CONTENTS
TRUSTEES
STAFF
02 Overview
Mr Charles B Goode, AC (Chairman) Professor Geoffrey N Blainey, AC Mr Leon Davis, AO The Hon Sir Daryl Dawson, AC, KBE, CB The Hon Sir James Gobbo, AC, CVO, QC Mr John B Gough, AO, OBE Professor Thomas W Healy, AO Dr Thomas H Hurley, AO, OBE Mr Allan J Myers, AO, QC Mr Frank L Nelson Lady Potter, AC Dr P John Rose, AO Professor Graeme B Ryan, AC
Chief Executive Officer Mrs Janet Hirst
03 Funding Principles 04 Chairman’s and CEO Reports 05 Music Commissions 11 Grant Recipients 22 Grants Paid 2007–2008
Finance Mr John Kellaway Ms Therese Reidy Program Manager Ms Maria Roberts Administration Manager Ms Gail Lewry Assistant to the Chief Executive Officer Ms Kay Roworth Mrs Josephine Berthelemy
The Ian Potter Cultural Trust ABN: 65 807 851 867 Level 3, 111 Collins Street Melbourne Vic 3000 Telephone: 03 9650 3188 Facsimile: 03 9650 7986 Email: culturaltrust@ianpotter.org.au Web: www.ianpotter.org.au/ipct.html
Opposite page Tim Bassett Sixty Light Years from Home
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OVERVIEW
Sir Ian Potter (1902 – 1994), the founder and benefactor of The Ian Potter Foundation, was one of Australia’s most visionary and internationally minded business leaders in the decades after the Second World War. Sir Ian was a stockbroker and investment banker, and was knighted in 1962 for public services in the field of finance. Sir Ian was a philanthropist with a keen interest in supporting the development of Australian cultural life. He committed his personal time to serving on the boards of major cultural organisations such as the Australian Ballet, the Australian Opera and the Australian Elizabethan Theatre Trust. The Ian Potter Cultural Trust was established in 1993 by The Ian Potter Foundation to enable grants to be made to individual artists. In the 15 years since its establishment, exceptionally talented emerging artists from diverse disciplines have been supported to travel overseas to train, study and work with colleagues from around the world. Since 1999 the Trust has run a biennial program, The Ian Potter Music Commissions, to support the composition and performance of Australian music. In 2005 the Music Commissions became a fellowship program to support one emerging composer and one established composer for the creation of a portfolio of work over two years, and the performance of the works.
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FUNDING PRINCIPLES
When assessing applications to The Ian Potter Cultural Trust, the Trust looks for: – A commitment to excellence. We support individuals who are passionate about their work, and have the potential to be outstanding in their field in an international context. – Evidence of the applicant’s initiative and exceptional talent, with an ability to convert their ambitions to reality. – Clear objectives as to why this project will be of most benefit to the applicant at this stage of their career development. – Projects that have been carefully planned to maximise opportunities for building mentoring relationships and advancing career prospects. – An emphasis on education and developing skills overseas, rather than for projects within Australia, or performances, exhibitions or the making of recordings. – Support from other sources. These might include other trusts and foundations, scholarships and awards, service clubs, family or business. We are very happy to be one of a number of supporters. We do, however, expect a reasonable financial contribution from the applicant themselves. The Trust will not fund 100% of the costs of a project. – A detailed and well-researched tight budget. – An informed and detailed travel and project schedule.
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CHAIRMAN’S REPORT This year’s report highlights some of the grants The Ian Potter Cultural Trust has made to support talented artists in the early stages of their careers who have the potential to be outstanding in their fields, both in Australia and internationally. Grants of up to $7,000 are awarded to artists practising in a wide range of disciplines within the arts, including the performing and visual arts, crafts, music, literature, design and community arts. The artists’ reports reveal the critical role that the grants, with the opportunity they give to travel overseas, have played in increasing artists’ knowledge and progressing their careers. Another important part of the Cultural Trust’s work is The Ian Potter Music Commissions Fellowships. This biennial program gives talented composers the opportunity – at a crucial time in their careers – to focus on composing and performing new Australian music. Since 1999, over $400,000 has been awarded to recipients of the Fellowships. This year two exceptional artists received The Ian Potter Music Commissions Fellowships for 2007. In November, Lady Potter presented the Fellowship of $80,000 for an Established Composer to Dr Liza Lim, and the Fellowship of $20,000 for an Emerging Composer to Mr Anthony Pateras.
Sir Ian was very passionate about the arts and I know he would be proud to see the Trust supporting Australian composers and the creation of new Australian music with these awards. The Fellowships focus on contemporary music, perhaps the most overlooked area of arts in Australia. The Fellowships help redress that and play a crucial part in challenging composers to give their creativity the fullest scope. Lady Potter I would like to thank the members of the judging panel, Adjunct Professor Nicolette Fraillon, Dr Genevieve Lacey, Professor Barry Tuckwell, AC, OBE, and Ms Elena Kats-Chernin, who, after many hours of deliberation, selected Liza Lim and Anthony Pateras from a field of highly talented Australian composers. My thanks go to my fellow trustees, and to Janet Hirst, our Chief Executive Officer, and the Cultural Trust’s Program Manager, Maria Roberts, for their contribution during the past year. Charles Goode, AC Chairman
CHIEF EXECUTIVE OFFICER’S REPORT Through the Cultural Trust grants, Australian artists have the opportunity to travel overseas to meet with their international peers; attend workshops; undertake research and postgraduate study, private lessons and training courses; and participate in international competitions. They have the opportunity to showcase their talents and skills on the international scene and to develop invaluable relationships with colleagues and mentors.
The Ian Potter Cultural Trust was established in 1993 by The Ian Potter Foundation to encourage the diversity and excellence of emerging Australian artists. The Cultural Trust grants support early career artists of exceptional talent to undertake professional development, usually overseas. In the early years of the Trust, the majority of applications came from musicians. This year has seen grants awarded to 84 talented artists from an amazing array of art practices, including piano, cello, viola, violin, jazz and creative music, the visual arts, textiles, glass, photography, sculpture, foot juggling, jewellery and flamenco dance.
Grants from the Cultural Trust also assist artists in securing subsequent funding from other organisations. Our grants are supplemented by the recipient’s personal funds and by grants from other funding bodies. A constant message from recipients of a Cultural Trust grant is that the grant often makes the difference between going overseas and not going. The Ian Potter Music Commissions Fellowships provide a unique opportunity in Australia for emerging and established composers to have the time to immerse themselves in large-scale projects and focus on creating works that previously he or she may only have been able to dream about.
