Charlston van Rooyen picture taken by John Hogg
2010 Annual Report 01
Vuyani Dance Theatre Annual Report 2011
Mandla Mathonsi - picture taken by John Hogg
SINCE
Shawn Mothupi and Thabo Kobeli
Photo by John Hogg
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Vuyani Dance Theatre Annual Report 2011
Index
Opening statement from the Artistic Director............ .8 Artistic Report........................................................... 14 Financial Report........................................................ 22 Audited Statements.................................................... 28 Press Clippings from 2010........................................... 36
Gregory Maqoma Artistic director
Photo by John Hogg
O
VDT is a home and a playground for our own artistic cravings but also a haven for training and collaborations, a place where ideas are thrashed out, processes discovered and dreams realized.
OS opening statement from the artistic director
Opening Statement Artistic Director Gregory Maqoma
V
uyani Dance Theatre (VDT) provided a platform for the last 11 years to establish artistic direction, to communicate qualities and values addressing our fundamental humility, to be audacious and bold in dealing with contentious political and gender issues and most important to establish the company as an important element in the history of contemporary African dance in this country and beyond. These years mark our childhood memories which we hold as they define our innocence and a constant reminder of a legacy we living behind for future generations. These memories are the defining tools of the movement
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Vuyani Dance Theatre Annual Report 2011
aesthetic, mixed in with a streak of the psychoanalytical and a highly developed curiosity so beautifully captured in our choreographed award-winning works. VDT is a home and a playground for our own artistic cravings but also a haven for training and collaborations, a place where ideas are thrashed out, processes discovered and dreams realized. The next years of VDT will take us into a deeper human consciousness that captures the imagination and the cradle period of a productive artistic vision, which crosses creative frontiers and further embraces our heritage. With much emphasis on sustainability, Vuyani will continue to be a home for established and emerging artist, for talent to be moulded and for collaborations between text, music and movement to be topical and significant. VDT’s approach embraces - in a dynamic and theatrical way - the many tastes, the different motivations, and the diverse cultures that shape the uniqueness of the South African society. Such is achievable
courtesy of a pool of diligent creators, administrators, dancers and musicians who invariably express themselves with artistic excellence. We pay great tribute to them for making it possible to achieve the dream of a world-class company. Artists are a leading voice for freedom - and Freedom of expression is vital for an artist’s work and we at Vuyani, work to protect that very right.The world is facing various challenges in politics, economics and challenges posed upon us by our very own earth, climate change, natural disasters etc.It is therefore imperative to partner with business as we dream of a common language, a common denominator that should bring us together, a common dream that will make the idea of a rainbow nation and the ideals of Ubuntu to find realism. We are the catalyst of change. We share the same vision, the one of a sustainable quality of life. Dance has already surpassed all the struggles in politics, gender inequality, racial intolerance and it knows no borders, it has no prescribed language and appeals to all kinds of people all over the world. Can dance be the unifying vehicle to bring across the message of sustainability to change perceptions and allow us to be the catalysts? To change attitudes, to improving the quality of life? I think it’s
already happening. Dance is the Euphoria of what the world should be a pure invention of humanity. And for those of you who love the arts, are you not pleased that you are the direct receiver of that invention. Just like every member of the public that buys a lottery ticket or holds a Nedbank Affinity Account, and purchase a lottery ticket or open an account that invests in a better sustainable quality of life. I thank you The National Lottery Distribution Trust Fund and Nedbank, through Arts & Culture Trust, we are already partners in this mission, and through dance we address and share your vision and passion of a better world. I thank the National Lotteries Distribution Trust Fund for your investment for which the returns are immeasurable. I also thank the National Arts Council for initially funding Four Seasons. I thank Business and Arts South Africa through the BASA Boardbank for giving VDT an opportunity to reinvent itself with a sexier, powerful and active board. I thank our Patron Justice Edwin Cameron, even in his much busy schedule still finds time to dream with us. I thank the media your continued support and presence, loyalty and your love for the arts.
