AUSTRALIAN D A N C E T H E AT R E A N N U A L R E P O RT 2017
CONTENTS
2
Chair’s Report
30
Reach & Statistics
4
Artistic Director’s Report
32
Awards & Media
6
Executive Director’s Report
33-42
Performance against goals
9-10
The Company
44
Corporate Governance Statement
13-20
Productions
46
Partners
22
Other activities
47-48
Company Directors
25-26
Learning Program
CH A I R’S R E P ORT KIM BOEHM There were many highlights for the Australian Dance Theatre in 2017.
I have already mentioned the generosity of the Tanja Liedtke Foundation in the context of their funding to make it possible for construct to be remounted and performed by three of our dancers in Adelaide in November (and in March 2018 at Dance Biennial Heidelberg, Germany). Further to this, the Foundation has provided an ongoing funding commitment to ADT and our new International Centre for Choreography. We are so grateful to Kurt and Gerlinde Liedtke and the Tanja Liedtke Foundation which was set up to honour Tanja and preserve her artistic legacy. We have proudly named our rehearsal studio at The Odeon The Tanja Liedtke Studio in her honour.
First and foremost, the Company performed internationally, nationally and locally. We performed ambitious new work, acclaimed existing work and, thanks to the generosity of the Tanja Liedtke Foundation, we also presented a return season of Tanja Liedtke’s work construct in commemoration of the 10-year anniversary of Tanja’s passing. This work continues to build on the rich legacy of the Australian Dance Theatre which has been so beautifully captured and presented in the book Fifty which was written by Maggie Tonkin and published this year. Maggie, we will never be able to thank you enough for the work you did to make this book possible.
Finally, there are many individuals who also support the Company and I would specifically like to thank Ruth Rentschler OAM (ADT Board Member), Margaret Nyland (former ADT Chair and Board Member) and James Darling for their generous personal donations to the Company as well as all of those who have supported us through our Take a Seat appeal.
Whist our performances are always the highlights of our year, it was also incredibly exciting for us in to move to The Odeon Theatre in Norwood. We are indebted to Arts South Australia for their guidance and support in helping to make this move possible. Their grant of $340,000 has helped us transform The Odeon into a multi-purpose venue with a flexible performance space as well as a studio for creative development and rehearsal. This space not only meets the needs of the Australian Dance Theatre, but it also gives other dancers and dance makers the perfect venue to present their work as well as providing Adelaide with an additional first-class space for local and touring performing arts companies.
I have already mentioned the ADT staff but again, I would like to say how grateful the Board is to all of you for your dedication, passion, hard work and belief in the Company. And finally, I would like to thank the Board for all that they do. In 2017, three board members stepped down – Chris Tooher (five years), Anne Carman (three years) and Danielle Tsogas (three years). To each of you, thank you for the time and wisdom that you gave to ADT. When one door shuts another opens and we were delighted to welcome new board members Chloé Benton, Georgina McGuinness and Ruth Rentschler OAM - each of whom has been a wonderful addition to the existing board comprising Anita Ewing, Tricia Walton, Jeff Meiners, David Stobbe and Peter Seltsikas.
The move from our existing home from the old Wonderland Ballroom to The Odeon was an enormous undertaking and I am in absolute awe of our staff who managed this process so brilliantly. Their workload was already very demanding but somehow, they made the move happen. The Company is indebted to our funding partners and supporters who allow us to exist and create and perform our work. First and foremost, the Government of South Australia through Arts South Australia continues to support the Company and we are enormously grateful for their ongoing commitment. So too are we grateful to the Australian Government through the Australia Council for the Arts as well as through their Catalyst Program for their support. We and SA and
It is a privilege for me to Chair ADT and an absolute delight to work with such a great board and staff, all of whom who want nothing more than to see ADT do well.
are also fortunate to have several commercial partners I would like to thank Novatech Creative Event Technology, Power Networks, Adelaide Airport, National Storage Enoki for the support that they provide to the Company.
KIM BOEHM CHAIR
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A RT IS T IC DI R ECT OR’S REPORT G A R RY S T E WA R T It is with great pleasure that I reflect back on 2017 as a year that book and Maggie did a spectacular job in meticulously researching was productive, creative and diverse in its range of projects. the twists and turns of this iconic Company over the course of its long history. We were elated with the launch which took place at One of the highlights of the year was performing a newly created the Anne and Gordon Samstag Museum of Art and was attended work, Doppelganger at the Art Gallery of South Australia within by some of our former Artistic Director’s including our founder the Versus Rodin: bodies across space and time exhibition as part of Elizabeth Cameron Dalman OAM. I want to thank Maggie for her the Adelaide Festival. We are so proud of the work our colleagues tireless work on researching and writing this unique tome and also at AGSA are doing and it was a privilege to collaborate with them extend my heartfelt appreciation to the former Artistic Directors on this project. Doppelganger was a bespoke work choreographed who worked with Maggie on having their invaluable stories told. in response to the work of sculptor August Rodin whose work formed the cornerstone of the exhibition. Our dancers delivered 29 An undisputed highlight of the year was the world premiere of performances of Doppelganger over a three-month period. our new work The Beginning of Nature at the Teatro Mayor Julio Mario Santo Domingo in Bogotá, Colombia. This represented the Following this was a performance by our ADT Youth Company’s very first tour to South America - an important Ensemble at the AGSA’s inaugural youth focussed event, NEO Teen milestone for the Company. Each performance in this Takeover where they performed a short work by former dancer beautiful 1,300 seat venue was received with a standing Scott Ewen. They also performed as part of the Adelaide Fringe ovation from incredibly warm, enthusiastic audiences. We are opening night parade to a record breaking audience of 75,000. looking forward to visiting South America again in the future. Continuing our work in the art gallery space, our interactive video work Proximity Interactive was acquired by the Australian Centre for the Moving Image (ACMI) in Melbourne. Proximity Interactive was initially presented as part of Melbourne’s White Night event but is to remain installed at ACMI for a further two years.
This year I was fortunate enough to be awarded a Churchill Trust Fellowship which will enable me to travel to seven choreographic centres around the world in 2018. In my travels I will research the function and structure of various choreographic centre models and create connections and relationships between new and established international centres. I am extremely Later in the year we presented Be Your Self at the Southbank grateful to the Churchill Trust for bestowing me with this honour. Theatre in Melbourne followed by a national tour to six venues around the country - Toowoomba, Lismore, Wyong, In November we announced the inaugural Adelaide Dance Parramatta, Frankston & Mildura. The dancers of the Company delivered Festival which will take place in July 2018. This festival is an stellar performances and we were very proud of initiative of the Australian Dance Theatre and is designed to create them as well as our formidable technical team. manifold opportunities for South Australian dance practitioners as well as bringing a world of dance to the city of Adelaide. The Sadly, 2017 marked 10-years since the passing of former dancer Festival will commence as a biennial event with a view to Tanja Liedtke. In commemoration of her passing we worked with evolving it into a major annual event on the Australian dance calendar. the Tanja Leidtke Foundation, founded by her parents Kurt and Gerlinde Liedtke to present construct, which was the last work she made At the end of the year we commenced our move into the before she passed away. I’d like to thank Kurt and Gerlinde as well as Odeon Theatre in Norwood. This move represents a new former ADT dancers Kristina Chan, Craig Bary and Paul White, all good chapter in the history of the Company. Taking the reins of a friends and colleagues of Tanja’s, who remounted the work on our new home with an inbuilt 220 seat theatre will provide greater dancers. construct is a timeless work that stands as a testament to Tanja’s opportunities for us to reach new audiences as well as expand unbridled talent and imagination. It was performed our efforts in supporting the local independent sector. It is also beautifully by our Company dancers Kimball Wong perfect timing for the growth of our International Centre for and Jana Castillo and guest dancer Marlo Benjamin. Choreography as well as our newly formed Adelaide Dance Festival. In April we held our annual Rough Draft with all proceeds going to our friends at NORPA (Northern Rivers Performing Arts) for their Flood Relief campaign. The featured choreographers were Connor Gibson, Chris Dyke, Scott Ewen, Ruby Dolman and Company dancers Jana Castillo & Harrison Elliott. We were also treated to a talk by neuroscientist Susan Hillier.