This year the judging panel had a difficult task in selecting the 2007 Fellows from portfolios of works submitted by a diverse range of composers. The Fellowships recognise both ends of the creative spectrum: the proven composer and the up-and-comer. Given my music is not for everybody, I feel extremely fortunate to receive such support, as opportunities such as this are rare. Anthony Pateras, Emerging Composer, 2007 The number of applicants seeking support from The Ian Potter Cultural Trust has risen from 46 in 1994 to 209 in the past year. The geographical base of applicants is disproportionate, with 94 applications coming from Victoria, 59 from New South Wales, 23 from Queensland, 9 from Western Australia, 7 from South Australia, 5 from the Australian Capital Territory and 2 from Tasmania. Ten applications came from artists who were living overseas. We encourage outstanding emerging artists from every State to apply to the Trust. I would like to thank our expert reviewers in a range of specialist fields for their assistance in reviewing the large number of applications received each year, and our staff, in particular the Trust’s Program Manager, Ms Maria Roberts, for their contribution during the year. Janet Hirst Chief Executive Officer
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THE IAN POTTER MUSIC COMMISSIONS 2007 FELLOWSHIPS The Ian Potter Music Commissions is a biennial program that seeks to foster composition of new Australian music and importantly, to facilitate its performance. Since 2005, there have been two Fellowship categories, one for an emerging composer and one for an established composer. Applicants are encouraged to demonstrate ambition in their initial submissions, and to extend concepts beyond the parameters and scope of their previous work. This program aims to give composers the opportunity to not only compose new music but to also give them the creative time and breathing space to explore new possibilities within their work. The judging panel for the 2007 Music Commissions had a difficult decision to make among a strong field of contenders. However, the panel finally selected composers of unique style and diverse aspirations. Following is a report on the activities of the 2005 recipients, Dr Richard Mills, AM, and Mr Damian Barbeler, and the progress of the 2007 recipients, Dr Liza Lim and Mr Anthony Pateras.
Top 2007 winners Anthony Pateras and Liza Lim with Lady Potter, AC Bottom L to R Lady Potter, Professor Thomas W Healy and Janet Hirst
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JUDGING PANEL
Over the years The Ian Potter Cultural Trust has been very fortunate to have talented and dedicated individuals as members of the judging panel for the Music Commissions. In 2007 an outstanding panel made the difficult decision of selecting two composers for the Fellowships.
Ms Elena Kats-Chernin’s music featured at the opening ceremonies of the 2000 Olympic Games and the 2003 Rugby World Cup. In 2003 she was the recipient of an Ian Potter Music Commission award to write The Spirit and the Maiden, which has since had many performances. Her Concert Suite Wild Swans, released on CD by ABC Classics in 2005, was nominated for the ARIA awards and reached number one in the UK I-Tunes Classic Charts in May 2007 with Eliza Aria. Adjunct Professor Nicolette Fraillon was 16 when she conducted her first concert with the Victorian Junior Symphony Orchestra. She has been the Music Director and Chief Conductor of the National Ballet of the Netherlands and conducted the Residentie Orchestra in The Hague; the Kanazawa Chamber Orchestra of Japan; the Finnish Ballet; the West Australian Ballet; the West Australian Symphony Orchestra; the Australian Youth Orchestra; and the Canberra Symphony Orchestra. Professor Fraillon is Music Director and Chief Conductor of the Australian Ballet.
Professor Barry Tuckwell, AC, OBE has performed throughout the world as soloist, chamber musician, teacher and conductor since he joined the Melbourne Symphony Orchestra at the age of 15. He has made over 50 recordings and received three Grammy nominations. Dr Genevieve Lacey, a recorder virtuoso, performs repertoire spanning ten centuries, has recorded multiple CDs, and in 2001 her first release through ABC Classics, Il Flauto Dolce, won the ARIA award for Best Classical Recording. Engagements for 2007–09 include multiple world premieres, three new recording projects, a recital tour of the USA and a national tour as concerto soloist with the Australian Chamber Orchestra.
Above L to R Elena Kats-Chernin, Adjunct Professor Nicolette Fraillon, Professor Barry Tuckwell and Dr Genevieve Lacey
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DR LIZA LIM ESTABLISHED COMPOSER FELLOWSHIP 2007 $80,000
‘I am honoured to have received an Ian Potter Established Composer Fellowship. The Fellowships are highly regarded in the Australian musical world for their value and prestige. The Fellowship allows me to pursue large-scale projects over a period of time working closely with excellent musicians. It enables me to travel and engage in research on aspects of Indigenous culture in the Kimberley area.’
Liza Lim’s music often explores forms of ritual and performance aesthetics drawn from both Asian and Australian Aboriginal sources. Her works, which range from operatic and orchestral scores to site-specific installations, have been performed by some of the world’s most eminent ensembles. Recent major commissions have been received from the Festival d’Automne Paris 2005, Salzburg Festival 2005, Sydney Symphony Composer-in-residence 2005–06, Bavarian Radio Orchestra in Munich 2007 and Lucerne Festival 2007. The Ian Potter Music Commissions 2007 Fellowship is enabling Liza to explore different aspects of Australian Indigenous culture. This is an area of interest for Liza that has been steadily growing in the last few years with previous projects such as Glass House Mountains, a collaboration with Indigenous visual artist Judy Watson.
Liza’s portfolio of work for the Fellowship includes: – Ochred String (oboe, viola, cello, double bass) – Pearl, Ochre, Hairstring (large-scale work for orchestra) – The Four Seasons (After Cy Twombly) (piano) Inspired by the work of Aboriginal artists in the Kimberley area of Northern Australia, Ochred String was completed in January 2008. The premiere performance took place in February 2008 in Munich. It was performed by soloists of the Bavarian Radio Orchestra at Museum Villa Stuck, as part of the Musica Viva Festival. A second performance by ELISION, conducted by Simon Hewett, was presented as part of the Maerzmusik Berliner Festspiele at the Jewish Museum in Berlin. ELISION will record this for broadcast on ABC Classic FM, and will also be doing a studio concert in Melbourne.
Liza traveled to the Kimberley region in Western Australia in August 2008 to undertake research for Pearl, Ochre, Hairstring. This will be performed by the Bavarian Radio Orchestra in Europe. Discussions regarding performances in Australia are in progress. The Four Seasons (After Cy Twombly) was inspired by the works of Cy Twombly on display at the Museum of Modern Art in New York, in particular, the massive four-panelled work Quattro Stagioni. Of this work Liza commented, ‘The combination of ecstatic saturated colour, linear calligraphic dynamism and poetic commentaries scrawled on canvas has given me many ideas for the piano work.’ Liza is due to complete this piece in November 2008. The performances confirmed so far are at the Helsinki Festival, The Music Gallery, Toronto, and the Loewe Theatre, New York. The work will also be performed at other venues throughout Canada and the USA.
