NAISDA Dance College Annual Report 2019 by Alison Orren

NAISDA DANCE COLLEGE Annual Report 2019

Yadah Gayi – Gu Darkinjung Ngura Welcome to Darkinjung Land NAISDA would like to acknowledge that we operate and function on Darkinjung Land. We pay our respects to ancestors and Elders past and present who are our knowledge holders. We acknowledge our youth who are our future leaders. We acknowledge and pay respects to those who have gone before us and recognise their contributions.

Due to the significant impact of COVID-19 during 2020 when this report was prepared, the final version was not sent for formal design and printing as in previous years. Instead it has been produced in pdf format and includes the audited financial reports for the Year Ended 31 December 2019

_______________________________ Whilst at NAISDA, students are referred to as Developing Artists. This terminology is used throughout this document. NAISDA recognises that the words ‘Aboriginal and Torres Strait Islander, ‘Indigenous’ and ‘First Nations’ have come to take on different meanings to different people. We respect the choice of individuals, families and communities to use definitions with which they are most comfortable. In this report we refer to Aboriginal and Torres Strait Islander people of Australia, their arts and cultures where possible. When referencing external sources, Indigenous or First Nations may be used. We understand that some Aboriginal and Torres Strait Islander people may be uncomfortable with some of these words and we mean only respect when we use these words.

VISION, PRINCIPLES AND VALUES VISION That NAISDA is a dynamic cultural organisation creating and celebrating Aboriginal and Torres Strait Islander knowledge and wisdom through excellence and innovation in dance and performing arts education and training. PRINCIPLES We are shaped by, and respond to: − −

The needs and aspirations of today’s Aboriginal and Torres Strait Islander youth and communities across Australia; and Celebrating diversity, while fostering belonging and relatedness in an artistic environment that nourishes community inside and outside. Central to these are our: • Relationship with our communities across Australia; • Provision of dynamic, relevant and excellence in our training programs; • Provision of quality facilities; • Recruitment of highly skilled and experienced staff; and • Sound leadership and governance to fulfil the vision, sustainability and outcomes of the organisation.

VALUES • Cultural Integrity and Continuity • Pursuit of Excellence • Wisdom and Respect • Creativity • Rigor

NAISDA DANCE COLLEGE MISSION (Prepared by the NAISDA Board of Studies) MISSION To challenge our Developing Artists to learn, create, aspire, so as to be the artists and cultural leaders for tomorrow. PRINCIPLES Include a commitment to: • The provision of a learning environment that culturally affirms, supports and contributes to the artistic, intellectual and performance skills of our Developing Artists; and • Explore, facilitate and grow Aboriginal and Torres Strait Islander people’s sense of identity through dance and culture in a running, challenging and inspiring educational environment. KEY MESSAGES • Nourish our future artists, expanding their technique and practice with a greater sense of culture, innovation, justice and humanity. • Grow creative, informed and reflective practice in an environment of listening, collaboration and respect. • Partner with Indigenous communities, empowering them through performative expressions of Australian Aboriginal and Torres Strait Islander cultures. • Partner with international arts, educational and Indigenous organisations to facilitate understanding and to grow international Indigenous arts perspectives.