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Challenges Today the arts are competing on many levels with sports and the advancement of Television and Internet where much of entertainment is brought to our houses in the comfort of our own bed using our laptops, iPads, iPods and many more of these toys. We download music, videos, books for a minimal fee, and every time we loose a certain percentage of our future generation of theatre goers through video games. A need to go out and buy a theatre ticket is lessened and that Is the reality. You might be sitting there and thinking
“Can dance be the unifying vehicle to bring across the message of sustainability to change perceptions and allow us to be the catalysts? To change attitudes, to improving the quality of life? I think it’s already happening.� then why should we be investing in the arts? We need to!. Because the world needs her artists to speak on its behalf, it needs cultural workers and creative professionals to lead the public sector and change hearts. We need to engage today on a fundamental reincarnation of the arts. We had the religious reformation in 16th Century, and it worked, the
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Vuyani Dance Theatre Annual Report 2011
reincarnation of the arts needs not to be afraid of the developments in technology but needs to embrace the opportunity that technology provides in our quest for a sustained art sector that speaks directly to the sustainability of our environment and the arts sector. The arts bring us joy, they lay out personal opinions to the open for public discussions and in most cases these opinions become case studies as they speak directly of our actions and therefore give us an opportunity to reflect and think of our part in this process of change. Four Seasons, like the Beautiful Trilogy which started in 2005, are such artistic works that touches the heart, apart from reminding us of our part in the decay of our planet they also reminds us of the incredible power we hold as catalyst of change. We do need you to partner with us in this mission. We ask every business person, in whatever capacity, to think with us, to dream with us, to take this journey of the reincarnation of the arts with us. We ask the media to make this a subject of note, one that is imperative, significant and necessary.
I thank you Gregory Maqoma Founder and Artistic Director
Gregory Maqoma Artistic director
Photo by Debit eum aligent.
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From top to bottom Sibusiso Ngcobo and Mcebisi Bhayi -
Photo by John Hogg
A
VDT was selected to manage and choreograph 40 dancers for the FIFA Pre-Opening Concert at the Orlando Stadium. The company got an opportunity to work with big stars like Hugh Masekela, Lira, Angelique Kidjo, Alicia Keyes, Ali Farka Toure, John Legend, Black Eyed Peas and Shakira.
AR artistic report 2010
Artistic Report 2010 Artistic Director Gregory Maqoma
V
uyani Dance Theatre (VDT) has managed to sustain itself for the last 10years as a company that is striving for excellence in dance and the arts in general. As the artistic director, teacher, choreographer, mentor, I have played a significant role in making sure that the standard status is held up high and revenues are generated through performances. This report is compiled with emphasis on company performances, visibility, revenue and general developments in the area of funding, publicity and education.
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Vuyani Dance Theatre Annual Report 2011
Summary of Highlights March 2010 – April 2011 Vuyani Dance Theatre as part of the Gala Night of FNB Dance Umbrella in March. This was an opening season performance of the company where Black Man White Balls was performed too much appreciation. This work paid tribute to soccer as a sport and it was a marketing tool to make sure that the company is part of the events to take place pertaining to FIFA World Cup. This work was first premiered in 2000 and has seen many revivals over the years.Four Seasons, the company seasonal work was launched in April as part of VDT season at the Dance Factory, this work was funded by the National Arts Council (NAC). It received good media coverage and made sure that the visibility of VDT holds high standards. This work opened doors to new collaborations with new company dancers and musicians. It is also the work used to enforce training and development
