing the dancers 6. Background on Shaun Parker’s creative process 7. Workshop Descriptions 8. Ideas for further choreographic development 9. Suggestions for discussions 10. Q & A with Shaun Parker 11. Article and Interview with Shaun Parker 12. Special interviews with the Company dancers 13. Copyright and Credits 1. Introduction The Choreographic Workshop provides secondary dance students with the unique opportunity to develop their choreographic skills under the guidance of industry professionals. Led by Artistic Director Shaun Parker and his dancers, the practical workshop introduces choreographic tools and tasks taken from the Company’s production The Yard. Students will experience new ways to generate interesting movement material that can be used for solo, duet and group formations. This process will investigate dramaturgy also. In other words, what can abstract movement say about the human condition? What does the choreography mean? This pack has been designed to provide you with the background information on Shaun Parker & Company and The Yard and will provide an overview of the workshop you will participate in. It will also include additional processes to consider, as well as extra exercises and choreographic ideas that you can work on back at school. 2. Curriculum Links 3. About Shaun Parker & Company Shaun Parker and Company is one of Australia’s leading contemporary dance companies; it is an innovator and pusher of boundaries. Its work takes place on the stages of major international festivals as a result of its artistic and dramaturgical rigour but resonates just as strongly in public spaces, regional Australia and among high school students. -
Sydney Opera House Annual Report 2006-2007
WORLD HERITAGE FOR LIVING PLACE THE WORLD SYDNEY OPERA HOUSE TRUST AnnuaL report 2006-07 Who We Are Key Dates CONTENTS The Hon. Frank Sartor, MP Sydney Opera House is a global One of the most popular visitor 1957 Jørn Utzon wins Sydney Opera House design competition (January) Who We Are 1 Minister for Planning, Minister for Redfern Waterloo landmark, part of our nation’s DNA attractions in Australia, Sydney and Minister for the Arts and provides a central element Opera House sees more than Key Dates 1 1959 Work begins on Stage 1 – building the of the emotional heart of the city 4 million people visiting the site foundations despite Utzon’s protest that Highlights 2006/07 2 Sir, we have the pleasure of presenting the Annual Report of of Sydney. The focal point of our each year. Some 1.2 million people plans were not finalised (March) the Sydney Opera House for the year ended 30 June 2007, for Chairman’s Message 4 magnificent harbour, it is a place attend performances and over 1966 Jørn Utzon resigns (February) presentation to Parliament. This report has been prepared in CEO’s Message 6 of excitement and of warmth, 328,000 people take a guided tour accordance with the provisions of the Annual Reports (Statutory 1973 First guided tours of Sydney Opera House Vision and Goals 8 of welcome and wonder, where to explore the magic inside of one of Bodies) Act 1984 and the Public Finance and Audit Act 1983. ( July) Key Outcomes 2006/07 and art and architecture uniquely the most recognised buildings in the 1973 First performance in Sydney Opera House Objectives 2007/08 9 combine to enchant and enliven world. -
Towards a Cultural Policy for Great Events P
B. García, Towards a Cultural Policy for Great Events p. 148 e) Government joint initiatives The previous points indicate how, up to year 2000, the approach of most Australian government bodies to support the cultural programme was rather vague and limited. To explain this, scholars such as Louw and Turner have pointed out at the conflict that took place in terms of ‘ownership’ of the Games (2000, pers. comm., 25 Aug). The Games had been awarded to the city of Sydney, so they were designed to be the responsibility of the state of NSW, and the federal government was to have only a secondary role in terms of decision-making and resource allowances. According to Louw and Turner, this led not only to a lack of coordination between state and federal bodies, but also to a certain sense of competition among different states which also wanted to benefit from the Games and had priorities and interests differing from the ones in Sydney and NSW. On some occasions, this led to a defensive posture on the part of SOCOG or NSW. This is best exemplified in their relationship with Queensland, a state very proactive and interested in taking part of the Olympic project which was not allowed a degree of participation as high as it would have expected. The low contributions of federal arts funding during the first three years of the Olympiad could also be understood as a measure to avoid conflicts among states. However, in preparation for the Olympic period, local, state and federal bodies joined their efforts in a common initiative that was to be one of the greatest catalysts for the promotion of the OAF. -
Meryl Tankard: an Original Voice