Top Left Established Composer Liza Lim Top Right Liza Lim with her parents, Siew Kai and Joseph Lim, and sister, Susan Lim
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ANTHONY PATERAS EMERGING COMPOSER FELLOWSHIP 2007 $20,000
‘Receiving the Emerging Composer Fellowship has given me more time to do my thing without worrying as much about day-to-day stress involving money … In terms of my career the end of fellowship holds a big question mark – I will have a bigger catalogue of pieces and whether these will inspire future work who knows? Maybe these will be it. I have [approached] the four works to make them as exploratory as possible, attempting to search for new sounds and new means of organising it to the best of my ability.’ Anthony Pateras is a musician and composer based in Melbourne. He is a specialist in prepared piano, and works extensively in film and live electronics. His composed works have been performed by the Los Angeles Philharmonic, Percussion Group The Hague, Melbourne Symphony Orchestra, Vanessa Tomlinson, Flux String Quartet and Slave Pianos. He has collaborated with distinguished conductors such as James McMillan, Brett Dean and Markus Stenz, and will release his second portrait disc on John Zorn’s Tzadik label in 2008. The works Anthony will complete as part of his Fellowship are: – Mutant Theatre Act III (solo percussion) – 1913 (vocal sextet and electronics) – Refractions (percussion sextet and electronics)
Following from Mutant Theatre Acts I and II, Mutant Theatre Act III will further Anthony’s exploration of the solo percussion medium, incorporating a vast array of traditional and non-traditional percussion, as well as specifically constructed devices for the piece. This will be performed by Vanessa Tomlinson. Over the last seven years Anthony has developed a unique approach to the amalgamation of voice and electronics in his duo with Robin Fox. 1913 will be based on a combination of ‘vocal concrete’ (electronically manipulated vocal noises) and traditional Balkan folk scales. This is to be performed by the Song Company.
Lines will be a homage to the late works of Morton Feldman such as For Samuel Beckett and Coptic Light. This will be performed by Ensemble Integrales. The discovery of some field recordings from Burundi, made in 1967 and featuring a vocal hocket (an ensemble technique that was a feature of early European music in the 14th and 15th centuries) between two young girls has re-aligned Anthony’s outlook on the rhythmic possibilities of vocal performance. This will more than likely influence the direction 1913 takes in its final realisation.
Refractions will expand on Anthony’s work in his earlier percussion works, but move the sextet into a surround sound configuration, placing each member of the sextet around the audience.
– Lines (large ensemble)
Far Left Emerging Composer Anthony Pateras performing live in France, 2007 Above Anthony Pateras with his parents, Sophie and Angelo Pateras, and Lady Potter
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DR RICHARD MILLS, AM ESTABLISHED COMPOSER FELLOWSHIP 2005 $80,000
When Richard Mills was awarded the inaugural Established Composer Fellowship he saw it as an opportunity to ‘write songs based, largely, on Australian poetry that will be able to be sung by our current crop of fine singers, and, I hope, add to the heritage of Australian poetry’. Songlines of the Heart’s Desire, the first part of his portfolio of works, comprises nine songs: 1 Spring 2 The Gardener 3 Love’s Coming 4 Plucking the Rushes 5 As Frothing Wounds of Roses
‘Without the generous assistance of The Ian Potter Cultural Trust my songs for Peter and Cheryl would not have been able to be written. I think we are all very grateful – and they seem to have a life which continues.’
6 My Woman’s Transparence 7 The Great Birds 8 In Your Light 9 Epilogue: In Praise of Marriage Songlines of the Heart’s Desire was performed in Brisbane, Melbourne, Perth, Canberra, Adelaide and Sydney by Cheryl Barker, Peter Coleman-Wright and Piers Lane during 2008 as part of Musica Viva’s concert series. It has also been broadcast on ABC Classic FM radio. Songlines charts the development of a relationship, with the song text drawn from poets Jalal ad-Din Rumi, Rabindranath Tagore, Kenneth Patchen, Amina Said, John Shaw Neilson and Judith Wright, and an anonymous fourth century Chinese work.
The song cycle was well received and reviewed, with John Slavin of The Age saying of the work: Mills’ rhapsodic style was particularly evident in the setting of Kenneth Patchen’s ‘The Great Birds’, in which the aroused desire of the lovers is caught up in a vision of nature’s power. This is a major lyrical song cycle of great beauty about love suspended within a timeless now. The Age, 26 May 2008 Dr Mills will complete the remainder of the song cycles in 2009. Recordings of the works will be made by the Tasmanian Symphony Orchestra. Song cycles to be completed as part of the Fellowship portfolio are: – …Is Perfect in the Bird (a cycle for baritone and orchestra) – World’s Wildfire (for soprano and orchestra) – Who Knew Mountains (for bass baritone and orchestra) – Little Office of the Blessed Virgin Mary (for soprano and orchestra) – A Thread to Hold a Heart of Man (for mezzo and orchestra)
Above Richard Mills composing with Oscar
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DAMIAN BARBELER EMERGING COMPOSER FELLOWSHIP 2005 $20,000
The seven works Damian completed in September 2007 are: – Tomorrow, Tomorrow and Tomorrow (chamber opera for soprano, wind quartet and piano) – Towers of Silence (spectral-harmonic explorations for large orchestra) – God in the Machine (work for electronics, percussion and electronics) – Valse Diploblastic (chamber work for marimba, violin and electronics) – Binary Fruitcake (duets for electric guitar) – 6 Confessions (miniatures for recorder and confessional) – Exquisite Blood (radiophonic composition for piano trio and electronics)
Since completing the Fellowship, Damian won the Recommended Work prize at the International Music Council’s Rostrum of Composers in Dublin on 14 June 2008 for Exquisite Blood. This prize will see the work broadcast internationally by the 35 participating national broadcasters. The piece was premiered in Australia on ABC Classic FM on 7 June 2008. God in the Machine premiered in Tokyo on 25 May 2008, and was performed by Ensemble Nomad. The performance was very well received and was broadcast nationally in Japan on 3 July 2008. The piece won third place in the Takemitsu Prize and was described by the judge Steve Reich as ‘master orchestration’.
Valse Diploblastic has been selected as one of Australia’s represented works for selection in the World Music Days 2009 in Sweden. The piece now goes into a second round of international judging. Two of the 6 Confessions miniatures have been released on Genevieve Lacey’s new CD Weaver of Fictions. The pieces have also been broadcast on ABC Classic FM. A new duet version of ‘Confession 2’ premiered in Sydney on 14 August 2008. Towers of Silence is being considered for programming by the conductor of the Sydney Conservatorium Orchestra.
Below Recording session for Exquisite Blood
‘The Ian Potter Fellowship is not just about a two-year period finished off with a handful of scores in a portfolio. The effects are longer lasting. I’m delighted with how well my works from the portfolio have been received, and beyond this I feel a certain momentum now in my career. New opportunities regularly sprout up, and I feel a professional confidence that was never there before. The Ian Potter Fellowship has given me this, and I will always be grateful.’ 10
GRANT RECIPIENTS 2007–2008
GABRIELLA AND SILVANA MANGANO VISUAL ARTS $4,500 TO UNDERTAKE A VISUAL ARTS RESIDENCY AT CAN SERRAT, SPAIN, OCTOBER TO NOVEMBER 2007
‘The residency provided us the opportunity to experiment with new working methods, ultimately the experience to work in an expansive and extreme landscape.’