Artistic report structures and to identify young talent. Four Seasons saw the company developing new strategies of marketing and presentation.A professional still photographer was brought in to create the image for the work. A long time collaborator and musician Katlego Isaac Molelekoa was challenged in a role of composition for the music element of the work Declan Randall and Congo Blue Designs did the stage designs and lighting.Chantal Grotto was brought is to work on marketing the event and to create a brand for the work. VDT was selected to manage, develop concepts and choreograph for the Brand South Africa marketing campaign. This campaign gave employment to 200 dancers and students in the period of May and June.VDT was selected to manage and choreograph 40 dancers for the FIFA Pre-Opening Concert at the Orlando Stadium. The company got an opportunity to work with big stars like Hugh Masekela, Lira, Angelique Kidjo, Alicia Keyes, Ali Farka Toure, John Legend, Black Eye Peas and Shakira.VDT was marked as the highlight for Tilder 20th Anniversary held in Paris, in October, company performed a 4omin excerpt of Four Seasons to great acclaim. VDT was part of De Beers Shining Light Show, a show that showcases De Beers Diamonds Pieces held in Kimberley. Later was part of De Beers Year End Party. VDT held auditions for a new intake of dancers in November. Dancers came from most parts of Southern Africa, with much interest from Eastern Cape and Western Cape. VDT Artistic Director toured with Southern Bound Comfort – double students in the period of May and June.VDT was selected to manage and choreograph 40 dancers for the FIFA Pre-
01
Opening Concert at the Orlando Stadium. The company got an opportunity to work with big stars like Hugh Masekela, Lira, Angelique Kidjo, Alicia Keyes, Ali Farka Toure, John Legend, Black Eye Peas and Shakira.VDT was marked as the highlight for Tilder 20th Anniversary held in Paris, in October, company performed a 4omin excerpt of Four Seasons to great acclaim. VDT was part of De Beers Shining Light Show, a show that showcases De Beers Diamonds Pieces held in Kimberley. Later was part of De Beers Year End Party.VDT held auditions for a new intake of dancers in November. Dancers came from most parts of Southern Africa, with much interest from Eastern Cape and Western Cape. VDT Artistic Director toured with Southern Bound Comfort – double bill which comprises Southern Comfort originally created in 2001 and revived again in 2008. This work has opened doors for future tours of VDT and developed new relationships in Germany, France and Canada. Beautiful Me continue to be an important income generating work with its success in Europe, USA and Africa and in February 2011 had its debut in New Zealand. It has generated interest in Canada, Germany and Switzerland and will for the first time be featured in the Jomba festival later in year in Durban. The company continued its relationship with De Beers where Maqoma was given the artistic license to stage The De Beers Shining Light Show in Johannesburg and Namibia in February 2011. The company made a historical debut in the KKNK Festival in Oudtshoorn (Northern Cape) with the highly acclaimed Four Seasons.
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New Artistic Directions Auditions took place to strengthen the company and to make sure that we have a reasonable number of dancers who are able to withstand the pressures and the demands of company repertoire. In addition to the company is the junior company that is a support pillar to the main company and still undergoing training and can be used in some productions. The junior company will work closely with the senior company; they will shadow the main dancers and must be ready to jump in when needed. Apart from the performance companies, there is also the training component where special students have been selected for an intense training in dance. In total we will have 17 dancers at our disposal. Luyanda Sidiya was appointed as artistic assistant and will work with the
artistic director in developing concepts, directions, training etc. and will be in charge of artistic matter when artistic director is engaged on international projects. Shawn Mothupi has been with VDT since 2004 and has been promoted to rehearsal assistant position. Shawn knows is familiar with the company style and understands the aesthetics. An outreach and education co-coordinator has been appointed: Mpho Kunene used to hold the same position at Moving Into Dance and he proved his abilities then. He is essential in communicating and securing outreach and educational projects, scheduling dancers and appointing schools for them. On top of the above he will coordinate open classes and Saturday children and adult classes.