Meryl Tankard: an original voice. A book by Michelle Potter Meryl Tankard is one of Australia’s most original and daring artists—‘a choreographer of zany brilliance’ wrote dance critic Neil Jillett and ‘a woman of total theatre’ according to opera designer and director Stefanos Lazaridis. Meryl Tankard, an original voice traces Tankard’s life from her earliest journeys in the back of an FJ Holden between Darwin and Melbourne to her exploits as an independent choreographer working between Australia and the rest of the world. It examines her career with the Australian Ballet and with Pina Bausch, looks at the companies she has directed in Canberra and Adelaide and explores the nature of her contribution to Australian and international dance. ISBN: 9780646591445 (pbk) 210 pages, includes bibliography and index, unillustrated Published in Canberra, December 2012 Price in Australia: $30 (includes postage and packing). Please enquire for overseas prices and prices for bulk orders before placing a firm order. HOW TO ORDER Please send your order via the contact box on the website http://michellepotter.org. Be sure to include your name and mailing address. Enquiries may also be made via the contact box. When sending your order, please also pay by direct transfer. Bank: St George BSB: 112‒908 Account number: 150829762 Account name: Dr Michelle A Potter ‘Shouts’ from some who have read the book: ‘It has a sense of drama but also balance, and it brings Meryl and her work to life’; ‘The best and most comprehensive study of Tankard I have read’. This is a self-published initiative. -
2001 Annual Report (PDF 918
Arts SA Department of State Aboriginal Affairs Office for the Status of Women Office of Local Government Planning SA Transport SA 2000–01 annual report Level 9 Roma Mitchell House 136 North Terrace ADELAIDE SA 5000 DX407 PO Box 8197, Station Arcade ADELAIDE SA 5000 Telephone: (08) 8204 8200 Facsimile: (08) 8204 8216 www.dtupa.sa.gov.au Department for Transport, Urban Planning and the Arts Annual Report (Print) ISSN 1445-6672 Department for Transport, Urban Planning and the Arts Annual Report (On-line) ISSN 1445-6680 Page 2 Department for Transport, Urban Planning and the Arts Annual Report 2000–01 The Honourable Diana Laidlaw MLC The Honourable Dorothy Kotz MP Minister for Transport and Urban Planning Minister for Local Government Minister for the Arts Minister for Aboriginal Affairs Minister for the Status of Women Level 15 Level 12 30 Wakefield Street Roma Mitchell House ADELAIDE SA 5000 136 North Terrace ADELAIDE SA 5000 Dear Ministers, I am pleased to submit the Department for Transport, Urban Planning and the Arts’ annual report and financial statements for the year ended 30 June 2001. The past year has been an exciting and challenging time for the department as it has continued to embrace the portfolio style of management and Budget and Procurement Reform processes, while continuing with operational business. This would not have been possible without the level of cooperation and collaboration that has occurred within the Department. I wish to acknowledge the many years of valuable service of Mr Rod Payze, the first Chief Executive of the Department, who retired early in the year. -
Brooklyn Academy of Music 1996 Next Wave Festival
I:)AIVIOIII Brooklyn Academy of Music 1996 Next Wave Festival Jim Dine, The Heart of BAM, 1996, Woodcut, 26-1/4" x 19-3/8" Furioso BAM 1996 Next Wave Festival and 135th Anniversary Season are sponsored by Philip Morris Companies Inc. The Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Harvey Lichtenstein President & Executive Producer presents urloso• BAM Opera House October 23, 1996 at 7pm October 24-26 at 8pm Running time: Meryl Tankard Australian Dance Theatre approximately Choreography/Direction Meryl Tankard seventy minutes; Set Design Regis Lansac there will be no Costume Design Meryl Tankard intermission Lighting Design Toby Harding Assistant to the Artistic Director Janet Bradley-Bridgman Music by Arvo Part, Elliot Sharp & Henryk Gorecki Cast Vi ncent Crowley Michelle Ryan Sarah-Jayne Howard Solon Ulbrich Mia Mason Gavin Webber Kate Mcl ntosh Ingrid Weisfelt Shaun Parker Steev Zane Operations Supervisor Heather Clarke Stage Manager Felicitas Willems Costume Construction Judith Meschke Head Electrician Toby Harding Head Mechanist Richard Casley-Smith Special support provided by The Harkness Foundations for Dance. Opening night reception sponsored by Interview Magazine, The Donna Karan Company and The Australian Consulate General. The Brooklyn Academy of Music wishes to thank Theatre Development Fund for its support of the 1996 Next Wave Festival. photo, Regis Lansac Sarah Was Ninety Years Old Arvo Part Recorded by the Hilliard Ensemble Digital Elliot Sharp Recorded by the Kronos Quartet Quasi una Fantasia (second string quartet), Op 64 Henryk Gorecki Recorded by the Kronos Quartet I Largo Sostenuto-Mesto II Deciso-Energico; Furioso, Tranquillo-Mesto III Arioso: Adagio Cantabile IV Allegro-Sempre Con Grande Passione E Molto Marcato V Lento-Tranquillissimo Sarah Was Ninety Years Old Arvo Part Recorded by the Hilliard Ensemble Henryk Gorecki Quasi una Fantasia used by arrangement with Boosey and Hawkes, Inc., publisher and copyright owner. -
