ANNUAL REPORT 2019 We acknowledge and pay our respects to the Country We acknowledge the strength of First Nations that we travel through and share stories on, and in particular people and communities in continuing to practice culture, the Country on which ILBIJERRI Theatre Company is based and connection to Country. – the unceded lands of the Kulin Nations. We acknowledge the resilience and tenacity of First Nations We acknowledge and pay our respects to the Traditional peoples and communities fighting to protect and look after Owners, Elders, Ancestors, and young leaders. Country, Community, Language and Lore, in the face of ongoing colonial interruptions and cultural genocide. Always was, always will be, sacred Indigenous lands. Pictured: BLACKWRIGHTS CREATIVE TEAM DURING BLACKWRIGHTS CREATIVE DEVELOPMENTS | Photo: Tiffany Garvie MESSAGE FROM ELDERS IN RESIDENCE I have been involved with ILBIJERRI for quite a number of years and my role as Elder in Residence has given me the opportunity to be involved in the development and observation of various productions. One of these productions was BLACK TIES, which I must have seen 4 or 5 times. It took me on a journey – to another level. It is also taking ILBIJERRI to another level. Now, I’m seeing from across the ditch, two First Nations Peoples coming together to create a universal project – a story that plays out across many dimensions and cultures ... a story of love and conflict! It is probably the biggest scale work we’ve seen, which travelled around Australia and New Zealand. I’m Larry Walsh, Taungurung Elder ILBIJERRI Theatre is traditional in the We want to keep pushing ILBIJERRI’s of the Taungurung people, and sense that it tells stories of Aboriginal I am keen to see ILBIJERRI continue to People and their ways of life - ‘cause role in developing and training the next grow to another level and have it move a member of the Kulin Nations. I every time Aboriginal people got generation of performers in Victoria, more into the training area. I welcome am also an Elder in Residence for together they told stories of creation, giving them the same opportunities that the news of ILBIJERRI’s partnership with are afforded to interstate Indigenous ILBIJERRI Theatre Company. daily life, the good and the bad – and VCA/Wilin, so we can continue to grow that’s what theatre does. youth. Programs such as ILBIJERRI’s the pool of young creative energies and Executive Leadership Program are I have worked for the last 30-40 years create new productions. opportunities to elevate this process, in Aboriginal Heritage, Culture and So whilst it’s a modern theatre - its roots as well as employment opportunities. Arts. Over that time I’ve watched are at least 60,000 years old. We’ve just got to keep building – the That’s what the opportunity is – helping the development of our return to the Board, the Elders in Residence, more people to grow. And that’s what we hope reclamation of our Traditional Arts and - Uncle Larry Walsh productions. and envisage – a stronger ILBIJERRI in Cultures, and how the modern Arts have productions, core business, etc. been using some of the traditional ways - N’arweet Dr Carolyn Briggs AM of doing Arts. Pictured: UNCLE LARRY | Photo Credit: Tiffany Garvie Pictured: N’arweet DR CAROLYN BRIGGS AT BLACKWRIGHTS SHOWCASE | Photo: Tiffany Garvie MESSAGES FROM CHAIR AND ARTISTIC DIRECTOR After another year of growth that continues to inspire us, ILBIJERRI’s home is based on the lands of the Woi Wurrung and Boon Wurrung of the Kulin it is with great pride that we look back at 2019. Nation, and we pay our respects to their ancestors and Elders. I’d also like to pay my respects and deepest gratitude to ILBIJERRI’s Elders-in-residence: Uncle Larry Walsh (Taungurung) and It was a year of change for CONVERSATIONS WITH N’arweet Dr Carolyn Briggs (Boon Wurrung) whose graciousness, wisdom, humour and guidance ILBIJERRI and we are very THE DEAD. Our First keep us spiritually strong. grateful to Gavin Somers, Nations producers show us who stepped down after every day with their talent In 1991 ILBIJERRI was born out of a passion to create a platform for Black voices, to be able to 6 years as the Chair of the and potential that our see and hear our stories and our narratives on the stage; to practice the basic human right of Board and to Lydia Fairhall, EXECUTIVE LEADERSHIP self-determination in all aspects of our lives. Including the stories we tell and how we tell them. who moved on from her role PROGRAM is a core part of as our Executive Producer. our operations. It’s this same fire and passion illustrate my point - there is BLACKWRIGHTS program They have given us a that continues to burn at the still only one First Nations - creating opportunities for heart of ILBIJERRI today. professional set designer writers/theatre makers to company that continues The year finished with develop new works informed by to thrive, building on its production ramping up to working in Australia. 