from left Melusi Mkhanjane and Tebogo Hlale photo by John Hogg
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Vuyani Dance Theatre Annual Report 2011
Performance Company Structure 2011.01.09 ARTISTIC DIRECTOR
Gregory Maqoma
ARTISTIC ASSISTANT
Luyanda Sidiya
EDUCATION COORDINATOR
Mpho Kunene
REHEARSAL ASSISTANT
Shawn Mothupi
SENIOR DANCERS
Thabo Kobeli Phumlani Nyanga Teresa Mojela Charleston Van Rooyen Nosiphiwo Samente Thulani Chauke JUNIOR DANCERS
Gladwell Rakoma Ayanda Dyonana Seodigeng Keaoleboga Xolisile Bongwana TRAINEES
Wesley Mabizela Roseline Keppler Nhlanhla Mbuyisa Maleshwane Hadebe Mxolisi Hamilton Ntinezo Prudence Mokoena
The Senior Company is the marketing tool for the company, this are strong dancers who can withstand all artistic demands placed on them. They are expected to deliver quality and forever uphold the company reputation. They are mentors to both the junior dancers and trainees They are expected to master the company repertoire and be ready to take on new works by internal and external choreographers
They will be evaluated on a quarterly basis on their progress and delivery They are encouraged to participate in the daily activities and functions of the company.All expected to take responsibility of the general conduct, health and self-motivation.They are expected to teach at schools, run community projects, outreach projects and to participate in all educational projects.
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Trainee’s 2011 Year Plan Trainees will have specific teachers who will be working with them throughout the year, they will also be provided with External Tutors that will be invited sporadically to share and strengthen them further on their technique. They will be attending class every morning with the professional company as it is compulsory unless they were told not to by either AD or AA, among other things they will also be attending more classes, at least two to three classes per day, as that will cultivate and strengthen their bodies but also increase their understanding of dance and movement. All trainees have to keep Journals that needs to be used every day of the week; all journals will be monitored on weekly basis.
Main objective This should be determined by the Artistic team, on what they need to achieve out of the learners and the process. All that will be filtered down to the faculty team.
Specific Outcomes →→Outstanding performers →→Technically sound →→Creative abundance →→Choreographic Knowledge →→Movement Intelligence →→Fair understanding of self management and arts administration →→Be able to transfer knowledge
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Vuyani Dance Theatre Annual Report 2011
The faculty will be selected with the above outcomes in mind. Teachers with a clear understanding and a proven record of producing great results will be selected. Also teachers who are aware of the ethos, aesthetics and the vision of VDT will play
an important role in the development of the students and the company.
“The course is about developing individual voices that will add value in the company and contribute to the development of dance generally” Content The main aim of the training is to make sure that the students gain thorough knowledge of the company aesthetics, forms and traditions but also open to all kinds of movement vocabulary. The course is about developing individual voices that will add value in the company and contribute to the development of dance generally. Therefore the following forms and styles are important. Company aesthetic – African Contemporary Cocktail, is widely what VDT has developed in the past 11yrs, it’s a company tradition which needs to be past to other generations, it is a specific style, pertinent to VDT.
Contemporary Urban Forms – Street Dance forms like Hip-Hop, Pantsula are important in understanding the dynamics which feed in to the point above →→ Salsa/Samba – the use of the pelvis area, dynamics, sensuality. →→ Contact work – essential for partnering →→ Contemporary Ballet – understanding of body lines, basic dance vocabulary →→ Improvisation – essential to unlock creative juices →→ Repertoire – learning company works, their history and understanding clearly the style →→ Working with young minds and physically challenged bodies – great understanding of having to deal with different challenges, this is essential during outreach and teaching at schools.