Australian Dance Theatre is certainly entering a period of dynamic growth as we see some of the most significant developments in the structure and function of the Company since I commenced as Artistic Director 18 years ago. With a team comprised of outstanding individuals, the Company is well positioned to transition into a new and exciting phase of its evolution.
At long last we saw the launch of Fifty – the story of Australian Dance Theatre’s fifty years since its founding, written by local arts writer and academic Maggie Tonkin, published by Adelaide’s Wakefield Press. It had been a long journey in the creation of this
GARRY STEWART 4
ARTISTIC DIRECTOR
E X ECU T I V E DI R ECT OR’S REPORT SH AUN COMERFORD Innovation must be at the centre of an artistic organisation, and in 2017 we explored some new directions, which are set to transform the Company in the years ahead.
Channel 9 joined us as a media partner and National Storage came on board with support for our space and storage needs. Following an exhaustive search, the Company secured a move from its long-term home in Hawthorn to Norwood’s Odeon Theatre. With support from Arts South Australia, the new home of Australian Dance Theatre will be an adaptable place for the making of new work and provide the dance sector opportunities to present more frequently to Adelaide audiences. The addition of a 220 seat retractable seating system, creates a versatile, multi-purpose space – and our upgrades to the foyer, administration and production facilities, elevates The Odeon into a first class venue, perfect for the Company.
Completing the creative development of the Company’s new major work, The Beginning of Nature, was a considerable achievement. We were thrilled to work with collaborators, Brendan Woithe and Jack Buckskin, weaving Adelaide’s own Kaurna language into the score featuring the incredible Zephyr Quartet and Indigenous vocalists, Shauntai Batzke and Vonda Last. The local and international interest in this work has been incredible, and we look forward to major touring across the next few years. It was fitting that the world premiere of The Beginning of Nature in Bogotá, Colombia was also the Company’s first ever tour to South America. Sharing a piece of this scale with a new (and very appreciative) audience, goes to the heart of what Australian Dance Theatre has always been about.
An additional privilege was naming one of the rehearsal spaces the Tanja Liedtke Studio in memory of Tanja and in recognition of the ongoing support from her parents Kurt and Gerlinde and the Tanja Liedtke Foundation.
Our premiere of Garry’s new work Doppelganger as part of Art Gallery of South Australia’s Versus Rodin: bodies across space and time exhibition pioneered a new partnership with AGSA, and a new form of presentation in an immersive, site specific dance work.
The challenge of re-shaping the look of our new home was considerable, and long-time supporter, Susanna Bilardo, through her design firm, Enoki, extended her generosity by fully sponsoring the design. Enoki was not the only design team who partnered with us in 2017. Freerange Future came on board as a sponsor of our website build for ADT and the new Adelaide Dance Festival. Both sites will launch in 2018.
A highlight of the year was ADT’s presentation of Tanja Liedtke’s renowned work construct – presented 10-years after the tragic passing of the prodigious talent. The remount of the production was made possible by the generous support of the Tanja Liedtke Foundation.
2017 was a year for building – a new home, a redeveloped touring model and even a show about construction. I would like to make special mention of the incredible team we have here at ADT. Moving is never a fun task, and can be made all the more difficult when making a new show, preparing for three international tours, launching a new dance festival and renovating a theatre. Quite simply, the little group we have here at ADT are exceptional, and Garry and I are extremely fortunate to work with such a wonderful and dedicated group of people.
Continuing the Company’s tradition for taking our brand of contemporary dance to the world we implemented a new model for touring. This culminated in the appointment of Niels Gamm as International Producer for the UK and Europe, and KMP Artists as our North American agents. Once again, ADT is looking at a strong international touring program in 2018 and beyond. This year we were supported by some wonderful partners. We continued our long relationships with SA Power Networks and Novatech Creative Event Technology and both companies have been pivotal to our achievements in 2017.
Finally, to our audiences, locally in Adelaide, nationally and abroad – thank you for your continued love for the Company, and we look forward to bringing you The Beginning of Nature in 2018.
Adelaide Airport joined us as a sponsor, and fully embraced the creative brand of ADT. A number of our dancers choreographed pieces for the Airport – both for video and live performance – with one advertisement promoting the Airport’s free trolleys, seen by over 40,000 people online.