Media Release
MEDIA RELEASE AUSTRALIAN DANCE THEATRE TURNS 50 TODAY 10 June 2015: Australian Dance Theatre turns 50 today, making it the oldest contemporary dance company in Australia. Artistic Director Garry Stewart said that the anniversary makes you think about the past, present and future. “Elizabeth Cameron Dalman started the company with an ambitious vision and it’s her legacy that has made such a formidable impact on Australia and the world – it is fitting that she is our 50th anniversary patron. She is remembered jointly with other past Artistic Directors, who with their ensembles have all played a pivotal part in reaching 50,” he said. Australian Dance Theatre was founded by Dr Elizabeth Cameron Dalman OAM in 1965 after she was inspired by her experience in New York and by the Australian environment. It was the first time modern and contemporary dance was taught in Australia. Since then, the Australian Dance Theatre has grown to be one of the most influential dance companies in the country and has been producing consistently great repertoire since it was formed. Under the artistic direction of Garry Stewart since the end of 1999, the Australian Dance Theatre embarked on a remarkably successful artistic trajectory that has distinguished it as a daring, exciting and highly skilled ensemble. The world renowned dance company has a rich history full of wonderful stories and achievements that have lead it to its current world-class status, a dancing phenomenon that continues to push new boundaries across the globe. As a result, they enjoy an enviable national and international reputation, making it Australia’s number one dance ambassador across the globe. -
Directory 2007 2Nd Edition Nd Edition
아시아예술극장 아시아 공연예술 아시아예술극장 아시아 공연예술 Directory 2007 2 Directory Directory 2007 2nd Edition nd Edition 주최: 주관: 110-809 서울시 종로구 동숭동 1-50 보생빌딩 2∙4∙5층 전화 02-745-2052 팩스 02-745-2072 www.gokams.or.kr 아시아예술극장 아시아 공연예술 Directory 2007 2nd Edition CONTENTS 서론 I. 지원단체/협회 II. 축제/아트마켓 III. 공연장 IV. 공연단체 1. 기획의 배경 및 목적 4 호주 Austraila 12 호주 Austraila 56 호주 Austraila 82 1 무용 2. 수록범위 5 방글라데시 Bangladesh 17 방글라데시 Bangladesh 61 방글라데시 Bangladesh 93 호주 Austraila 140 대만 Taiwan 187 3. 조사방법 6 캄보디아 Cambodia 18 캄보디아 Cambodia 62 캄보디아 Cambodia 93 중국 China 143 태국 Thailand 193 4. 디렉토리북의 활용 7 중국 China 20 중국 China 63 중국 China 95 홍콩 Hong Kong 145 베트남 Vietnam 193 홍콩 Hong Kong 26 홍콩 Hong Kong 63 홍콩 Hong Kong 97 인도네시아 Indonesia 146 마카오 Macau 28 마카오 Macau 64 마카오 Macau 99 일본 Japan 147 3. 연극 인도 India 28 인도 India 65 인도 India 99 말레이시아 Malaysia 156 호주 Austraila 194 인도네시아 Indonesia 30 인도네시아 Indonesia 65 인도네시아 Indonesia 101 필리핀 Philippines 157 캄보디아 Cambodia 199 일본 Japan 30 일본 Japan 66 일본 Japan 101 싱가포르 Singapore 159 중국 China 200 라오스 Laos 43 말레이시아 Malaysia 73 말레이시아 Malaysia 127 대만 Taiwan 160 홍콩 Hong Kong 201 말레이시아 Malaysia 43 몽고 Mongolia 74 미얀마 Myanmar 128 베트남 Vietnam 165 인도네시아 Indonesia 202 몽고 Mongolia 44 네팔 Nepal 74 네팔 Nepal 128 일본 Japan 202 미얀마 Myanmar 44 파키스탄 Pakistan 75 파키스탄 Pakistan 128 2. -
Tanja Liedtke Construct APR 2 - 4, 2009 Running Time 60 Minutes
ON THE BOARDS PRESENTS Tanja Liedtke construct APR 2 - 4, 2009 running time 60 minutes Conceived and directed by Tanja Liedtke Choreographed by Tanja Liedtke in collaboration with Kristina Chan & Paul White Creative Coordinator & Remount Director..........Solon Ulbrich Performers..........................................................Kristina Chan, Alessandra Mattana & Paul White Set and Lighting Design.....................................Ben Cobham & Geoff Cobham, Bluebottle Sound Design.....................................................DJ TR!P Dramaturgy consultant......................................Joshua Tyler Photography.......................................................Chris Herzfeld Producer.............................................................Performing Lines Production Manager & Lighting Operator...........Natasha James Stage Manager & Sound Operator.....................Blair Ryan construct was originally developed with funding from the Australia Council for the Arts, Arts SA and the Keir Foundation; with commissioning funds from The Southbank Centre (London) and Tanja Farman (through the National Endowment of Science, Technology and the Arts); and with support from CultureLab City of Melbourne and the Adelaide Festival Centre. A note from Solon Ulbrich, Creative Coordinator for construct It is a true pleasure to bring construct to On the Boards. I am very proud to see Tanja's engaging dance theatre at this adventurous and inspiring venue. construct was Tanja's final work, and all involved cherish this opportunity to share her captivating ideas, clearly expressed in the language of dance. The creative process for this work forged an ongoing creative relationship with the stunning original cast of collaborators you see performing on this tour. I am personally indebted to the dancers for their dedication and commitment to Tanja's vision. My thanks also to Fenn Gordon and Performing Lines, our producers, Lane and all the team at On the Boards, whose tireless ongoing efforts make it possible to share Tanja's work with you.