→→ Teaching dance – help young teachers to understand the dynamics of teaching, tools to use and the responsibility that comes with teaching. →→ Performance and choreography – Not everyone understands the dynamics of performance, technique on its own is not enough. The course will help the students to create that wow selling factor for them. It will further help them with making performance and choreographic choices. →→ The use of text in performance, voice training. →→ Yoga – for understanding of the body, stretching and breathing techniques
Sibusiso Ngcobo - photo John Hogg
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Charlston van Rooyen and Thulani Chauke
photo by John Hogg
From that beginning VDT can then be assured of positioning itself on lucrative sponsorship attracting campaigns to raise its SUSTAINABILITY curve like sports teams of repute do/have done
FR FINANCIAL REPORT
Financial Report Financial Director Nonkululeko Thabede
T
he value of publicity that VDT is able to generate is estimated at a value of one million rands annually,given a budget of R30,000 for publicity. In tracing the sustainability path of Vuyani Dance Theatre (VDT), neither of the modes of funding can be looked down nor elevated beyond the others merely because of their varied support sizes – financially or otherwise The plain truth is that all receipts – be they earned, raised, pledged or in kind – made and continue to make a profound difference in the company’s lifetime.At VDT we persist with the positive notion of engaging business approaches to our marketing mix with firm understanding that our service (contemporary dance) unquestionably qualifies as a tradable commodity within the larger supply chain community where the phrase “producer, supplier and consumer” is at play. However, we are
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Vuyani Dance Theatre Annual Report 2011
under no illusion that VDT operating in the arts sector - can by any way suddenly swing the pendulum from being a fundraiser that it currently is to complete profitability. The preceding paragraph is no excuse but an indication of what a normal environment offers to a discerning eye, especially one that concedes the need for complimentary nodes to qualify the nourishment of one element by another so life can harmoniously go on in an interwoven arena of activity. Thus shall manufacturers thrive through bank loans, banks through client investments, government through taxes and other means, sports through sponsorships, etc. It is an inter-dependency chain which, after the affected had ended up landing on the link referred to as the arts or the creative industries – for solace, for admiration, for general therapeutic reasons and to uplift their spirits – they then retreat to their residences oblivious of the impact the latter had had in reactivating their zest to get back and
contribute even more to their chosen careers. There is no way the arts can be wished away… not Vuyani Dance Theatre for that matter.The opening up of a platform for the performance of VDTs first work, Rhythm 1 2 3, at the ITS Festival in Holland in June of 1999 heralded what is now nearly 20 works in the company repertoire. For a company that is still existent, the path traversed involved and still takes on board all the elements enumerated in the statement about receipts on line 3 of the first paragraph of this discourse. Another truth is that considerable strategic decisions had to be made and effected for the company to arrive and realize the size of manpower that it enjoys today.Just as is the case today; through the years (before 2006) VDT had funding that – in tandem with income generated from Rhythm Colour (complete cast of 13 including the 5 musicians) and Ketima (4 dancers and a musician) – carried the company through. Funding earlier came from the National Arts Council (NAC) and then from the National Lotteries Distribution Trust Fund (NLDTF) from which VDT realized its former vision to ditch functioning on project-to-project basis for a fulltime company in 2004.After the 2005 January auditions the Ketima team of four was joined by two more dancers (female) to increase the company pool to six. One more dancer (female) was hooked in in 2006. Three works interchangeably lifted the VDT banner in 2005/6. These were Somehow Delightful, Beautiful Us and Dry Land. Although the three works drew satisfactory print media reviews as well as domestic audience feedback, the story with regard to income they generated – collectively or as units – remains relatively drab.What was VDT doing wrong has always been the question. The question that attempts to answer the ensuing question was; are we