SHAUN COMERFORD EXECUTIVE DIRECTOR
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THE COMPANY
THE CO BOARD OF DIRECTORS Kim Boehm - Chair Chloé Benton Anne Carman Anita Ewing Georgina McGuinness Jeff Meiners Ruth Rentschler Peter Seltsikas David Stobbe Christopher Tooher Tricia Walton
Joined 31 January 2017 Resigned 31 December 2017 Joined 31 January 2017 Joined 29 November 2017
Resigned 22 September 2017
MANAGEMENT Artistic Director Executive Director Associate Artistic Director Production & Operations Manager Finance Manager & Company Secretary Producer & Development Manager Marketing & Administration Coordinator Production Administrator & Stage Manager Stage Manager
Garry Stewart Shaun Comerford Elizabeth Old Paul Cowley Bev Majda Eira Swaine Madison Thomas Lucie Balsamo Françoise Piron
DANCERS Marlo Benjamin construct by Tanja Liedkte Jana Castillo Commenced 3 January 2017 Zoë Dunwoodie Harrison Elliott Commenced 16 January 2017 Thomas Fonua Christopher Mills Gabrielle Nankivell The Beginning of Nature Matte Roffe Tara Jade Samaya Be Your Self Felix Sampson Resigned 12 September 2017 Kialea-Nadine Williams The Beginning of Nature Kimball Wong
INTERNATIONAL PRODUCER - EUROPE & UK Niels Gamm
Kulturconsulting
NORTH AMERICA AGENT Kristopher McDowell
KMP Artists
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OMPANY CULTURAL CONSULTANT Vincent ‘Jack’ Buckskin
CONTRACTORS Shauntai Batzke Sarah Belkner Vincent ‘Jack’ Buckskin Damien Cooper - The Yellow Agency Closer Productions Davis Browne Design Rebekah Devlin Enoki Pty Ltd Freerange Future Daniel Gibbs - Posture Podiatry Chris Herzfeld - Camlight Productions Michael Heynen - Mitcham Rehab Tyson Hopprich ‘DJ TR!P’
Vonda Last Georgina McGuinness - McGuinness Media Novatech Creative Event Technology Meaghan Coles - Now and Then Photography Seana O’Brien PKF Adelaide - Chartered Accountants Chris Petridis Rockethouse Marshall Tearle Solon Ulbrich Brendan Woithe - KLANG Music Sound Ideas Zephyr Quartet ZuluMu design+post
Company TEACHERS
CONTRACT & CASUAL STAFF
Israel Aloni Contemporary Craig Bary Contemporary Janet Bridgman Ballet Lee Brummer Contemporary Kristina Chan Contemporary Johnathan Dragt Circus skills Scott Ewen Contemporary Catherine Goss Ballet Paea Leach Warm up (Be Your Self) Lina Limosani Contemporary Gabrielle Nankivell Contemporary Poe One Breaking
Cathy Adamek Craig Bary Kristina Chan Johnathon Edwards Jonathon Hindmarsh Brenton Jordans Frerich Komp Ryan Kroon Chris Petridis Oliver Taylor Darian Tregenza Lachlan Turner Daniel Voss
Michael Ramsay Penelope Shum Anouk van Dijk Maura Vergara Catherine Wells
Contemporary Contemporary Countertechnique Yoga Ballet
PUBLIC DANCE CLASS & YOUTH ENSEMBLE TEACHERS Tobiah Booth-Remmers Billie Cook Zoë Dunwoodie Harrison Elliott Scott Ewen Thomas Fonua
Samuel Hall Lina Limosani Christopher Mills Gabrielle Nankivell Matte Roffe Felix Sampson
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Penelope Shum Carol Wellman Kelly Kialea-Nadine Williams Kimball Wong
PRODUCTIONS
PERFORMANCE INSTALLATION
DOPPELGANGER “The replicated bodies shadow and interact with one another as an almost continuous flow of connected movements and energies, evocative of Rodin’s practice” – Fineprint Magazine
Doppelganger is a new work by Garry Stewart and ADT, originally created for inclusion in the Versus Rodin: bodies across space and time exhibition at the Art Gallery of South Australia. In Doppelganger, Garry Stewart sets out to parody and reframe the notion of the doppelganger, by annulling the suggestions of horror and foreboding and instead playfully representing this mythical character as delightfully camp, impish and ironically uncanny. “Doppelgänger” is a German word that is most generally associated with 19th century Gothic and Romantic literature, where a protagonist is haunted by a mysterious character who eerily appears as their identical twin. This doppelganger twin is traditionally the harbinger of ill fate or doom, and signals a sense of foreboding, danger, misfortune and the possibility of impending death. There exists a quasi-horror at the idea of the doppelganger, as the protagonist contemplates with great anxiety the appearance of another ‘self ’ lurking in the shadows. The doppelganger fragments identity and dismantles the unified sense of self – one of the central themes of the Versus Rodin exhibition – and gives rise to the connotations of multiple personalities and fluid gender. Traditionally, the doppelganger character was usually male and, at times, hinted of an underlying homoeroticism and latent sexuality. In Doppelganger, five dancers wear custom-made masks that are printed with the face of ADT dancer Matte Roffe, whom they shadow and interact with in an evocation of this historical mythical figure. CREDITS Conceived and Directed – Garry Stewart Choreography - Garry Stewart Music - Boards of Canada and Autechre With additional music by - Brendan Woithe (KLANG) Costume Design - Garry Stewart Dancers – Zoë Dunwoodie, Harrison Elliott, Thomas Fonua, Christopher Mills, Felix Sampson, Matte Roffe & Kimball Wong SEASON Performed as part of Versus Rodin: bodies across space and time 2 March - 17 June 2017, Art Gallery of South Australia # PERFORMANCES 29 TOTAL ATTENDANCE 2,842
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NATIONAL TOUR
BE YOUR SELF “As far as contemporary dance goes, you will not find many shows as easy to watch and happily received as Be Your Self... this is as good as contemporary dance gets in Australia” - Dancelife
In 2017 ADT returned to Melbourne for the first time since 2013, with the Melbourne premiere of Be Your Self. Following Melbourne the Company toured nationally with Be Your Self Redux, a distilled version of the original production. Garry Stewart’s Be Your Self reveals the precarious stability of the concept of self as the work steps through the conventions we use to construct a singular and consistent notion of ‘I’. In an analysis of selfhood, Stewart situates the body at the centre of his inquiry. In Be Your Self the dancers are transformed into erupting, powerful, creative entities projecting a plethora of physical images and impressions set to an unpredictable, cartoonish, electronic score. Be Your Self was co-produced by the Grand Theatre de la Ville de Luxembourg, La Rose des Vents Villeneuve d’Ascq, Le Rive Gauche Centre Culturel de Saint-Etienne-du-Rouvray, Centro Cultural Vila Flor and Arts SA’s Major Commission Fund. CREDITS Conceived and Directed – Garry Stewart Assistant to Garry Stewart – Elizabeth Old Choreography – Garry Stewart and the dancers of Australian Dance Theatre Associate Choreographer - Larissa McGowan Set Design - Diller, Scofidio + Renfro Sound Designer – Brendan Woithe Lighting Designer - Damien Cooper Video Designer - Brenton Kempster Costume Design – Gaelle Mellis Dramaturge - Professor Julie Holledge Constulting Physical Therapist/Physiologist - Michael Heynen Neurobiology Consultant - Professor Ian Gibbins Actor - Cathy Adamek Dancers - Jana Castillo, Zoë Dunwoodie, Harrison Elliott, Thomas Fonua, Christopher Mills, Matte Roffe, Tara Jade Samaya, Felix Sampson, Kimball Wong NATIONAL TOUR 2-5 August - Southbank Theatre, Melbourne VIC 18-19 August - Northern Rivers Performing Arts (NORPA), Lismore NSW 24 August - Empire Theatre, Toowoomba QLD 29-31 August - The Art House, Wyong NSW 2 September - Riverside Theatre, Parramatta NSW 8 September - Frankston Arts Centre, Frankston VIC 12 September - Mildura Arts Centre, Mildura VIC # PERFORMANCES 12 TOTAL ATTENDANCE 3,158
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R E T U R N A N NI V ERSA RY SE A SON
CONST RUCT BY TANJA LIEDTKE “The three dancers are intense, excitingly vital, athletic and assured. The whole production is a great tribute to Liedtke. She would have been pleased” - The Australian
