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Arts & Culture Plan South Australia 2019
Arts & Culture Plan South Australia 2019 - 2024 1 To Dream To Explore To Create Acknowledgment of Country Aboriginal and Torres Strait Islander people have made and continue to make a unique and irreplaceable contribution to Australia. The South Australian Government acknowledges and respects Aboriginal people as the state’s first people and nations, and recognises Aboriginal people as traditional owners and occupants of South Australian land and waters. The South Australian Government acknowledges that the spiritual, social, cultural and economic practices of Aboriginal people come from their traditional lands and waters, and that Aboriginal people maintain cultural and heritage beliefs, languages and laws which are of ongoing importance today. Front cover Production: mi:wi Organisation: Vitalstatistix Photographer: Gregory Lorenzutti Table of Contents Page Vision, Mission, 4 Values 4 6 Goals 5 Message and commitment from the Government 7 Introduction 9 An Arts Plan for the future 10 Why now is the time for the Plan 10 Four reasons to pivot 11 South Australia. A history of creative and cultural innovation 12 1 The Structure of this Plan 16 South Australia, A gateway to the first and original story 17 Songlines: Tracking the Seven Sisters 18 Goal 1 20 Goal 2 24 Goal 3 28 Goal 4 32 Goal 5 36 Goal 6 40 Capturing value and impact 42 Footnotes 44 Adelaide College of the Arts Organisation: TAFE SA Photographer: Sam Roberts The Arts and Culture Plan for This Arts Plan is about igniting a This narrative is about how we TELL South Australia 2019 – 2024 new level of connectivity – between THESE STORIES, and relates strongly artists, organisations, institutions and to South Australia’s ‘market and brand’. -
2018 Adelaide Biennial of Australian Art
DIVIDED ART GALLERY OF SOUTH AUSTRALIA WORLDS 2018 ADELAIDE BIENNIAL OF AUSTRALIAN ART The cat sits under the dark sky in the night, watching the mysterious trees. There are spirits afoot. She watches, alert to the breeze and soft movements of leaves. And although she doesn’t think of spirits, she does feel them. In fact, she is at one with them: possessed. She is a wild thing after all – a hunter, a killer, a ferocious lover. Our ancestors lived under that same sky, but they surely dreamed different dreams from us. Who knows what they dreamed? A curator’s dream DIVIDED WORLDS ART 2018 GALLERY ADELAIDE OF BIENNIAL SOUTH OF AUSTRALIA AUSTRALIAN ERICA GREEN ART ARTISTS LISA ADAMS JULIE GOUGH VERNON AH KEE LOUISE HEARMAN ROY ANANDA TIMOTHY HORN DANIEL BOYD KEN SISTERS KRISTIAN BURFORD LINDY LEE MARIA FERNANDA CARDOSO KHAI LIEW BARBARA CLEVELAND ANGELICA MESITI KIRSTEN COELHO PATRICIA PICCININI SEAN CORDEIRO + CLAIRE HEALY PIP + POP TAMARA DEAN PATRICK POUND TIM EDWARDS KHALED SABSABI EMILY FLOYD NIKE SAVVAS HAYDEN FOWLER CHRISTIAN THOMPSON AMOS GEBHARDT JOHN R WALKER GHOSTPATROL DAVID BOOTH DOUGLAS WATKIN pp. 2–3, still: Angelica Mesiti, born Kristian Burford, born 1974, Waikerie, 1976, Sydney Mother Tongue, 2017, South Australia, Audition, Scene 1: two-channel HD colour video, surround In Love, 2013, fibreglass reinforced sound, 17 minutes; Courtesy the artist polyurethane resin, polyurethane and Anna Schwartz Gallery Melbourne foam, oil paint, Mirrorpane glass, Commissioned by Aarhus European Steelcase cubicles, aluminium, steel, Capital of Culture 2017 in association carpet, 261 x 193 x 252 cm; with the 2018 Adelaide Biennial Courtesy the artist photo: Bonnie Elliott photo: Eric Minh Swenson DIRECTOR'S 7 FOREWORD Contemporary art offers a barometer of the nation’s Tim Edwards (SA), Emily Floyd (Vic.), Hayden Fowler (NSW), interests, anxieties and preoccupations. -
City of Adelaide
City of Adelaide 1 Contents Message from CEO Mark Goldstone Message from CEO Mark Goldstone ...............................2 Despite the significant challenges we are all facing, Adelaide Fast Facts ...........................................................3 in many ways, it is still an exciting time to be in the City of Adelaide. Our city is continuing to undergo a City of Adelaide Fast Facts ..............................................3 notable transformation with new major infrastructure, Strategic Plan ....................................................................4 and exciting and creative adaptations through entrepreneurial activity. City Brand ..........................................................................4 