Twins and artistic collaborators Gabriella and Silvana Mangano graduated from the Victorian College of the Arts with majors in Drawing. Although drawing is an integral element to their practice, they are also influenced by experimental films from the 1960s and 1970s, and neo-realist films. The aim in undertaking the residency at Can Serrat was to develop and experiment with new methods, working in the local landscape and environment, and to research and view films and artworks that are not accessible in Australia. Having never previously filmed in a natural environment presented them with new challenges such as cuts, bruises and rashes from plants. This led them to think through new ways of working. An example was the use of black chairs as an extension of their feet, which allowed them to elevate themselves from the plants, shrubs and prickles. They hope to develop this video piece into a live performance piece.
This residency provided a great opportunity to exchange and engage in ideas with choreographers, writers and musicians from around the world. They also performed live, giving them an opportunity to engage directly with the audience and receive immediate feedback from other artists. Gabriella and Silvana are now considering performing live in Melbourne. The twins also had access to the films from the Xcentric Archive at the Centre de Cultura Contemporania de Barcelona, which was invaluable. Not only did it inspire them, it led them to question their own editing methods. The time at Can Serrat gave Gabriella and Silvana new confidence in themselves as artists and in their work.
Above Work in progress
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HAMER STRING QUARTET REBECCA CHAN, MICHAEL DAHLENBURG, STEFANIE FARRANDS AND CAMERON HILL MUSIC $2,000 EACH TO ENABLE THE QUARTET TO UNDERTAKE MASTER CLASSES AT THE INTERNATIONAL MUSICIANS SEMINAR (IMS) PRUSSIA COVE, UK; AND PERFORM TWO CONCERTS AT THE NORFOLK AND NORWICH FESTIVAL, UK, MARCH TO APRIL 2008
‘After being together for an intense two years, this venture overseas came at the right time … This study and concert experience in the UK gave us the opportunity to discover more about ourselves as individuals but also how to be an even better quartet than we thought possible. It has armed us with knowledge and has also posed many questions and difficulties that time will help us overcome.’ Michael Dahlenburg All of the musicians in the Hamer String Quartet have studied at the Australian National Academy of Music. They were one of four string quartets selected to take part in Andras Keller’s master classes at Prussia Cove. Andras Keller is the founder of the Keller Quartet. The Hamer Quartet was fortunate enough to have daily lessons with him and watch the lessons of other quartets and teachers.
They worked primarily on three works, which were performed at the end of March 2008: Mendelssohn opus 12 string quartet in E flat, Schumann 3rd string quartet in A and the Ravel string quartet in F. Students at the IMS are given the opportunity to attend the classes of other professors, and this formed some of the most educational and inspirational aspects of the quartet’s time there. Other professors teaching at the IMS were Gerhard Schulz, Professor of Violin at the Wien Hochschule and violinist with the Alban Berg Quartet; Steven Isserlis, Artistic Director of the IMS; Thomas Riebl, violist; and Ferenc Rados, pianist.
Following the International Musicians Seminar in Prussia Cove, the Hamer String Quartet travelled to Norwich to prepare for two concerts for the Norfolk and Norwich Chamber Music season. They had intensive sessions with composer-in-residence Douglas Weiland, whose 3rd string quartet they were about to premiere in the United Kingdom. They performed it in two concerts in Norwich – the first together with the Mendelssohn and Schumann quartets at the John Innes Centre, and the second with the Ravel quartet in a chapel. Both concerts were a great success.
Above Hamer Quartet L to R Cameron Hill, Rebecca Chan, Michael Dahlenburg and Stefanie Farrands
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MARTIN HANSEN DANCE $1,200 TO UNDERTAKE A DANCE RESIDENCY WITH LABORGRAS, WITH DAILY TRAINING AND PUBLIC SHOWING, BERLIN, GERMANY, SEPTEMBER – OCTOBER 2007
‘The piece provided a great insight into my working practices and direction of my future work. My ability to communicate ideas greatly increased, and my ability to make executive decisions, to give the piece a clear direction, improved. I am forced to thoroughly consider and reconsider my practice and work very hard to gain opportunities, and I truly feel that the kind of work I am making here is very different to what I would be making if I were to stay in Australia. When I do return to Australia these formative experiences will add diversity, new information and a fresh breath of air into the Australian dance community.’
Martin graduated from the Victorian College of the Arts with a Bachelor of Arts in Dance. Since graduating he has worked across a number of fields, collaborating with composers, sculptors and video artists on projects presented at festivals and other venues around Melbourne. Through this work he has become increasingly interested in improvisation and experimental dance theatre practices. Prior to this project Martin had undertaken a self-funded trip to Europe to expand his knowledge of improvisational and experimental practices. Martin based himself in Berlin for five months and undertook training at LaborGras. This project enabled him to build on the work he had been developing. During the residency the project underwent some major changes, both aesthetically and thematically. The opportunity to take the time to flesh out ideas, engage in dialogue and experiment led him, and his collaborators Ligia Lewis and Eric Green, to narrow and condense the focus of the work, now entitled A Call for Empathy.
Left Martin Hansen. Photograph Oliver Look Right ’I go first then you go first’ Tanzhaus Dusseldorf – Martin Hansen and Ligia Lewis. Photograph Oliver Look
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EFTERPI SOROPOS COMMUNITY CULTURAL DEVELOPMENT $6,000 TO OBSERVE AND UNDERSTAND HOW ART PROGRAMS HAVE DEVELOPED AND BECOME INTEGRATED INTO THE HOSPITAL SYSTEM, PARTICULARLY PALLIATIVE CARE, UK, JANUARY 2008
With an established career in theatre lighting design, Efterpi completed her Masters in Community Cultural Development at the Victorian College of the Arts in June 2007. This led her to conduct the development of integrated art ideas as part of a new community-based hospice Anam Cara, in Geelong, and to conduct interviews with patients, families and carers at McCulloch House Palliative Care Unit to discover how they felt about the environment of the unit and hospitals in general.
Since the illness of her mother twelve years ago Efterpi has held an interest in how art programs in hospital systems impact on the wellbeing of patients. In Australia very few art programs have been developed and maintained in a hospital environment. However, in the United Kingdom art has been an established part of the National Health Scheme since the 1980s. Through support from The Ian Potter Cultural Trust to travel to the UK, Efterpi was able to examine how these programs have developed; how the artists are commissioned and their
work integrated into the hospital environment; how beneficial the programs and artwork have been to the public, users and staff of the hospitals; and ethical approaches to creating art in this environment. Efterpi is now developing arts projects in hospitals, mental health and aged care facilities through Southern Health in Victoria.
‘I believe the time is right in Australia for art to be integrated into our hospital system … Making artwork with the view of alleviating suffering and offering distraction to the ill is no longer just an idea that I have been developing in isolation. I have seen enough evidence in established programs to further support practice in a way that allows you to come from a different place, that art does not have to be motivated purely out of self-expression and for self-gratification; it can have an impact of healing.’