FROM THE CEO ________________________________________________________________

“From the earth comes our Dance, Music, Law and Life”. For the first time in NAISDA’s 43 year history, Dr Nerida Blair, Chairperson of NAISDA Board of Studies, officially launched in June 2019 Nhangara Barayi, a new cultural dancing ground and outdoor learning space. As our NAISDA community gathered in celebration, we were anchored to Country and each other by her nourishing stories of Darkinjung people and place at nearby Bulgandry and Somersby Falls. Her words were strengthened by a corroborating presence of piercing native birdcall; gentle rustle from towering eucalypts; and restorative smell of wood smoke; - nature’s unified testament to Dr Blair’s powerful message. The words Nhangara Barayi (Dancing Ground) were respectfully gifted to NAISDA from the Darkinjung Language. The immersive cultural space, funded through the NSW Social Housing Community Infrastructure Fund, has brought even deeper meaning in 2019 to NAISDA’s declaration “Proudly dancing on Darkinjung Land” - our creative, enriching home for over a decade. NAISDA’s 2019 onsite cultural residency fittingly formed the inaugural learning experience at Nhangara Barayi. We warmly welcomed back Dujon Niue, Peli Ware and Harry Newie, our Cultural Tutors from Mua Island whose sharing of song, dance and cultural knowledge uniquely informs the NAISDA curriculum. The College’s return visit to the Torres Strait later in the year saw Developing Artists further embraced into the community to learn first-hand from Elders and knowledge holders. Our warmest thanks to Wug village for opening hearts and homes and empowering our young people’s ongoing engagement in artistic and cultural dialogue. The academic year’s full-time training program was exceptionally strong, supported by bold, creative partnerships. In July we welcomed back to NAISDA Deon Hastie to the role of Head of Dance. Deon a NAISDA graduate with a lifelong commitment to dance, cultural learning and development will bring a unique approach to current and future of NAISDA and our Developing Artists. Innovative collaboration with our Arts8 partners, as well as a week of powerful exchange in July with NIDA, presented opportunities for all students to engage in new ways of refining their collective crafts of storytelling and contemporary theatre-making. We are grateful to our many industry-placement partners for the support of their dynamic professional secondments. We were also delighted to launch, through the generosity of donors Linda Herd and Janet Stevenson, new professional experiences, insight and network connections for our Developing Artists in 2019, including the NAISDA Masterclass series. NAISDA’s voice in global cultural and creative exchange evolved this year into an expanded framework of international academic and artistic collaboration and a significant Memorandum of Understanding with The University of Auckland’s Faculty of Creative Arts and Industries. Our reciprocal partnership symbolises the flourishing of culturally responsive, relevant and equitable global Indigenous creative learning and is a catalyst for international career opportunities for graduates. This global landscape amplifies the profile of whole-of-career learning for Indigenous creative professionals and to this end, NAISDA’s critical development of an Advanced Diploma. The new qualification, which received

approval from the Australian Skills Quality Authorty in December, will be delivered as part of the NAISDA curriculum in February 2021. With this development we are pleased to Welcome Jo Clancy and Alfred Taahi to NAISDA to help guild the new course and Practicing Artists that will begin in 2021. Our performative practice shone brightly in 2019. The NAISDA mid-year season returned home and was hosted onsite at Nhangara Barayi in July. The program’s strong regional presence, established over five years in supportive partnership with The Art House, Wyong, aligns with NAIDOC celebrations. This year, clear skies and bright winter sunshine welcomed our Aboriginal community, audiences and school children as we connected and enjoyed cultural dance, song and learning outdoors. In November, Ngeonakap presented over five performances at Carriageworks, joyously transported us to the Torres Strait Islander home of Director and NAISDA graduate Sani Townson. Ngoenakap, which means heart in the Torres Strait Islander language of Kala Lagaw Ya was described by Sani as his “full circle” and a return “to the heart of where it all began”. My own heartfelt congratulations to Sani, Cultural Tutors Dujon Niue, Harry Newie and Norah Bagiri, NAISDA Head of Dance Deon Hastie and NAISDA Developing Artists for evoking so beautifully the stories, history, ancestors and knowledge of Sani’s homeland through stunning contemporary performance and lyrical cultural song and dance. Interwoven with vivid lighting, projections, costumes and technical skill from our production team, the sold out performances and critical acclaim reflected a truly captivating and memorable 2019 Sydney Season.

NAISDA’s enriching role in national training, cultural stewardship and the arts brings with it great responsibility and of course combined effort and commitment. Thank you to our Boards for their tireless support, to, our staff, Developing Artists, alumni, NAISDA community, donors and many supporters. Our gratitude goes to the dedicated efforts of so many partner organisations including

Barang Regional Alliance, Jawun, and the Joanne Harris Scholarship Fund whose united collaboration impart strength to our purpose and achievement. My sincere thanks to our funders, the Australian and NSW Governments particularly our primary funding body the Department of Infrastructure, Transport, Regional Development and Communications for their multi-year funding which recognises NAISDA’s footprint, profile and impact. I began by reflecting upon where our dance comes from. The past twelve months have equally been shaped by our resilient and resounding cry of Voice Treaty Truth. The spirit and fortitude of which, is embodied by NAISDA Board Chairperson Sean Gordon. In December we warmly said goodbye to Sean as he stepped down from this position. Sean’s significant leadership, commitment and contributions have been instrumental in NAISDA’s success and development and we have shared many memorable moments. A particular highlight being Sean’s special sharing of the Uluru Statement from the Heart with the College in 2017. Thank you Sean. We are proud that you will continue to be an important part of the NAISDA family, vision and future as you continue to advocate for Aboriginal and Torres Strait Islander sovereignty.