With a vision for Adelaide to be the most liveable city Corporate Structure .........................................................5 in the world, the City of Adelaide 2020–2024 Strategic Our organisation: who we are .........................................6 Plan builds on our strengths to embrace the opportunities around us. City Governance Elected Members ...............................7 For us, a liveable city is one that is a great place to be, whether as a business owner in one of the city’s precincts, a resident or worker, a student of our Adelaide Economic Development Agency ....................8 world class universities, or a visitor to our famed festivals, cultural institutions Living in Adelaide, South Australia ................................9 and attractions. The qualities that make our city -
South Australian Arts Plan 2019-2024 LGA Submission
South Australian Arts Plan 2019-2024 LGA Submission April 2019 LGA of SA ECM XXXXX < File Name > Page 0 of 12 Introduction As the closest government to communities, councils deliver hundreds of facilities and services that: drive economic development; protect the environment; bring communities together; support public health; and improve the local amenity enjoyed by all South Australians and visitors alike. Arts and culture is an important part of the work which many councils do, and the role of local government in arts and culture has many benefits for the South Australian community, supporting health and wellbeing, economic, social and cultural development. In this context, the Local Government Association of South Australia (LGA) welcomes the decision of the State Government to develop an Arts Plan, and the opportunity to make a submission. Local government is an experienced partner in government, and the LGA and our member councils look forward to working with the State Government and Arts South Australia to capture that involvement in the South Australian Arts Plan 2019-2024 (‘the Plan’). About the LGA The LGA is the voice of local government in South Australia, representing all 68 individual councils across the state. Our mission is to provide leadership, support, representation and advocacy on behalf of South Australian councils, for the benefit of the community. The value of LGA membership has been independently verified by UHY Haines Norton as being worth around $139 million to the local government sector in 2019. This submission has been informed by consultation with our member councils. Development of an Arts Plan for South Australia The LGA is keen to be involved in the development of the Plan and this submission is provided for consideration of the consultants engaged to prepare the Plan. -
David Stratton's Stories of Australian Cinema
David Stratton’s Stories of Australian Cinema With thanks to the extraordinary filmmakers and actors who make these films possible. Presenter DAVID STRATTON Writer & Director SALLY AITKEN Producers JO-ANNE McGOWAN JENNIFER PEEDOM Executive Producer MANDY CHANG Director of Photography KEVIN SCOTT Editors ADRIAN ROSTIROLLA MARK MIDDIS KARIN STEININGER HILARY BALMOND Sound Design LIAM EGAN Composer CAITLIN YEO Line Producer JODI MADDOCKS Head of Arts MANDY CHANG Series Producer CLAUDE GONZALES Development Research & Writing ALEX BARRY Legals STEPHEN BOYLE SOPHIE GODDARD SC SALLY McCAUSLAND Production Manager JODIE PASSMORE Production Co-ordinator KATIE AMOS Researchers RACHEL ROBINSON CAMERON MANION Interview & Post Transcripts JESSICA IMMER Sound Recordists DAN MIAU LEO SULLIVAN DANE CODY NICK BATTERHAM Additional Photography JUDD OVERTON JUSTINE KERRIGAN STEPHEN STANDEN ASHLEIGH CARTER ROBB SHAW-VELZEN Drone Operators NICK ROBINSON JONATHAN HARDING Camera Assistants GERARD MAHER ROB TENCH MARK COLLINS DREW ENGLISH JOSHUA DANG SIMON WILLIAMS NICHOLAS EVERETT ANTHONY RILOCAPRO LUKE WHITMORE Hair & Makeup FERN MADDEN DIANE DUSTING NATALIE VINCETICH BELINDA MOORE Post Producers ALEX BARRY LISA MATTHEWS Assistant Editors WAYNE C BLAIR ANNIE ZHANG Archive Consultant MIRIAM KENTER Graphics Designer THE KINGDOM OF LUDD Production Accountant LEAH HALL Stills Photographers PETER ADAMS JAMIE BILLING MARIA BOYADGIS RAYMOND MAHER MARK ROGERS PETER TARASUIK Post Production Facility DEFINITION FILMS SYDNEY Head of Post Production DAVID GROSS Online Editor -
Our Cultural Collections a Guide to the Treasures Held by South Australia’S Collecting Institutions Art Gallery of South Australia