Left Matt Corr, Cloud, special effects projection 2004. Photograph Brian Chapman, St Marys Hospital, Manchester, UK Right James Aldridge, Twilight, acrylic on canvas/hardboard, vinyl and perspex, 2006, second floor waiting room, the London Breast Care Centre, West Wing, St Barts, London, UK. Photograph Phil Sayer
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CHRIS BENDALL THEATRE $4,000 TO UNDERTAKE A STUDY TOUR VISITING A NUMBER OF THEATRES IN LONDON, UK; SCHAUBUEHNE THEATER AND THALIA THEATER, HAMBURG AND BERLIN, GERMANY; TRAVERSE THEATRE AND THE NATIONAL THEATRE OF SCOTLAND, UK, JANUARY TO APRIL 2008 Chris graduated from the Victorian College of the Arts with a postgraduate degree in Theatre Direction. Chris created a small independent theatre company, Theatre @ Risk, shortly after graduating. His work has focused on the exploration of contemporary performance practice and new writing. The reason for undertaking this project was to explore the recent development of theatre companies focusing on new writing in the United Kingdom and Germany. Berlin in particular is at the forefront of innovative approach to contemporary performance, especially in terms of dance and theatrical fusion.
Chris’ stay was extended to a three-month period with additional support from the Goethe Institute and Playwriting Australia for a Dramaturgy Fellowship at the Münchner Kammerspiele company in Munich. During his time in Europe he had conversations with artistic directors and literary managers of thirteen new writing theatres across Europe, and witnessed rehearsals at three German theatres.
Chris explored how new plays and authors are uncovered, how the works are developed and how new audiences are attracted to the new works. He also looked at the relationship between the dramaturg and the director, the dramaturg and the company, and their role in the preparation prior to the commencement of rehearsals. While Chris was undertaking this project he was appointed the Artistic Director of Deckchair, a new writing theatre in Fremantle, Western Australia.
‘My travel experience and research gained will have immediate concrete flow-on effects to both my personal career and to the Australian theatrical community as a whole, specifically in terms of strategies for developing new writing in Australia.’
Left Andre Jung and Sylvana Krappatsch, Münchner Kammerspiele company, Munich Above Chris Bendall at a rehearsal
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KELLY LEONARD TEXTILES $2,000 TO UNDERTAKE AN ART RESIDENCY (WEAVING) AT LAO SERICULTURE, LAOS, SEPTEMBER TO OCTOBER 2007
Kelly first studied textiles at Charles Sturt University, and completed her Masters at the Canberra School of Art, Australian National University. Kelly recently completed her Masters of Arts Management at the University of Technology, Sydney. Kelly’s early weaving training was with a second generation Bauhaus weaver, Marcella Hempel, a German Master Weaver who wove fabric prototypes for industry. Marcella stressed the importance of the development of a signature style and sound craftsmanship in her students’ work.
Top Left Weaving at a Lao loom, Lao Sericulture Farm, Laos Top Right Silk dyed with lac, producing a brilliant red dye
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The opportunity for Kelly to work in Laos was a chance for her to expand her technical and artistic skills and exchange ideas with other weavers. An unexpected and favourite part of Kelly’s time at Lao Sericulture was the rearing of silkworms. An exciting moment was when they finally spun their silk cocoons. She learnt traditional methods of hand reeling the silk from the cocoons and thread twisting to make the thread stronger for weaving. The use of natural dyes to colour the silk thread is promoted on the silk farm as a way to maintain tradition and to advocate sustainable methods of production. The dye materials are seasonal, often gathered by villagers and brought in to the farm to be processed for dyeing. Dye materials used included lac (a natural resin produced from an insect infecting wood), indigo, turmeric, marigold, mud and bark.
Kelly learned Laotian weaving techniques, which are different from the European techniques of weaving she had previously studied. She saw the most sophisticated weavings being produced on looms seemingly held together with pieces of plastic string. Laotian weaving techniques learnt included complex supplementary weft methods of tapestry, brocade and weft ikat. The experience expanded Kelly’s weaving skills and inspired her to start researching the viability of small-scale silk production in Australia.
‘The project had a significant impact on my life, consolidating values and ethics as well as learning all aspects of silk production, dyeing and weave techniques. In Laos I became firmly interested in the sustainability of communities relying on the production of hand weaving to maintain cultural patterns and to also earn an income. I have shown or plan to show my artwork at four exhibitions this year, including the Tamworth Textile Biennale, a national touring exhibition. The work has been produced from ideas that were formed during my stay in Laos.’
DARRIN ARCHER MUSIC $3,000 TO ATTEND THE BANFF INTERNATIONAL WORKSHOP IN JAZZ AND CREATIVE MUSIC, BANFF, CANADA; AND TO UNDERTAKE PRIVATE LESSONS IN PIANO AND COMPOSITION WITH MARC COPLAND, NEW YORK, USA, MAY TO JUNE 2008
‘The Banff workshop would have to be one of the best things I have ever done, as far as my creative life goes! The Banff Centre and the workshop met all my expectations and more.’
Darrin has an Associate Diploma in Jazz Studies from Sydney Conservatorium of Music, and studied Music at La Trobe University, Melbourne. This opportunity to attend the workshop in jazz at Banff attracted Darrin as it was directed by world acclaimed trumpeter and composer Dave Douglas, and offers a program not available in Australia. The workshop attracts musicians from all around the world, creating a melting pot and the chance to meet and study with some of the world’s greatest jazz musicians, and to work with peers. Darrin said some of the ‘instant benefits’ from attending the workshop included furthering his piano skills, including technical aspects, sight-reading skills, and improvisational concepts. He also had an opportunity to develop compositional tools with Dave Douglas, taking a composition workshop every week. He improved his international connections; and the creation of friendships and working relationships with many talented musicians from around the world was a catalyst to inspire and propel his creative pursuits. Many of these musicians he hopes to collaborate with in the future.
Darrin found the lessons with Marc Copland informative and inspiring. They talked mostly about approaches to harmony on the piano in relation to jazz improvisation and composition. Marc talked Darrin through his concept of creating harmony that veers away from the standard way of building chords in jazz, and treats the piano as a canvas that has an ‘abundance of colour’. Some of these concepts have been sourced from compositions by Messiaen and Bartok. Marc Copland suggested books, compositions and recordings to study. Darrin said: My overseas study has inspired me to work hard to be a better pianist, improviser and composer, and to incorporate music into my life to such a degree that music and life becomes one. That was one of the most important things I learnt from the faculty at Banff, especially the Cuban musicians – that music is just part of everyday life. Everyday they sing, dance, play percussion and create, loving every minute of it!