To commemorate the 10-year anniversary of the passing of prodigious talent, Tanja Liedtke, ADT presented the return season of construct, an extraordinarily complex and detailed piece, performed with great wit, clarity and emotion. Performed by the dancers of ADT, construct takes a look at the sharp, rigorous and sometimes curious concept of ‘building’. It inhabits an empty theatre full of possibility – a space in which to construct an existence – a future, a life, a relationship and a dream. From the first dwellings ever built to contemporary towers, to the shelter assembled from the need to simply survive, the physical act of building a structure, a connection or a dream is rich in metaphor and emotional bonds. Building – collapsing – re-buliding – assembling – disintergrating – always building – slow decay. construct uses inventive movement and simple design to evoke the familiar, the domestic and the unexpected. construct was conceived and directed by Tanja, and choreographed in collaboration with former ADT dancers Kristina Chan and Paul White. Kristina Chan, Paul White and Craig Bary (who was previously a Rehearsal Director on construct) returned as re-mount directors for this latest iteration of the celebrated work. CREDITS Conceived and Directed – Tanja Liedkte Choreography – Tanja Liedtke In collaboration with - Kristina Chan & Paul White Remount Directors - Kristina Chan & Craig Bary Rehearsal Director - Elizabeth Old Creative Coordinator & original Remount Director - Solon Ulbrich Composer - DJ TR!P Dramaturgy Consultant - Joshua Tyler Set & Lighting Design - Ben Cobham & Geoff Cobham (Bluebottle) Technical Director - Paul Cowley Dancers - Marlo Benjamin, Jana Castillo & Kimball Wong SEASON 29 November - 2 December, The Space Theatre Adelaide Festival Centre # PERFORMANCES 5 TOTAL ATTENDANCE 678
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SOUTH AMERICA
THE BEGINNING OF NATURE ““breathtaking in its elegance” - Broadway World
In November the Company premiered The Beginning of Nature, on its inaugural tour to South America. Performed over two nights at Teatro Mayor Julio Mario Santo Domingo in Bogota, Colombia, in a showcase season. This was the first time in ADT’s history that the Company has performed for audiences in South America. Weaving together live music and astonishingly powerful contemporary dance, The Beginning of Nature is a riveting depiction of the rhythms within nature - flocking and herding, day and night, changing seasons, metamorphosis and decay. Featuring the extraordinary dancers of ADT, the work explores the forces that nature asserts over humankind despite our continued efforts to see ourselves as separate from nature, and the notion that our bodies are inscribed with the same rhythms that underpin nature itself. Performed with live accompaniment by the acclaimed Zephyr Quartet and two singers on stage, the libretto features the Kaurna language. The Kaurna language is the language Indigenous to Adelaide, South Australia. It has been at least 150 years since the Kaurna language was last spoken in a day-to-day context in Australia, but it has seen a recent revival and reclamation by members of the local Kaurna community since the early 1990s. Kaurna is the local language of the first peoples from the Adelaide Plains, where ADT is based. In 2018 the Company will undergo extensive national touring of The Beginning of Nature. CREDITS Conceived and Directed – Garry Stewart Assistant to Garry Stewart – Elizabeth Old Choreography – Garry Stewart and the dancers of Australian Dance Theatre Composer – Brendan Woithe Lighting Design – Damien Cooper Music Performers - The Zephyr Quartet Vocalist - Shauntai Batzke Costume Design – Davis Browne Culture & Language Consultant - Jack Buckskin Technical Director - Paul Cowley Dancers - Jana Castillo, Zoë Dunwoodie, Harrison Elliott, Thomas Fonua, Christopher Mills, Gabrielle Nankivell, Matte Roffe, Kialea-Nadine Williams, Kimball Wong SEASON 1-2 November - Teatro Mayor Julio Mario Santo Domingo - Bogotá, Colombia # PERFORMANCES 2 TOTAL ATTENDANCE 1,564
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OTHER ACTI V ITIES PROXIMITY INTERACTIVE AT ACMI AS PART OF MELBOURNE’S WHITE NIGHT: 18 FEB
ROUGH DRAFT: 6 NOV An evening of dance and choreography, Rough Draft provides an opportunity for the audience to step inside the minds of some of South Australia’s most innovative creative thinkers and experience their creative development process in a raw and informal setting. This year’s event featured performances and talks by ADT dancers as well as members of the local dance sector and academia.
Featuring local, national and international artists, musicians and performers, White Night Melbourne is an annual one night only event that weaves a spell over the city’s streets, parklands, laneways, public spaces and cultural institutions in a celebration of creativity. We were proud to join the program with Proximity Interactive. Proximity Interactive is a video installation that investigates movement, body maps and the art of perception, inviting you to shape space using your own body. The real-time video effects position you as the active participant – generating a world of magical effects.
This year all proceeds went to support the Northern Rivers Performing Arts Centre (NORPA) Flood Relief, raising over $2,000. Featured artists and speakers: Connor Gibson, Chris Dyke, Scott Ewen, Ruby Dolman, ADT dancers Jana Castillo & Harrison Elliott, an excerpt of Doppelganger performed by ADT and a discussion on stroke rehabilitation by Susan Hillier.
Proximity Interactive is now a permanent installation at ACMI (Australian Centre for Moving Image) in Melbourne. For more information visit - www.acmi.net.au
FIFTY BY MAGGIE TONKIN CELEBRATION: 29 SEPT In September past and present Artistic Directors, dancers and friends of ADT gathered at the Kerry Packer Civic Gallery in Adelaide to celebrate Fifty by Maggie Tonkin. It was a lovely evening reminiscing about ADT’s first half century and celebrating the incredible efforts of Maggie in creating this stunning book. Fifty traces the different trajectories ADT has taken under the successive artistic direction of Elizabeth Cameron Dalman OAM, Jonathan Taylor, Lenny Westerdijk and Anthony Steel, Leigh Warren, Meryl Tankard, Bill Pengelly and Garry Stewart. Available for purchase via the ADT website - www.adt.org.au.
A SPECIAL ANNOUNCMENT: THE INAUGURAL ADELAIDE DANCE FESTIVAL In November Premier Jay Weatherill MP announced at ADT’s 2018 Program Launch that the Company will present the inaugural Adelaide Dance Festival, a platform to celebrate dance in all its forms across two weeks in July featuring iconic Australian dance companies and independent dance artists. Established by ADT’s Artistic Director Garry Stewart, the 2018 Adelaide Dance Festival will include performances, workshops, installations, talks and masterclasses with both free and ticketed events. The Adelaide Dance Festival will be the first Adelaide festival dedicated to celebrating the art of dance, showcasing South Australian, national and international dance. To view the program and for further information visit www.adelaidedancefestival.com.
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LEAR NING PROGR A M
LEARNING SECONDMENT WEEK The Company is committed to providing development opportunities to young dancers who are passionate about a career in dance. As part of this commitment, we hold an annual Secondment Week for tertiary and vocational dance students to provide unique learning support for growing a successful career in dance. In 2017, 23 participants based locally and interstate worked with ADT dancers on a rigorous program which exposed them to ADT repertoire, tumbling and other ADT training methodologies, as well as lectures on the business side of dance, including grant-writing and Company life. “I really enjoyed my time at ADT. It was amazing how much you can grow in one week. The Company members were brilliant” – Bronte “I could not rate this week higher. I have thoroughly enjoyed it both dance wise and socially” - Anna “The Company members are so helpful with wanting us to improve. So inspirational!” - Ella WORKSHOPS ADT has continued to lead workshops at home and interstate in high schools and vocational training institutions, contributing to the enrichment of arts education by offering specialist knowledge. ADT continue relations with the local high schools in Adelaide, inviting students into the studio to watch and learn about the work and creative practice. On our national tour of Be Your Self, the Company visited 18 schools acrosss Victoria, New South Wales and Queensland. Based on works within the Company’s current repertoire, students and teachers were introduced to dance as a gateway to learning. The Company also piloted a new program launching in 2018 titled Dancer’s In Schools, whereby trained teaching staff lead high calibre in-school dance workshops to students in years 5– 12. This new model allows for workshops to run locally all year round, not limited by ADT’s regular touring. Former ADT dancer Scott Ewen worked with St. Michael’s College delivering six workshops based on The Beginning of Nature whilst also promoting advanced skills in creative problem solving, teamwork, physical coordination and artistic composition.