Our Cultural Collections A guide to the treasures held by South Australia’s collecting institutions Art Gallery of South Australia. South Australian Museum. State Library of South Australia. Car- rick Hill. History SA. Art Gallery of South Aus- tralia. South Australian Museum. State Library of South Australia. Carrick Hill. History SA. Art Gallery of South Australia. South Australian Museum. State Library of South Australia. Car- rick Hill. History SA. Art Gallery of South Aus- Published by Contents Arts South Australia Street Address: Our Cultural Collections: 30 Wakefield Street, A guide to the treasures held by Adelaide South Australia’s collecting institutions 3 Postal address: GPO Box 2308, South Australia’s Cultural Institutions 5 Adelaide SA 5001, AUSTRALIA Art Gallery of South Australia 6 Tel: +61 8 8463 5444 Fax: +61 8 8463 5420 South Australian Museum 11 [email protected] www.arts.sa.gov.au State Library of South Australia 17 Carrick Hill 23 History SA 27 Artlab Australia 43 Our Cultural Collections A guide to the treasures held by South Australia’s collecting institutions The South Australian Government, through Arts South Our Cultural Collections aims to Australia, oversees internationally significant cultural heritage ignite curiosity and awe about these collections comprising millions of items. The scope of these collections is substantial – spanning geological collections, which have been maintained, samples, locally significant artefacts, internationally interpreted and documented for the important art objects and much more. interest, enjoyment and education of These highly valuable collections are owned by the people all South Australians. of South Australia and held in trust for them by the State’s public institutions. -
Windmill Theatre, GIRL ASLEEP Is a Journey Into the Absurd, Scary and Beautiful Heart of the Teenage Mind
1 WINNER ADEL AIDE FILM FESTIVAL FOXTEL MOVIES AUDIENCE AWARDS MOST POPULAR FEATURE Girl Asleep bags most popular feature at Adelaide Film Festival. IF MAGAZINE It’s in Myers’s commitment to eccentricity that Girl Asleep – an art-house film made firmly with a teenage audience in its sight – finds its heart. THE GUARDIAN AUSTRALIA Girl Asleep is the stylish, formally exuberant debut of theatre director Rosemary Myers. A funny and imaginative portrait of growing pains. THE HOLLYWOOD REPORTER With the endless production of superhero films and film remakes these days, it is refreshing to see a film with such raw acting and originality from start to finish. It’s hard not to fall in love with the characters in Girl Asleep, and be left with the warmth of the film long after the credits have stop rolling. THE UPSIDE NEWS Inventive and confidently executed... bright and occasionally subversive take on teen growing pains that gives fresh legs to a familiar genre. We’re lucky to call this one our own. RIP IT UP Profoundly funny. SCENESTR Wildly funny and deeply moving in equal measure, it is a work rich in larrikin character but universal in its themes and appeal. As Greta embraces her blossoming self, so to does Australian cinema welcome another memorable movie heroine. SCREEN SPACE A memorable, comic balance of poise and chaos. ADELAIDE REVIEW Colourful, eccentric... production about a girl navigating the pitfalls of puberty with a casual side of magical realism... one for fans of coming-of-age dramas and colourful Wes Anderson-style quirkfests. -
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 -
Sixteen Years of Labor Government in South Australia, 2002-2018
AUSTRALASIAN PARLIAMENTARY REVIEW Parliament in the Periphery: Sixteen Years of Labor Government in South Australia, 2002-2018* Mark Dean Research Associate, Australian Industrial Transformation Institute, Flinders University of South Australia * Double-blind reviewed article. Abstract This article examines the sixteen years of Labor government in South Australia from 2002 to 2018. With reference to industry policy and strategy in the context of deindustrialisation, it analyses the impact and implications of policy choices made under Premiers Mike Rann and Jay Weatherill in attempts to progress South Australia beyond its growing status as a ‘rustbelt state’. Previous research has shown how, despite half of Labor’s term in office as a minority government and Rann’s apparent disregard for the Parliament, the executive’s ‘third way’ brand of policymaking was a powerful force in shaping the State’s development. This article approaches this contention from a new perspective to