2019 has been another big black ways of working. strong foundations laid over get ready for opening night year for ILBIJERRI Theatre In the absence of a peak many years. Our financial of one of our most exciting Company, as it continues on body and as one of only We will continue to play performance continues and biggest projects yet, its trajectory of growth riding three self-determined First an advocacy role, where to impress with increased BLACK TIES. ILBIJERRI the wave of what I believe is a Nations theatre companies relevant, as is demonstrated revenue and a healthy joined forces with Te shift in the Australian psyche, in Australia, we embrace our by our partnership with the Kareena Gay, Chair surplus in 2019. Most Rēhia Theatre Company manifested in a growing responsibility, to both the Australian Performing Arts importantly, we have been from across the ditch in demand to engage with the community and the sector. Market and the establishment privileged to share amazing Aotearoa/New Zealand and stories of this Country from of the First Nations Advisory First Nations theatre with it reminded us all of the an Indigenous perspective. Hence, ILBIJERRI is much Group - building inroads into the world, including BLOOD power of collaboration, the more than just a theatre international markets for ON THE DANCE FLOOR, MY strength in unity and the The year started with an company. We are committed Australian First Nations work URRWAI, VIRAL and SCAR endless potential of First international tour of BLOOD to the development and up- and participating in the Tri- TREES. Nations stories. What a ON THE DANCE FLOOR and skilling of the next generation Nations dialogues between fitting way to end the year. ended with rehearsals for of theatre makers, but it’s only Canada, New Zealand and We know emerging First our biggest show to date: as our capacity has grown Australia. Nations playwrights, - Kareena Gay, Chair BLACK TIES – an all First that this has become possible. Last but not least I’d like producers and artists are Nations collaboration with I am most passionate and to acknowledge and thank our future, and in 2019 we Maori theatre company Te proud of this work. the extraordinary team that saw what can happen when Rēhia Theatre – a show that make everything happen: you invest in that future. would go on to have sell-out This year we have been able seasons at major festivals to implement several new the incredible staff of Our BLACKWRIGHTS ILBIJERRI, the Board and all playwrights showed us in both Australia and New programs specifically focused Zealand. on growing the sector: the amazingly talented and just how powerful and dedicated artists, creatives beautiful their voices are Despite our successes, one The EXECUTIVE LEADERSHIP and technical teams we have with a showcase of their of the challenges for the PROGRAM -creating two new the honour of working with. original works at Melbourne company, and the performing positions for Producers to receive Festival. Our ILBIJERRI arts sector as a whole is, training and support for a future - Rachael Maza AM, Artistic ENSEMBLE team showed us although the demand for our in arts management; Director/CEO the strength of our young work has increased, the pool Rachael Maza AM, people by carrying the of skilled and experienced The ILBIJERRI Ensemble Artistic Director/CEO heavy weight of history in First Nation artists, creatives - creating opportunities for and producers has not. To aspiring actors and theatre makers, aged 15 to 25; Pictured: KAREENA GAY and RACHEL MAZA | Photo: James Henry 2019 MAJOR MISSION WHAT WE VALUE ACHIEVEMENTS ILBIJERRI THEATRE COMPANY CREATES CHALLENGING THE POWER OF First Nations artists and arts workers employed - 61 AND INSPIRING THEATRE BY FIRST NATIONS ARTISTS THAT FIRST NATIONS VOICES GIVES VOICE TO OUR CULTURES. We work with First Nations storytellers (writers, CREATIVE DEVELOPMENTS directors, actors, key creatives, theatre practitioners) of original First Nations to tell our stories through high quality theatre as a works - 11 continuation of our culture. BLOOD ON THE DANCE FLOOR toured Canada, with VISION SELF DETERMINATION seasons in four cities, plus We ensure First Peoples drive all key decision making workshops and First Nations OUR VOICES ARE POWERFUL IN DETERMINING THE FUTURE OF AUSTRALIA. processes within ILBIJERRI. community engagements. OUR CULTURES ARE RESPECTED, CELEBRATED AND EMBRACED. Two SOCIAL IMPACT WORKS, RESPECT VIRAL and SCAR TREES We always give full respect to our people, Elders, toured regional and culture and Country – and to all peoples with whom we metropolitan Victoria, share our land. reaching a combined total of 1,944 audience members DIVERSITY OF FIRST PEOPLES across 34 venues.