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JACQUELINE CRONIN MUSIC $3,000 TO UNDERTAKE PRIVATE LESSONS IN VIOLA WITH PROFESSOR HATTO BEYERLE, HOCHSCHULE FÜR MUSIK UND THEATER, HANNOVER, GERMANY, DECEMBER 2007 TO JANUARY 2008
‘He [Professor Beyerle] continually questioned why I was doing some particular phrasing or stylistic idea, just so that I could justify it, or if I couldn’t, lead me down the right track so that it all made sense. This has had a huge impact on me and has turned me into a more thoughtful musician. All of the ideas and techniques that we studied and discussed have really inspired me and I hope to continue and incorporate these ideas into my performances with my chamber music group, Sydney Omega Ensemble, and my own solo and orchestral performance. I have returned to Australia, refreshed and very excited about playing the viola.’ Jacqueline studied at the Canberra School of Music and completed her Masters at the University of Melbourne. As one of the great pedagogues and performers, Professor Hatto Beyerle made quite an impression on Jacqueline, who has worked with him twice in Australia and once in Hannover. He offered her practical solutions to technical issues and demonstrated a wonderful ability to bring out the best viola sound. Jacqueline sought support to work with him again to enable her to develop a greater ability to project further with a soloistic sound – to benefit all areas of her playing. She also wanted to develop her audition repertoire, principally Bartok’s Viola Concerto, and the Hindemith Der Schwanendreher.
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Professor Beyerle was able to a give Jacqueline a historic view on Bartok’s style. This prompted her to listen to particular recordings of the violin concertos as performed by the Hungarian violinists for whom the works were written, and who worked in close collaboration with Bartok. Instead of listening to the recordings of a piece, Professor Beyerle suggested she study the piece first and make sense of the work’s musical line and the composer’s style, as opposed to imitating a recording. This allowed Jacqueline to give her interpretation her own unique edge.
During the chamber music sessions Professor Beyerle shared his knowledge in stylistic particularities for each era, and styles of Haydn, Mozart and Beethoven. This has encouraged Jacqueline to undertake her own research and reading on these eras of music. Sound production was also addressed, and Jacqueline and Professor Beyerle discussed how to project sound to the back of a hall as a soloist and chamber musician.
MARTINA MRONGOVIUS VISUAL ARTS $5,000 TO ATTEND THE KOREAN NATIONAL UNIVERSITY FOR THE ARTS, KOREA; THE KUNSTHOCHSCHULE FÜR MEDIEN, GERMANY; AND THE CENTER FOR THE HOLOGRAPHIC ARTS AND FLUX FACTORY, USA, AUGUST – NOVEMBER 2007
‘One of the main benefits to the cultural field here in Australia is the establishment of strong links to organisations overseas. The field of holography is very small in Australia, yet we are all quite active and involved with the larger cultural fields of new media and imaging technology.’ Martina is a graduate of the Royal Melbourne Institute of Technology with a Bachelor in Applied Physics with Honours. The grant project enabled her to build on relationships already established with holographic organisations in Korea, Germany and the USA. Holography is a notoriously difficult medium as special optical systems need to be built to create and print them. This meant that Martina spent a great deal of time building the systems and transferring digital files to 35 mm film. At the HOLOcenter, a non-profit organisation situated in the mountainside of the Pyeongchang-dong arts district in Seoul, Martina set up the stereo-mastering system that allows 160 frames of 35 mm
film to be recorded into a hologram master (a holographic equivalent of a negative). Culturally, working in Korea was an interesting experience for Martina. She is used to working alone; however, at HOLOcenter she had a number of assistants. Through this she forged some very positive friendships. During her time at Kunsthochschule für Medien, Martina had an opportunity to print an 1800 exposure print and to experiment with different image capturing techniques. In New York City Martina collaborated with artist Ian Montgomery on the Secret Clubhouse, an art installation in the old Paragon Paint factory in Long Island.
Left Martina Mrongovius on the roof of the Korean HOLOcenter Right UnderCityBridge, 400 x 300 mm hologram, from digital photographs by Martina Mrongovius, 2007
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BRIDGET FISKE DANCE $4,000 TO UNDERTAKE TRAINING AT THE PANETTA MOVEMENT STUDIOS, NEW YORK CITY, USA, JANUARY 2008
‘Via this project … I feel that I have also been able to solidify concepts for technical practice which allows me to focus my approaches when in training and performance. This growth has in turn added a new level of confidence … to problem solve at a more informed level both in relationship to my body in the space and when teaching or directing others.’
Bridget is a graduate of Queensland University of Technology, with a Bachelor of Arts in Dance. This was a wonderful opportunity to study at the Panetta Movement Studios in New York. Janet Panetta has developed a unique method of training professional contemporary dancers of all styles and body types via linear classical ballet techniques. Her students have included performers from contemporary dance companies that Bridget has long admired and would like to work with one day. Bridget undertook private and group lessons with Janet Panetta and Damien Jalet, and also participated in a class at the Merce Cunningham Studio.
The most immediate and significant outcome of the training can be understood in the changes in physical skill level, and Bridget’s ability to access a greater range of movement in her body. As Bridget says: I am pleased with the immediate changes in my ability as a dancer, specifically in relationship to understanding the alignment of the body that creates the most efficient pathways for movement. This understanding has improved my balance, elevation and line. I received information from Ms Panetta that will have a long-term impact upon my practice as a performer, choreographer and teacher.
Bridget undertook classes with Elizabeth Corbett and was able to find a deeper insight into processes. Bridget learnt a unique vocabulary for describing movement motivation and a piece of movement from European choreographer William Forsyth’s repertoire. Elizabeth Corbett had previously danced for many years with William Forsyth. During her time in New York Bridget forged strong relationships with other dance artists based in the city and has continued to keep in contact.
Top Bridget Fiske in February 2008. Photograph © Aaron Veryard Above 29th Street Tower: ‘The building where I trained with Janet Panetta. Being in New York City also became about walking through its landscape to experience its art and culture.’
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TIM BASSETT GLASS $4,000 TO UNDERTAKE A TWO-WEEK INTENSIVE GLASS AND PLASMA WORKSHOP WITH ED KIRSHNER, THE GLASS FURNACE, TURKEY, SEPTEMBER TO OCTOBER 2007
Tim is a graduate of Royal Melbourne Institute of Technology with a Bachelor Degree in Fine Arts. He established his own cold-working studio in Collingwood, Victoria, building a glass kiln, sandblaster and diamond lathe. The opportunity to attend a workshop at The Glass Furnace enabled Tim to observe the work of not only Ed Kirshner but also the other students in the class. He could observe large teams making production work and one-off pieces at this large-scale glass facility. Plasma components such as electrodes and
drivers are not manufactured in Australia, and the importation adds to the cost of already expensive equipment. The opportunity to purchase these components at the workshop, as well as find the sources for these products, was an added benefit. The main focus of Tim’s work has been the effects of light within the glass. As plasma is one of the few ways to allow glass vessels to actually contain light he felt it important to have the opportunity to explore this further through the workshop.
Technical aspects of attaching electrodes to glass vessels, and evacuating the air from these vessels ready to be charged was taught, as was constructing a glass manifold. Three works Tim created from this workshop are now on show at the National Art Glass Collection at the Wagga Wagga Art Gallery in New South Wales. In his critique of the class, Ed Kirshner made the following comments about Tim’s work: ‘Given Tim’s skills, experience and enthusiasm, I expect to see many new and innovative plasma sculptures coming out of Australia in the not too distant future.’