doing enough to teach our audiences the ‘culture of payment’…because, truth be told, we did/do perform to full-houses. Towards the end of 2006 the arts scene was engulfed in the cloud of doom… organizations, big and small, fell by the wayside. Notwithstanding VDT’s refusal to capitulate, the recession impact became dreadful when VDT lost all its dancers to virtually anything that yielded income including ‘twinkle’ events such as entertaining fans during Cricket ODI and test matches. A cool-headed decision for Greg Maqoma to readily put Beautiful Me together was agreed upon by three remaining members. This because they could not envision the dissolution and subsequent anticipation of the resurrection of ‘a’ epoch of plenty to reconstitute the organization. In January of 2007 Maqoma took up creative residency at Center Nasionale de la Danse in Paris, France, where he assembled the work. And two months later – on March 12 – premiered Beautiful Me at the University of Johannesburg Theatre during what was then (still) the FNB Dance Umbrella.Over and above KETIMA, Beautiful Me has isolated itself from the rest of the company works as one with most international appearances. Arguably, it rates among the consistent Contemporary Dance Exports from our country. Its itinerary continues to accumulate. Beautiful Me is a typical example of Quality Work with Tradable Value… sustainability.En route to achieving the VDT Face of 2011 there have been corporate performance segments which saw some of the previous VDT charges returning to make freelance appearances on demand – especially in 2010. The VDT Face of 2011 enjoys major funding from the National Lottery Distribution Trust Fund (over three years). What is internally referred to as the Sprung Floor is divided into
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three segments being; 1 The Seniors with six dancers, 2 the Juniors with five understudies, and 3 Trainees with six charges.More works compounded by appropriately pitched marketing strategies are expected to come out of the Sprung Floor. Come out of there not only to develop audiences but to achieve out of them a following that will appreciate and compensate the resultant skill for what it is worth. Only substantial returns on
that investment will answer the question that earlier answered itself in a form of another question: and the answer will now be “yes the number of complimentary tickets has drastically gone down…a proof that ours is now a paying audience”. From that beginning VDT can then be assured of positioning itself on lucrative sponsorship attracting campaigns to raise its SUSTAINABILITY curve like sports teams of repute do/have done.
Vdt income profile since year 2003 4500000
Grants
IN RANDS
4000000
Performance fees & other incomes
3500000 3000000
Company Seasons
2500000 2000000 1500000 1000000 500000 0
2003 2004 2005 2006 2007 2008 2009 2010 2011
Drawing: Earnings History Drawing above depicts the sustainability path of VDT since it started keeping the same artists yearly contracts as opposed to the all-round transitory system experimented with that preceded it; that is, going back from 2002 to 1999. The steep rise of the linear-indication slanting into 2011 shows the significance of grants in holding the fort while the
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Vuyani Dance Theatre Annual Report 2011
product is being shaped and rigorous audience building measures are being explored in order to achieve functional harmony that would in the near future, position Contemporary Dance as a genre of note with greater appeal to a wider market that will be enthusiastic about “listening with (their) eyes and tapping with (their) ears”.
Mangaliso Mthimkulu photo by John Hogg
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from top to bottom Charlston van Rooyen and Phumlani Nyanga
Photo by Debit eum aligent.
Vuyani is multifaceted in that it is not merely a performance company:it mounts community projects in school halls; does outreach training once a week in areas all over Joburg and produces significant corporate events�
AS Tammy Ballantyne - BusinessDay
audited statements
Audited Statements Report of the independant Auditor EUGENE SYMONDS CHARTERED ACCOUNTANT (SA) JOHANNESBURG
I
have audited the annual financial statements of the Vuyani Dance Theatre Project for the year ended 31 March 2011. These financial statements are the responsibility of the office bearers of the organisation. My responsibility is to express an opinion on these financial statements. I conducted the audit in accordance with generally accepted auditing standards. These standards require that I plan and perform the audit to obtain reasonable assurance that in all material respects, fair presentationis achieved in the financial statements. An audit includes an evaluation of the
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Vuyani Dance Theatre Annual Report 2011
appropriateness of the accounting policies, an examination, on a test basis, of evidence that supports the amounts included in the financial statements, as assessment of the reasonableness of significant estimates made by the office bearers and a consideration of the appropriateness of the overall financial statement presentation and disclosures. I consider that my auditing procedures were appropriate for my opinion. In common with similar organisations, it is not feasible for the organisation to institute accounting controls over cash receipts from workshop and sundry income prior to the initial entry of the cash receipts in the accounting records. Accordingly, it was impracticable for me to extend my examination beyond those receipts actually recorded. In my opinion, except for the effects of any adjustments
that may have been necessary had it been possible for me to extend my examination of cash collections from ticket sales and sundry income, these financial statements fairly present the financial position of the organisation at 31 March 2011 and the results of its operations for the year ended in conformity with generally accepted accounting practice.