Workshops 24
Public dance class attendees 741
Participants 623
Facebook Live Stream 44,707 reached
ADT Youth Ensemble audiences 76,740 25
PROGR A M LIVE STREAMING ADT engaged with audiences in Toowoomba in their first ever Live Streaming event. During Be Your Self rehearsals the Company live streamed the dancers in preparation for the upcoming Australian tour, demonstrating parts of the specific ADT training regime.Audience participants in Toowoomba were given a rare opportunity to have a virtual ‘meet up’ with the performers and were able to gain meaningful insight into the work that they would watch in their theatre later that month. INDUSTRY EXCHANGE - ADELAIDE FOOTBALL CLUB In January ADT ran a joint training session with the Adelaide Crows Football Club. The new recruits were joined by their coaches and physiotherapists at the ADT studios. ADT demonstrated some of their own dance and tumbling based training regime. The two groups then sat down for an informal discussion about peer leadership which was facilitated by Elizabeth Old. It was an amazing opportunity for the two groups of elite athletes to compare approaches to training both physically and mentally and both teams highly benefited from the experience. The Company look forward to continuing its relationship with Adelaide Crows in 2018. ADT YOUTH ENSEMBLE Eleven out of the seventeen dancers from the 2016 Youth Ensemble were accepted into some of the most respected vocational training institutions in Australia to follow their dream of becoming a professional dancer. Three dancers remained in the Ensemble for 2017, so, with almost an enitrely new ensemble, it was a year of challenges and growth. The year began with a performance at the Adelaide Fringe Festival Parade which saw a record breaking audience of over 75,000. This was the second year the Youth Ensemble were invited to perform as part of the Parade and, for the second time performed a work choreograped by former ADT dancer Larissa McGowan. Following this, the Youth Ensemble were invited to participate in the Art Gallery of South Australia’s inaugural Neo Teen Takeover event. Exclusively for teenagers, this one-night-only festival gave audiences a VIP look at the Gallery after hours accompanied by live performance, film, music, dancing, theatre, circus and more. The Youth Ensemble joined some of South Australia’s best arts organisations incuding Restless Dance Theatre, Adelaide Central School of Art, Adelaide Fringe, Tandanya, Cirkidz, Music SA, Slingsby Theatre Company, Adelaide Symphony Orchestra, State Theatre Company South Australia, Windmill Theatre Company and the Adelaide Film Festival. The Youth Ensemble performed a work by former ADT dancer Scott Ewen in various spaces around the gallery. Total attendance for Teen Takeover was 700. Following Teen Takeover, the Youth Ensemble were invited back to the Art Gallery of South Australia to perform as part of START. Presented by the James & Diana Ramsay Foundation, START offers an exciting introduction to visual art for children and families and includes art activities, tours, live performance and entertainment. Total attendance for START was over 1,000. The ensemble then turned their focus on developing new skills and the creation of new work, working with independent dancer and choreographer Tobiah Booth-Remmers. Rehearsals with Tobiah were in preparation for the ensemble’s performance at the Space Theatre which was open to the general public presented during ADT’s season of construct by Tanja Liedkte. Every year ADT host a Family and Friends Evening at its studios. This year the Ensemble performed a powerful new work by Lina Limosani, performed entirely in the dark using circular hand-held lights. Between performances the Ensemble also worked with Gabrielle Nankivell, Scott Ewen and Sam Hall (an original Youth Ensemble dancer) as well as ADT dancers Thomas Fonua, Matte Roffe, Harrison Elliott and Zoë Dunwoodie. We thank the 2017 Youth Ensemble for being such wonderful representatives of the Company and an integral part of Australian Dance Theatre.
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R E ACH & STATISTICS
ATTENDANCE 55 performances 9,182 audience members
SOCIAL & ONLINE 47,461 likes
77% increase
2,500,000 video views 2,017 followers
2% increase
10,675 followers
55% increase
57,569 views
31% increase 30
AWA R DS & M E DI A Jenny via Facebook (Be Your Self) “This was mind blowing absolutely amazing” Warwrick via Facebook (Be Your Self) “One of the best dance productions I’ve ever seen. Loved it!” Carolina via Facebook (The Beginning of Nature) “Absolutely beautiful your presentation last night... thank you for making our hearts vibrate and remember that dance in the language of the body” Natagrinevich via Instagram (The Beginning of Nature) “I watched the show in Bogota and that was one of the best things that happened to me in my life!” John via Instagram (construct) “Unbelievably beautiful, funny, bleak and human work. Everyone should see it” Greenroom Award Best Male Dancer in a Dance or Physical Theatre Work Kimball Wong (Be Your Self) Other nominations: Best Female Dancer in a Dance or Physical Theatre Work – Tara Jade Samaya (Be Your Self) InDaily (construct) “The three dancers are exceptional: they dance superbly and their inner spirits capture the myriad moments that make us human” The Barefoot Review (construct) “Kimball Wong, Jana Castillo and Marlo Benjamin manage, with fierce impassioned commitment, a work of exacting physical demands that shifts from comedy to deep emotional drama” Dance Informa (Be Your Self) “blistering fast-paced, high octane energy performance by the extraordinary cast of nine” 32
PERFORMANCE AGAINST GOALS
GOAL
A R T I S T I C I N N O VA T I
STRATEGY
KEY ACTIVITIES/KPIs/MEASURE
Mainstage works across the 2016-202 Create a diverse program of new works/events/productions that can be toured to national and international audiences
Secondary works (smaller scale work Community Projects International tours
Collaborate with national and international artists
Artistic collaborations
Commission guest choreographers to work with Artistic Director on development of new works
Guest choreographers are engaged to new work per year
Grow and maintain an expanded Company of at least 9 fulltime dancers
Number of dancers
Promote innovation in dance through research projects and partnerships with universities
Involvement in at least 1 project durin
Guest teachers (including ADT alumn
Guest artists and companies visiting A
ADT members are provided with cho the development of AC Arts student Rough Draft program, and other oppo
Maintain a culture of artistic excellence
Artistic advisory processes
Feedback on artistic merit through m development & after premieres and to Reviews in media
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L ONE
ION & DISTINCTION
AIM
ACHIEVED 2017
20 period
1
The Beginning of Nature - World Premiere
ks)
2
Doppelganger, construct
2
Not achieved. 1 - Proximity Interactive - installed at ACMI (as part of White Night Melbourne)
1-2
Achieved - The Beginning of Nature, Colombia
1-2
Achieved - The Beginning of Nature
1
Nil in 2017 - multiple programmed for 2018
6
Achieved - 7-9
ng the 2016-2020 period
1
Achieved - 2 - Adelaide College of the Arts Partnership. Dancer research visit to South Australian Museum & Museum of Economic Botany.