‘The skills and personal contacts that I gained during the Turkey workshop were the determining factor in the success of my first solo show. The Australia Art Glass Collection has expressed interest in acquiring one of my new plasma works as an example of contemporary work emerging in the Australian art glass scene. I am currently negotiating with galleries for shows in early 2009.’
Sixty Light Years from Home
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THE IAN POTTER CULTURAL TRUST GRANTS PAID 2007–2008 Mr Lorenzo Alvaro To attend the ISCM-ACL World Music Days Festival, Hong Kong, November – December 2007
$1,000
Ms Sarah Cartwright To participate in the MELT Winter Intensive Workshop Program at the Movement Research Centre, New York City, USA, January 2008
$4,000
Ms Paige Anderson To complete the graduating film project He Goes, She Goes as part of her Bachelor of Film and TV degree at the Victorian College of the Arts, June – September 2008
$4,500 Ms Tayla Chalef To undertake a study tour attending festivals and meeting with arts organisations in Warsaw, Poland; Riga, Latvia; Dubrovnik, Croatia; Prague, Czech Republic; Amsterdam, The Netherlands; Berlin, Germany, May – July 2008
$4,000
Ms Jessie Angwin To undertake a visual arts residency at the New Pacific Studio, Masterton, New Zealand, September 2008
$1,000
Ms Melissa Chambers To undertake acting classes and mentorship with Carol Rosenfeld, Richard Armstrong and The Production Company, New York City, USA, September – December 2008
$4,000
Mr Darrin Archer To attend the Banff International Workshop in Jazz and Creative Music, Banff, Canada; and to undertake private lessons in piano and composition with Marc Copland, New York, USA
$3,000
Ms Rebecca Chan As part of the Hamer String Quartet (violin) to perform two concerts at the Norfolk and Norwich Festival; and undertake master classes at the International Musicians Seminar Prussia Cove, UK, March – April 2008
$2,000
Ms Heidi Axelsen To undertake a visual arts residency, Silpakorn University, Bangkok, Thailand, May – July 2008
$3,500
Ms Jacklyn Bassanelli To take private lessons in voice and musicality, and one performance improvisation workshop, New York, USA, July 2008
$4,000
Ms Kate Clugston To undertake a mentorship in community theatre development with Caden Manson of Big Art Group (BiG), New York City, USA and Halle, Germany, May – July 2008
$5,000
Mr Tim Bassett To undertake a two-week intensive glass and plasma workshop with Ed Kirshner, The Glass Furnace, Turkey, September – October 2007
$4,000 Mr Samuel Coppin To undertake a Masters degree (cello) at the Royal Academy of Music, Sweden, 20 August 2007 – July 2009
$5,000
Mr Chris Bendall To undertake a study tour visiting a number of theatre companies in London, UK; Schaubuehne Theater and Thalia Theater, Hamburg and Berlin, Germany; Traverse Theatre and the National Theatre of Scotland, UK, January – April 2008
$4,000 Ms Olivia Crang To participate in Mirage International, the International Performers Village; and attend INTERREGNUM: In Between States, Belgrade, Serbia; Malpils, Latvia; Copenhagen, Denmark, June – August 2008
$4,000
Ms Carla Blackwood To undertake the second year of a Masters in French Horn Performance at Hochschule für Musik, Basel, Switzerland, October 2007 – June 2008
$5,000
Ms Jacqueline Cronin To undertake private lessons in viola with Professor Hatto Beyerle, Hochschule für Musik und Theater, Hannover, Germany, December 2007 – January 2008
$3,000
Ms Madeleine Boud To attend the 2008 Mozarteum Summer Academy (violin), University of Salzburg, Salzburg, Austria, July 2008
$2,000
Ms Bridget Currie To participate as a visual artist in the CCA Kitakyushu Research Program, Japan, September 2007 – March 2008
$2,450
Mr Paul Bourke To undertake study in clowning at École Philippe Gaulier, Paris, France, October 2007 – June 2008
$7,000
$2,000
Ms Bonnie Brown To undertake lessons in piano with Madam Cristina Ortiz, and study for the Diplome Superieur d’Execution at the Ecole Normale de Musique de Paris, Paris, France, May – August 2008
$5,000
Mr Michael Dahlenburg As part of the Hamer String Quartet (cello) to perform two concerts at the Norfolk and Norwich Festival; and undertake master classes at the International Musicians Seminar Prussia Cove, UK, March – April 2008
$3,042
Ms Chantelle Cano To undertake intensive flamenco dance training with Pepa Molina, Francesca Frima and Andres Pena; and attend the Bienal de Sevilla Flamenco Festival, Madrid, Seville, Spain, July – August 2008
$4,500
Mr Tim Darbyshire To undertake a four-week residency at the Performing Arts Forum, Saint-Erme-Outre-et-Ramecourt, France, August – September 2007
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Mr Glen Donnelly To undertake a Bachelor degree in Performance (Viola) at the Royal Academy of Music, London, UK, September 2007 – August 2010
$5,000
Mr Richard Haynes To continue studies for a Soloist Diploma (Clarinet) at the University of Arts, Bern, Switzerland, September 2007 – June 2008
$5,000
Mr Nicholas Dorward To meet and observe the rehearsals of: the Wooster Group, New York City, USA; Gob Squad, Berlin, Germany; Lone Twin, Brighton, UK; Imitating the Dog, Leeds, UK; Hotel Pro Forma, Copenhagen, Denmark; and attend the Edinburgh International Arts and Fringe Festivals, Scotland, UK, July – August 2008
$4,500
Ms Petrina Hicks To undertake a two-month visual arts residency at the Moya Dyring Studio at the Cité Internationale des Arts, Paris, France, March – April 2008
$5,000
$2,000
Ms Stephanie Eaton To attend the Eighth World Symposium on Choral Music, Copenhagen, Denmark, July 2008
$5,000
Mr Cameron Hill As part of the Hamer String Quartet (violin) to perform two concerts at the Norfolk and Norwich Festival; and undertake master classes at the International Musicians Seminar Prussia Cove, March – April 2008
$2,000
Mr James Holland To undertake private lessons in lute and theorbo with Nigel North, Indiana, USA, September 2008
$2,500
Ms Stefanie Farrands As part of the Hamer String Quartet (viola) to perform two concerts at the Norfolk and Norwich Festival; and undertake master classes at the International Musicians Seminar Prussia Cove, UK, March – April 2008
$5,000
Ms Bridget Fiske To undertake training at the Panetta Movement Studios, New York City, USA, January 2008
$4,000
Mr Trent Jansen To undertake a study tour visiting design producers in Amsterdam, Breda, The Netherlands; Kortrijk, Belgium; Zurich, Switzerland; Milan, Italy, August – September 2008
$5,000
Mr Daniel Flood To participate as a community cultural development practitioner in the Container project, Montego Bay, Jamaica, May – June 2008