Report of the Office Bearers for the year ended 31 march 2011 Statement of Responsibility The trustees are responsible for the maintenance of adequate accounting records and the preparation and integrity of the financial statements and related information. The auditors are responsible to report on the fair presentation of the financial statements. The financial statements have been prepared in accordance with generally accepted accounting practice applicable to the organisation. The trustees are also responsible for the organisation’s system of internal financial control. These are designed to provide reasonable, but not absolute, assurance as to the reliability of the financial statements, and to adequately safeguard, verify and maintain accountability of assets, and to prevent and detect misstatement and loss. Nothing has come to the attention of the trustees to indicate that any material breakdown in the functioning of theses controls, procedures and systems has occurred during the year under review. The financial statements have been
prepared on the going concern basis, since the trustees has every reason to believe that the organisation has adequate resources in place to continue in operation for the foreseeable future.
Objectives of the Organisation The organisations main objectives are to 1. Produce works which questions and challenges society values at the same time using history as a springboard to search and develop material. 2. Explore fusion of African contemporary urban styles, music and culture with European contemporary forms. 3. Impart dance and choreography skills by organising workshops and classes. 4. Engage in collaborative work with individuals/groups interested in artistic innovation.
Plant and Equipment Plant and equipment were acquired as in Note 2. to the organisations Annual Financial Statements.
Organisational Structure. The Executive Committee of Vuyani Dance Theatre is a follows: Ms T Msibi (Chairperson) Mr V Mathebula Dr T Balfour-Kaipa Ms C Moremi Mr D Mbethe
Subsequent Events There were no material events that occurred after Balance Sheet date that require additional disclosure in the financial statements.
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Balance Sheet as at 31 March 2011 Notes
2011
2010
ASSETS
8 1 139
4 057
8 1 139
4 057
Current assets
3 207 674
182 364
Cash resources
3 107 962
173 484
9 9 712
8 880
3 288 813
186 421
3 257 839
186 421
95 368
9 5 368
3 162 471
91 053
Current liabilities
3 0 974
-
Trade payables
3 0 974
-
3 288 813
186 421
Non current assets Plant and equipment
2
Trade & Other Receivables Total assets
RESERVES AND LIABILITIES Reserves Accumulated funds Surplus funds
Total reserves and liabilities
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Vuyani Dance Theatre Annual Report 2011
3
Income Statement for the year ended 31 march 2011 Notes INCOME Grant and performance fees received Interest received Sundry Income EXPENDITURE Auditors remuneration Administration costs Advertising costs Bank charges Catering costs Computer consumables and software Costume cleaning Costume design Courier and postage Depreciation General expenses Hire of equipment Insurance Internet fees Maintenance Rent, lights and water Salaries and performance fees Set & lighting design Sets / props Stationery and printing Staff welfare Storage costs Telephone Travel and accommodation costs Venue Hire Net surplus / (deficit) for the year Accumulated surplus at beginning of year Accumulated surplus at end of year
2010
2009
4 854 093 4 806 066 4 8 027 1 782 674 7 404 7 900 2 9 285 5 630 3 747 1 200 5 2 095 5 365 1 1 846 9 547 2 8 339 9 959 1 739 8 159 2 6 435 1 352 678 1 6 549 8 00 5 439 2 558 3 510 1 6 407 1 40 098
1 180 132 1 177 064 3 069 1 102 766 1 023 34 665 4 250 7 693 2 266 18 445 7 762 2 026 2 141 39 219 813 460 41 719 14 497 1 852 9 130 102 619
3 5 984 3 071 419
77 366
9 1 053
1 3 687
3 162 471
91 053
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Notes to theAnnual financial statements For the year ended 31 march 2011 1. Accounting policies
1.3 Cash and cash equivalent
The financial statements are prepared on the historical cost basis and incorporate the following principal accounting policies.