ni) for Company classes
50% of classes
Achieved
ADT (national and international)
1-2
Achieved - Sydney Dance Company, Kristina Chan, Craig Bary
o produce or collaborate on one
oreographic opportunities eg, through 2-4 Company works, Youth Ensemble works, ADT’s members ortunities outside of ADT activities
managers’ debrief during creative ours, and peer reviews
Achieved- 5 - Adelaide Airport promotional video - Matte Roffe & Thomas Fonua; Rough Draft - Harrison Elliott & Jana Castillo Adelaide Airport Staff ‘Dance Off ’ - Zoë Dunwoodie
Ongoing
Achieved - ongoing
>75% positive
Achieved - more than 75% positive reviews
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GOAL
AUDIENCE & COMMU STRATEGY
KEY ACTIVITIES/KPIs/MEASURE
Attract and retain strong local and national urban, regional and remote audiences
Refresh and refine audience database Public programs/events in Adelaide (eg, Adelaide Embedded) Implement National Touring Strategy
Implement International Touring Strategy Build schools audience through:
~ Develop teaching and learning resources and provide to schools
~ Lecture demonstrations/schools matinees and open rehearsals for teachers and students
Undertake at least one national tour every 2 years, working with presenting partners to de marketing and audience engagement activities (see Marketing Plan and Learning Plan)
Maintain existing audience engagement programs (including “Experience ADT� program) an ways to reach potential audiences (see Marketing Plan and Learning Plan) ~ Workshops and Q&As ~ Streaming Company activities ~ Pre-tour workshop roadshow Increase audience accessibility: ~ Offer student and concession prices Expand regional and remote learning programs ~ Local, regional and remote workshops in SA ~ Seek new partnerships with other organisations operating in this space, such as Country School of the Air and regional community dance organisations. Retain existing and build new relationships with presenting bodies
Establish/continue relationship with national presenters ~ Attend and pitch/present at national performing arts markets ~ Invite presenters to see new work as it develops ~ Establish/continue relationships with international agents:
Retain audiences in existing international markets and build audiences in new markets
~ Attendance at international performing arts markets ~ Secure touring to existing and new markets Assessment and revision of the current learning program
Deliver effective learning program
ADT public dance program Via social media, digital platforms, and direct marketing ~ Reach of digital media
Share information about the Company to expand audiences and increase engagement
~ Facebook likes ~ Twitter followers ~ Instagram followers ~ Direct marketing
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TWO
UNITY ENGAGEMENT
s
evelop strategic
AIM
ACHIEVED 2017
Consolidate and streamline existing ADT databases Apply for Creative Partnerships Plus1 funding for CRM program
Investigated and implemented Website rebuild; CPA Plus 1 Campaign achieved $42,935 in fundraising.
1-3
Achieved - 2
Implement National Touring Strategry
Scheduled annual National touring with pitches at APAM, APACA PAX and Vic Showcase.
Implement International Touring Strategy
Received International Programs Funding for 2017 2020 touring plan. Appointed new International Producer - Europe/UK. Appointed North American Agent
15 schools access resources
Achieved
50 attendees
Achieved
1
Achieved
10
Achieved
3,500 views
Achieved - 16,983 views
Trial “Day with ADT� streaming
Successfully trialed streaming of lecture/demonstration
Ongoing
Achieved - ongoing
10
Achieved
Partnership with organisation
Achieved
Ongoing
Achieved
1-2 pitch/presentations
Achieved - Showbroker, APACA
5
Achieved
Ongoing
Achieved
1
Achieved
1 existing
2 existing - development for UK, Europe, North America
1 new
1 new - South America
Annual review of program
Program reviewed and 2017 plan implemented
Refresh current class timetable 2-4 classes per week
Achieved Achieved
20% increase
result 77% increase - total 47,461
5% increase
result 2% increase - total 2,017
20% increase
result 55% increase - total 10,675
Ongoing
Achieved
nd explore new
Arts SA,
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GOAL T
STRENGTHEN DA NCE S
STRATEGY
KEY ACTIVITIES/KPIs/MEASURE Support and develop local choreographers ~ ADT ICC
Provide development opportunities for local artists
~ Rough Draft / Enhancement / Ignition programs ~ Choreographic intensives “Made to Dance” program ~ Open professional classes (Mon-Fri except when Company touring) attended by independent artists Annual roundtable discussion for South Australian dance sector “Meeting at the Dance Hall”
Support the local dance sector
Contribute to elevating the calibre of vocational and tertiary dance and production graduates via “Fast Track to Dance” program: ~ AC Arts Creative Partnership ~ Annual Secondment Week Nurture the next generation of Australian danc~ KickStart ers ~ Masterclasses (per season) ADT Youth Ensemble ~ Classes & training ~ Performance opportunities
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THREE
SECTOR DEVELOPMENT
AIM
ACHIEVED 2017
Launch ADT ICC to include Rough Draft/Enhancement/ Achieved - publicly announced ADT ICC, AD received Ignition programs and professional choreographic Churchill Fellowship to develop model, Development development pathways of ADT Presents model Achieved - 1 x Rough Draft and 6 x Enhancement 2-3 (studio space placements) 15 participants
Achieved - 15 participants
4
Not achieved in 2017 due to Company relocation
>50% classes
Achieved
1
Achieved - 1 Meeting at the Dance Hall. Led the sector with an Arts SA commissioned Dance Review
Ongoing
Achieved
25-30 students
23 students
2
KickStart program rolled out due to increased Learning Program activity and pilot of ‘Dancers In Schools’ Program to commence 2018
1-2
Achieved - 1
10-15 members
Achieved - 16
2-4 hours per week
Achieved
3-4 per year
Achieved
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GOAL BUILD AND MAINTAIN OPERATIONAL AN
STRATEGY
KEY ACTIVITIES/KPIs/MEASURE Maximise income through existing programs and new initiatives: Sponsorship Private sector support ~ Maintain existing and acquire new sponsors ~ Implement philanthropy program Income from co-commissioning ~ 1 new major work every 2 years to be co-commissioned
Achieve financial security
Income from government and NGO grants for new projects/initiatives Box office income through 2 South Australian seasons per year at AC Arts Theatre Income from ADT Learning Program: ~ ADT Public Dance Classes ~ Secondment Week ~ KickStart ~ Workshops Maintain a majority of tour financial results that are breakeven or better
Policies and procedures manual redeveloped to ensure relevance and apOperate according to best practice govern- plication ance guidelines Adopt Australia Council for the Arts’ “Essential governance practices for arts organisations” Secure appropriate accommodation for the Relocate ADT to a permanent purpose-designed home in Adelaide Company providing state of the art studios and offices
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FOUR D FINANCIAL STABILITY AND STRENGTH
AIM
ACHIEVED 2017
Minimum 5% increase in income
Achieved Major Sponsor - Adelaide Airport Supporting Partners - Channel Nine, National Storage, Enoki
10% increase in donations
Achieved Achieved
0-1
Ongoing
1-2 grants
Achieved
Break-even
Not achieved in 2017
5% increase
Achieved
66% break-even or better; 34% subsidised
Only 1 South Australian season in 2017. Achieved target of break even with box office and foundation support. Achieved Achieved
KickStart program rolled out due to increased N/A Learning Program Activity and introduction of Dancer’s In Schools Program to commence in 2018 Achieved Achieved Review & update as required
Ongoing
Practices met
Revised and implemented new governance practices
Secure new premises and relocate
Achieved - secured new premises and funding to redevlop facilities. New venue will be a major step forward for the Company.