$2,750
Ms Emma Jardine To undertake the second year of a Diplome de Soliste degree with Professor Pierre Amoyal at the Conservatoire de Lausanne, Switzerland, September 2007 – June 2008
$5,000
Ms Elena Knox To undertake a writer’s mentorship with Steve Tomasula, University of Notre Dame, Indiana, USA, March 2008
$3,000
Ms Catherine Glavicic To undertake the Conservatory Program at Shakespeare and Co, New York City, USA, September – December 2007
$5,500
Ms Kelly Leonard To undertake an art residency (weaving) at Lao Sericulture, Laos, September – October 2007
$2,000
Ms Emily Goddard To undertake training in Shakespeare, Chekov, writing, directing and clown at École Philippe Gaulier, Paris, France, April – July 2008
$3,500
Ms Sharon Green To undertake a Masters in Photography at the Royal College of Art, London, UK, October 2007 – December 2009
$7,000
Mr Owen Leong To undertake a two-month visual arts residency at the Moya Dyring Studio, Cité Internationale des Arts, Paris, France, September – October 2008
$4,500
Mr Martin Hansen To undertake a dance residency with LaborGras, with daily training and public showing, Berlin, Germany, September – October 2007
$1,200
Ms Lina Limosani To undertake skills development at the David Hughes Dance Company, Edinburgh, Scotland, UK, April – June 2008
$7,000
Ms Rowan Harvey To undertake the first year of study at the State University of New York (Stony Brook) for a Doctor of Musical Arts in violin performance, New York, USA, September 2007 – August 2008
$7,000
Ms Christine Luo To undertake piano studies with Professor Peter Feuchtwanger, Dr Leslie Howard and Professor Hamish Milne, London, UK; and undertake master classes, Salzburg, Karlsruhe, Austria, August 2008 – March 2009
$5,000
Ms Marian Macken To undertake a residency at the Camberwell College of Arts, University of the Arts, London; and to undertake a study tour of book collectives to research the organisations, UK, August – September 2008
$7,000
Mr Stuart Haycock To undertake a Postgraduate Diploma of Opera, Royal Academy of Music, London, UK, January 2008 – July 2009
Ms Emma McRae To undertake a new media internship at Eyebeam, New York City, USA, January 2008
$3,000
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Ms Gabriella and Ms Silvana Mangano To undertake a visual arts residency at Can Serrat, Spain, September – October 2007
$4,500
Ms Shefali Pryor To attend the ARD International Music Competition in the oboe category, Munich, Germany, September 2007
$2,000
Ms Lee Mathers To attend the American Glass Art Society’s 38th Conference, Portland, USA, June – August 2008
$2,500 $7,000
$7,000
Ms Amy Radford To undertake a Postgraduate Diploma in Singing – Soprano (Opera) at the Royal Academy of Music, London, UK, September 2007 – June 2008
Mr Laurence Meikle To undertake a Postgraduate Diploma in Opera, Royal Academy of Music, London, UK, September 2008 – July 2010
$3,100
Ms Amanda Mouellic To attend a theatre directing workshop, led by Cristian Drut, Buenos Aires, Argentina, November – December 2008
$3,500
Ms Zoe Robbins To undertake training in foot juggling at the Beijing International Art School, Beijing, China, July – August 2008
$4,958
Ms Martina Mrongovius To attend the Korean National University for the Arts, Korea; the Kunsthochschule für Medien, Germany; and the Center for the Holographic Arts and Flux Factory, USA, August – November 2007
$5,000
Mr Shanin Shafaei To undertake a training course in the creative process ‘Theatre for Living’ at Headlines Theatre Company, Vancouver, Canada, August 2008
$4,000
Ms Siobhan Murphy To undertake a body mind centering training course and study tour, Brussels, Belgium; Berlin, Germany; Paris, France, September – November 2008
$6,000
Mr Daniel Smith To undertake private lessons in conducting with Maestro Gianluigi Gelmetti, Accademia Musicale Chigiana and at Teatro Dell’Opera di Roma, Sienna, Rome, Italy, July – August 2008
$6,000
Ms Jamie Nelson To undertake a Masters in Fashion Footwear, Cordwainers, London College of Fashion, UK, August 2008 – April 2010
$6,000
Ms Efterpi Soropos To observe and understand how art programs have developed and become integrated into the hospital system, particularly palliative care, UK, January 2008
$4,500
Ms Jessica Nicholls To attend Antonio Fava’s International School for comic actors, Commedia Dell’Arte, Reggio Emilia, Italy, July 2008
$2,850
Mr Kieran Swann To meet and observe the rehearsals of: the Wooster Group, New York City, USA; Gob Squad, Berlin, Germany; Lone Twin, Brighton, UK; Imitating the Dog, Leeds, UK; Hotel Pro Forma, Copenhagen, Denmark; and to attend the Edinburgh International Arts and Fringe Festivals, Edinburgh, Scotland, UK, July – August 2008
Ms Linda Oh To undertake the Masters of Music (Jazz – Double Bass) program at the Manhattan School of Music, New York, USA, August 2006 – July 2008
$5,000 Ms Michelle Ussher To undertake a visual arts residency at Cité Internationale des Arts, Paris, France, April – July 2008
$3,295
Ms Lara O’Reilly To undertake a two-month visual arts residency and research project, Santral Istanbul (Centre for Culture and Arts), and Bilgui University, Istanbul, Turkey, May – June 2008
$6,500 Ms Ann Wilson To undertake a visual arts residency at Can Serrat, Spain, July 2008
$3,000
$5,000
Ms Valda Wilson To undertake the Postgraduate Diploma of Performance (Vocal), Royal Academy of Music, London, UK, September 2008 – July 2009
$7,000
Mr Simon James Phillips To assist Peter Pichler with the music composition and production of 1001 Nacht – Which Side Are You on Loser?; and undertake workshops in piano with Tommi Zeuggin, Munich, Berlin, Germany, September – November 2008
$3,600
Ms Emma Price To undertake one year of postgraduate study in jewellery at the Akademie der Bilenden Künste München, Germany, October 2007
$5,000
Mr Jamil Yamani To travel to Documenta 12, the Munster Sculpture Project, Germany; and undertake a new media research project in Sarai, New Delhi, India, September – December 2007
$20,000
Ms Izabela Pluta To undertake a visual arts residency at the Cité Internationale des Arts, Paris, France, April – June 2008
$3,000
Mr Julian Yu To set the libretto of That Eye the Sky to music, to be performed by Chambermade Opera during 2009 *Extraordinary grant. Total (excluding Music Commissions Fellowship payments)
$325,745
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The Ian Potter Cultural Trust ABN: 65 807 851 867 Level 3, 111 Collins Street Melbourne Vic 3000 Telephone: 03 9650 3188 Facsimile: 03 9650 7986 Email: culturaltrust@ianpotter.org.au Web: www.ianpotter.org.au/ipct.html