suggest that although this approach produced innovative policy outcomes, these were a vehicle for neo-liberal transformations to the State’s institutions. In strategically avoiding much legislative scrutiny, the Rann and Weatherill governments’ brand of policymaking was arguably unable to produce a coordinated response to South Australia’s deindustrialisation in a State historically shaped by more interventionist government and a clear role for the legislature. In undermining public services and hollowing out policy, the Rann and Wethearill governments reflected the path dependency of responses to earlier neo-liberal reforms, further entrenching neo-liberal responses to social and economic crisis and aiding a smooth transition to Liberal government in 2018. INTRODUCTION For sixteen years, from March 2002 to March 2018, South Australia was governed by the Labor Party. -
Download the Creative Industries Strategy
Creative Industries Strategy An industry-led Strategy produced by the Department for Innovation and Skills, in collaboration with Department for Trade and Investment and various industry representatives. 2020 GROWTH STATE Spider-Man: Far From Home - Visual effects by Rising Sun Pictures. © & TM 2019 MARVEL. © 2019 CTMG. All Rights Reserved. Credit: Rising Sun Pictures. The Department for Innovation and Skills acknowledges Aboriginal people as the state’s first peoples and Nations of South Australia. We recognise and respect their cultural connections as the traditional owners and occupants of the land and waters of South Australia, and that they have and continue to maintain a unique and irreplaceable contribution to the state. Ngarrindjeri designer Jordan Lovegrove at Ochre Dawn. Credit: Ochre Dawn Creative Industries. CREATIVE INDUSTRIES Strategy Table of Contents Message from the Minister 4 Message from the Creative Industries Ministerial Advisory Group 5 Section 1: Background 6 Executive summary 6 Growth State 6 The Creative Industries Strategy 7 What are the creative industries? 9 Advertising and Communication Design 11 Broadcasting: TV, Radio and Podcasts 11 Design 12 Design – Urban, Architecture, Interior and Landscape 12 Design – Industrial and Product 13 Fashion 14 Festivals (Creative and Cultural) 15 Music 18 Performing Arts 21 Visual Arts and Craft 21 Screen 22 Screen – TV and Film Production 23 Screen – Post Production, Digital and Visual Effects (PDV) 24 Screen - Game Development 25 Writing and Publishing 26 Technology and -
Adelaidean) Go to Illustrate the High Calibre HECS Does Offer a Distinct Advantage in That Be Achieved
FREE Publication AdelaiNEWSd FROM THEe UNIVERSITYa OF nADELAIDE Volume 13 • Number 4 • May 2004 inside this issue Our $5m virtual world Formula for 7 success Making history 8 in Hong Kong Artists behind 10 the sculptures Jazz singer 14 brings Broadway to Adelaide Scholarships worth 4 singing about 5 Elderly sought for driving study Health survey exposes heavy burden on men anywhere in the world—is another 6 The University of Adelaide is home special facet. Judges see Erin’s research to a new $5 million state-of-the-art The facility can also link up with the 11 as breath of fresh air international Access Grid system, virtual reality centre. allowing visual and audio-based remote collaboration with over 250 Slaves in ivory basements: the universities around the world. 12 postgraduate experience? The new 3D Visualisation Facility, offers to make an impact on as based at the university’s Santos many staff and students as possible,” “That’s a great boost to research partnership and remote teaching,” Obituary: Petroleum Engineering Building, will Professor Khurana said. provide a major boost to teaching Professor Khurana said. 13 Professor Russell Baudinette “So far such diverse disciplines as and research in South Australia. petroleum engineering, agriculture And later this year the facility will Of writer’s rage and Benefits of the new centre will be and wine, psychology, molecular be upgraded to include “haptic” 15 green sheep shared by its four partner universities biology and medical imaging have capacity, or the ability to recognise (the three South Australian all shown their commitment towards the sense of touch—such as giving universities plus Curtin University utilising the centre.” medical students the ability to “feel” All bound up in in Western Australia), as well as the difference between virtual skin, teen sex drama The 3D Visualisation Facility is 16 industry and government.