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CORPOR ATE GOVER NA NCE STATEMENT IT IS THE AIM OF ADT TO MEET BEST PRACTICE IN CORPORATE GOVERNANCE, WITH A FRAMEWORK DESIGNED TO: • • •
Enable the board to provide strategic guidance for ADT and effective oversight of management Clarify the respective roles and responsibilities of board members and senior executives in order to facilitate board and management accountability to ADT and its stakeholders Ensure a balance of authority so that no single individual has unfettered powers
ROLE OF THE BOARD AND ITS MEMBERSHIP
ROLE OF MANAGEMENT
The board is responsible for the corporate governance of ADT. It oversees the business and affairs of the Company, approves the strategies and financial objectives to be implemented by management, and monitors standards of performance against those plans in achieving the Company’s goals.
The role and responsibility of management is to:
•
The membership of the board will be directed by the following requirements: •
•
•
•
•
The constitution of ADT specifies that there must be at least three directors and no more than ten. The board may determine the size of the board within those limits The board must consist of a majority of independent directors who satisfy the criteria for independence adopted by the board The Chair of the board must be an independent director who satisfies the criteria for independence adopted by the board The board should, collectively, have the appropriate level of personal qualities, skills, experience and time commitment to properly fulfil its responsibilities or have ready access to such skills where they are not available
• • • • •
• •
The board may also establish committees to assist it in carrying out its responsibilities. The board will adopt charters setting out the membership, administration, purpose, responsibilities and functions appropriate to each committee. In 2017, committees in operation were the Learning Committee, Governance Committee and Fundraising & Sponsorship Committee.
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Recommend the strategic direction, plans and options for the board’s consideration and translate the board’s approved strategic direction into the operations of the business Assume the day to day responsibility for ADT’s conformance with relevant laws and regulations and its compliance framework Achieve the performance targets set by the board Develop, implement and manage ADT’s risk management and internal control frameworks Develop, implement and update ADT’s policies and procedures Be alert to relevant trends in the industry and ADT’s operating environment and respond accordingly Provide sufficient and relevant information to the board to enable the board to effectively discharge its responsibilities Act as a conduit between the board and ADT Manage ADT’s human, physical and financial resources to achieve ADT’s objectives
PARTNERS
GOVERNMENT PARTNERS
SUPPORTING PARTNERS
Images Cover: The Beginning of Nature - Christopher Mills. Photo credit Chris Herzfeld Camlight Productions Inside cover: construct- Jana Castillo. Photo credit Chris Herzfeld Camlight Productions pg.1: Be Your Self. Photo credit Chris Herzfeld Camlight Productions p.3: The Beginning of Nature - Matte Roffe, Christopher Mills, Kimball Wong. Photo credit Chris Herzfeld Camlight Productions pg.5: Doppelganger - Thomas Fonua, Christopher Mills, Kimball Wong. Photo credit Nat Rogers pg.7-8: The Beginning of Nature (rehearsal on stage at Teatro Mayor Julio Mario Santo Domingo). Photo credit Juan Diego pg.11-12: The Beginning of Nature - Zoë Dunwoodie, Thomas Fonua, Christopher Mills, Matte Roffe, Kimball Wong. Photo credit Chris Herzfeld Camlight Productions pg.13: Doppelganger - Zoë Dunwoodie, Thomas Fonua, Matte Roffe. Photo credit Nat Rogers pg.15: Be Your Self - Larissa McGowan, Kimball Wong. Photo credit Chris Herzfeld Camlight Productions pg.17: construct - Marlo Benjamin, Kimball Wong. Photo credit Chris Herzfeld Camlight Productions pg.19: The Beginning of Nature - Thomas Fonua. Photo credit Chris Herzfeld Camlight Productions pg.21: Fifty by Maggie Tonkin celebration - ADT Founder, Elizabeth Cameron Dalman OAM. Photo credit Ashleigh Sparnon pg.23-24: Secondment Week students. Photo credit Samantha Hines pg.27-28: The Beginning of Nature - Jana Castillo, Zoë Dunwoodie, Harrison Elliott, Thomas Fonua, Christopher Mills, Toa Paranihi, Matte Roffe, Felix Sampson, Kimball Wong. Photo credit Chris Herzfeld Camlight Productions pg.29: The Beginning of Nature - Matte Roffe. Photo credit Chris Herzfeld Camlight Productions pg.31: construct - Jana Castillo. Photo credit Chris Herzfeld Camlight Productions pg.33-34: construct - Marlo Benjamin, Jana Castillo, Kimball Wong. Photo credit Chris Herzfeld Camlight Productions pg.43. The Beginning of Nature Company dancers (rehearsal on stage at Teatro Mayor Julio Mario Santo Domingo). Photo credit Juan Diego pg.45. construct - Marlo Benjamin, Jana Castillo, Kimball Wong. Photo credit Chris Herzfeld Camlight Productions Back cover: The Beginning of Nature - Kimball Wong. Photo credit Chris Herzfeld Camlight Productions
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COMPANY D KIM BOEHM
A N I TA E W I N G
Kim is Director of Talent Management and Marketing for the Clemenger Group, Australasia’s largest marketing communications Company. He has previously held Managing Director positions with advertising agencies Clemenger Harvie Edge (Melbourne), Young & Rubicam (Melbourne) and Clemenger BBDO (Melbourne and Adelaide).
Anita is a senior solicitor at the Crown Solicitor’s Office with 11 years experience and brings her legal acumen to the Board. Anita works in-agency at the Office of the Public Trustee which sees her principally engaged in civil litigation, appearing regularly at the District Court and Supreme Court of South Australia and also the South Australia Civil and Administrative Tribunal.
Chair of the Board
Non-Executive Director
Kim has previously been a board member of CARE Australia and Catherine House; a member of the school council for the Srathcona Girls School; Chair of the Advertising Federation of Australia’s Chapters in both Adelaide; a member of the Adelaide University Media Advisory Board and a member of the UniSA MBA advisory board.
Anita has provided high level advice to the government in the advising section of the CSO and has extensive experience advising in the health and medical sphere. She was engaged as a Ministerial Advisor to the Minister for Health which, in addition to the political component to that role, saw her manage all legislation within the health portfolio through Parliament.