1.1 Fees received
Fees received comprises donor funds and performance fees received
1.2 Plant and equipment
Plant and equipment are depreciated on a straight line basis at rates considered appropriate to reduce the cost price of the assets to its estimated residual value over its expected useful life. Computer equipment 33.3% Furniture & Fittings 16.67% Office equipment 20%
Cash and cash equivalent are carried in the balance sheet at cost. For the purpose of the cash flow statement, cash and cash equivalents comprise cash on hand, deposits held at call with banks and, other short term liquid investments with original maturities of three months or less.
1.4 Provisions
Provisions are recognised when the organisation has a present legal or constructive obligation as a result of past events, when it is probable that an outflow of resources embodying economic benefits will be required to settle the obligations and when a reliable estimate of the amount of the obligation can be made.
2. Plant and equipment
2010
Carrying value at beginning of year
Additions
Depreciation
Carrying value at end ofyear
R
R
R
R
Owned assets
4 052
4 9 604
9 483
44 173
Furniture & fittings
-
2 0 606
944
19 662
Office equipment
5
18 717
1 419
1 7 303
4 057
88 928
11 846
8 1 139
Computer equipment
Total assets
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Vuyani Dance Theatre Annual Report 2011
3. Accumulated funds Accumulated fund relates to the net position of reserves held by the Vuyani Dance Theatre Project prior to it being registered as a non-profit organisation. Income and expenditure received and paid prior to incorporation date have therefore not been reflected in the income statement but shown underAccumulated Funds.
4. Grants received The following Grant and Donor income was received during the year and included under Income. 2010 R
2009 R
-
2 161
2 0 000
44 000
-
25 000
Mmino
1 16 000
-
National Arts Council
1 00 000
175 000
NLDTF
3 654 837
-
-
714 517
8 98 347
216 386
4 789 184
1 174 903
ACARDI artists fees ACT Development grant FNB Dance Umbrella Commission
Beautiful Me performance fee Sundry fundraising, performance fees and refunds
5.Cash flow statement No cash flow statement has been prepared as it will serve no benefit to the members
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Outreach programme lead by Greg Maqoma and Tebogo Hlale Photo by Suzy Benstein
P
What distinguishes Maqoma from his equally distinguished young peers is his intelligentlyprovocative exploration of kinetic African identity where the rural impinges on the urban, where the hallowed intersects with the popular. While Vuyani’s work radiates intellectual rigour it doesn’t lack wit, humour or devastating emotional honesty, ritual is at home in an Armani suit, Kwaito rhythms take on classical ballet steps (and win!), issues of colonialism, gender and identity are parodied, probed and silhouetted with sparkling irony.
PC Adrienne Sichel Specialist writer The Star, Johannesburg, January 2002
press clippings of 2010
”When he founded the Vuyani Dance Theatre(VDT) in 1999 - the isiXhosa word being his given name,Maqoma was merely spreading the word of how children from dusty townships,one himself,could eke out a comfortable living from the elegant movements of dance” Greg Gives Youth Hope Sowetan July 2009
“When Vuyani was formed 10 years ago,there were only three dancers. Since then it has provided employment for over 200 dancers,choreographers,m usicians and actors” Adrienne Sichel Specialist writer The Star, Johannesburg, January 2002
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Vuyani Dance Theatre Annual Report 2011
“At VDT we persist with the positive notion of engaging business approaches to our marketing mix with firm understanding that our service (contemporary dance) unquestionably qualifies as a tradable commodity within the larger supply chain community where the phrase ‘producer, supplier and consumer’. ” Maqoma’s manoeuvres Tonight Stage, April 2010
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Gregory Maqoma photo by John Hogg
VDT trainees from top left: Maleshwane Mohoasi middle: is Xolisile Bongwana and top right is Prudence Mokoena. bottom left: Nhlanhla Mbuyisa and Wesley mabizela photo by John Hogg
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Vuyani Dance Theatre Annual Report 2011
Outreach programme lead by Charlston van Rooyen photo by John Hogg
Shawn Mothupi and Teresa Mojela photo by Themba Vilakazi
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