CHLOE BENTON Non-Executive Director
Outside of the Public Service, Anita has also worked in the commercial section of a private law firm providing strategic business advice and drafting complex commercial documentation. She has also worked in-house as a taxation consultant in a chartered accountancy and business advisory firm which experience has furnished her with strong business understanding.
Chloe is a Certified Practicing Marketer with the Australian Marketing Institute (AMAMI CPM), a member of the Asia-Pacific Professional Services Marketing Association (ICON APAC) and an Emerging Manager of the Australian Institute of Managers and Leaders. Primarily Australia-based, having worked with and for clients in North and South America, Europe, Hong Kong, Macau and Vietnam, Chloe has previously managed marketing and communications projects for global aid agencies, universities, government departments and private companies across 32 countries. Now with the global education group Navitas, Chloe brings marketing experience from professional service firms KPMG and Thomson’s Lawyers to the Board.
GEORGINA MCGUINNESS Non-Executive Director
Georgina is Director of McGuinness Media a boutique public relations and media consultancy, based in Adelaide, servicing key national clients. For 25 years, Georgina anchored Channel 9 Adelaide’s weekend news bulletin as well as maintaining a role as a senior journalist, producer and sub-editor.
As a jazz singer, Chloe has spent extensive time overseas providing music education and workshops primarily in Brasil, Nepal, Nigeria and Thailand. Chloe has studied in the USA, UK and Australia and holds a Masters in International Business & Masters in Marketing from the University of South Australia, a graduate certificate from the University of Adelaide and a graduate certificate from the University of Oxford.
Georgina also worked with the SA Branch of the Liberal Party as a senior communications adviser to Opposition Leaders Isobel Redmond MP and Steven Marshall MP during the 2014 State election campaign. Georgina is a board member of the Zahra Foundation, has previously been a member of the Harrison McMillan advisory board and is a current ambassador for the Australian Refugees Association.
Prior to the board of ADT, Chloe has been a contributing member on the committees of PLAN International Australia (SA), The Communications Council of Australia (SA), The Oaktree Foundation and Youth With A Mission.
JEFF MEINERS Non-Executive Director
Jeff Meiners works at the University of South Australia’s Division of Education, Arts and Social Sciences. He has taught extensively, directed movement for children’s theatre, and works with government arts and education organizations, dance companies and international dance projects.
ANNE CARMAN Non-Executive Director
Anne Carman BA, Grad Dip Psych, MHRM and Coaching, is an Organisational Development Consultant. She has considerable experience in strategic organisational development, operational review and change, leadership assessment and development, executive coaching, cultural change programs and talent and performance management. Anne works both strategically and operationally and has enacted substantive change for organisations, including having developed and implemented global strategies within the Asia Pacific region.
Jeff was an Australia Council for the Arts Dance Board Community Representative (2002–2007), 2009 Australian Dance Award winner for Outstanding Services to Dance Education and dance writer for the new Australian Arts curriculum Shape paper. Jeff ’s research focuses on the construction of the dance curriculum.
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DIRECTORS RUTH RENTSCHLER
CHRIS TOOHER
Ruth Rentschler OAM is Head School of Management and Professor Arts and Cultural Leadership at the University of South Australia. She previously held such roles as Associate Dean: Research Education, Research Centre Director, Chair Academic Board, Discipline Leader and Head and Associate Head of School. She is a DAAD scholar at St Hilda’s College, University of Melbourne and has completed her PhD at Monash University.
Christopher Tooher is the Executive Director of Sydney Festival, one of Australia’s best-loved annual events hosting an array of free and ticketed performance in Sydney in January.
Non-Executive Director
Non-Executive Director
Prior to Sydney Festival, Christopher was the General Manager at Bell Shakespeare Company. His comprehensive career in the performing arts sector has also seem him working as a Producer at Sydney Opera House and Director/CEO of Illawarra Performing Arts Centre in Wollongong. Present board memberships include Australian Dance Theatre and Riverside Theatre.
Ruth has over 20 years’ service on non-profit boards including in health (VicHealth), the arts for (Art Gallery of Ballarat, Multicultural Arts Victoria and the Duldig Museum and Sculpture Garden), in education (Deakin University Council, Chair Academic Board Deakin University). She has conducted governance research in Australia for various visual and performing arts organisations and arts ministries and has spoken internationally on the topic in the UK, Europe and Asia as a key note speaker. Ruth recently completed a research monograph on arts governance as the first in a series on the cultural and creative industries for Routledge, Oxon. She has taught at postgraduate level in arts management and doctoral studies. She initiated and designed the arts management program at Deakin, bringing it to the forefront of postgraduate arts management education nationally and internationally.
DAVID STOB B E Non-Executive Director
David has a Bachelor of Business (Accounting) and is a member of CPA Australia with 15 years finance experience gained in the private sector utility industry. David has a strong business acumen, sound accounting proficiency in the areas of management reporting, budgeting and forecasting as well as knowledge of WH&S practices and policies. Through his other board appointments including sporting club and other non-for-profit organisations, David has accumulated expertise in both sponsorship and fundraising with a community focus. David joined the ADT in 2014 and Chairs the Governance and Nomination Committee.
Ruth has won various prestigious awards including the Medal for the Order of Australia (OAM) for services to education, Deakin University’s Vice-Chancellor’s Award for Outstanding Community Service, the Faculty of Business and Law Award for Outstanding Research, Best Doctoral Supervisor Award in the Faculty of Business and Law. She is the book editor for the International Journal of Arts Management as well as the Chair of the international doctoral symposium in arts management.
T R I C I A WA LTO N Non-Executive Director
Tricia has 25 years’ experience in arts administration, management and governance mainly in small-to-medium youth arts, adult education and publishing organisations. She is experienced in strategic leadership, organisational change and policy development.
P E T E R S E LT S I K A S
Currently, Tricia is Chief Executive of Carclew, which delivers a multiart form program for South Australia children and young people. She has managed regional arts program delivery for Country Arts SA, run Kurruru, an Aboriginal youth performing arts organisation, and edited Artwork Magazine for Community Arts Network SA. Tricia chairs A>R>T a collective of artists and educators committed to arts rich learning environments in SA primary schools. She is a non-executive director of Australian Dance Theatre and is Chair of the SA Writers’ Centre. Tricia has a BA Degree (Literary Studies), a Grad Dip (Education and Training of Adults), is a fellow of the South Australian Governor’s Leadership Foundation and a graduate of the Australian Institute of Company Directors (GAICD).
Non-Executive Director
Peter is currently the Senior Manager, Asset Management for SA Water. In this role he leads the strategic, operational and capital investment planning for the Corporation’s $14bn of infrastructure assets. Peter has 20 years experience in the utility sector, first within Oil and Gas and more recently within the water industry. Peter has a strong commercial and operational background with a strategic mindset and has held many senior leadership roles driving business through significant change. Peter holds an Engineering Degree with Honours and a Master’s In Business Administration. Peter is a fellow of the Governors Leadership Foundation, a member of AICD, a past executive member of Engineer’s Australia Centre for Engineering Leadership & Management Committee in South Australia and a member of the Water Services Association of Australia Asset Management Committee. Peter is also a Non Executive Director of Australian Dance Theatre.
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AUSTRALIAN DANCE THEATRE