THE YEAR AT A GLANCE

________________________________________________________________ JANUARY − 2019 training begins on 29 January with 27 Developing Artists arriving for a year of learning, growing and performance. − Four NAISDA graduates join Bangarra in its 30th year. NAISDA 2018 Diploma Developing Artists Kallum Goolagong and Gusta Mara join the Russell Page Graduate Program. NAISDA graduates Jye Uren and Kassidy Waters also join the Bangarra ensemble. − NAISDA CEO Kim Walker is invited to be the Revival Director for Opera Australia's Turnadot at Sydney Opera House. NAISDA Graduate Emily Flannery performs in the classic opera. FEBRUARY −

− − − − − −

As part of the 2019 cultural residency NAISDA hosts Cultural Tutors Dujon Niue, Peli Ware and Harry Newie from Mua Island in the Torres Strait. The onsite residency is also delivered by NAISDA sessional Cultural Trainers Berthalia Reuben and Luke Currie Richardson Developing Artist Kiara Wilson attends a secondment with Lucy Guerin in Melbourne Developing Artist Maddison Paluch attends a secondment with Sani Townson NAISDA graduate Vicki Van Hout is awarded the 2019 Australia Council Award for Dance Developing Artists attend the two-day Barang Regional Alliance Empower Youth Summit NAISDA partners with Ausdance NSW to deliver the DAIR residency program Developing Artists perform at the Times Higher Education Research Summit Gala Dinner at the Museum of Contemporary Art, Sydney

MARCH − − − − − − −

APRIL − − − − − − − − −

MAY − − − − − − − − − − −

NAISDA performs at the Sydney Gay and Lesbian Mardi Gras 2019 Developing Artists visit The Glen, a Central Coast alcohol and drug rehabilitation centre Developing Artist Kiara Wilson is awarded the 2019 $1000 Zonta Scholarship Developing Artists attend an excursion to the Art Gallery of NSW NAISDA hosts NIDA students as part of a collaborative project NAISDA staff and Foundation Board members attend a Creative Partnerships masterclass Jawun Round One Secondment

Developing Artists Kiara Wilson and Maddison Paluch participate in a week-long company intensive with Sydney Dance Company NAISDA celebrates the Class of 2018 Graduation Ceremony with keynote speaker Sydney Festival Artistic Director Wesley Enoch and Master of Ceremonies journalist and NITV Presenter Natalie Ahmat NAISDA 2018 Joanne Harris Gifted and Talented Scholarship is awarded to Kiara Wilson who uses it to travel to Auckland and Canada for industry placements with Atamira Dance Company and the Banff Centre NAISDA Trainer Francoise Angenieux is awarded the 2019 Joanne Harris Trainers Award who travels to Mua Island for the remote cultural residency program in July Developing Artists Maddison Paluch, Brianna Kemmerling, Chandler Connell, James Boyd, Jesse Murray and D’arcy Maguire are awarded Joanne Harris Support Bursaries NAISDA celebrates ten year service by staff members Pam Williams, Jasmine Gulash, Karen Bluff and Francoise Angenieux The NAISDA Masterclass Series, sponsored by Linda Herd, is launched Developing Artist Hosken MacFarlane attends a secondment with The Farm on the Gold Coast Developing Artists attend an excursion to Sydney Opera House to see ‘Giselle’ by the Australian Ballet

Developing Artists Jesse Murray and Janaya Lamb, Training Delivery Coordinator Craig Bary and CEO Kim Walker attend the 2019 Arts 8 collaboration ‘Belonging’ Phunktional Arts present a performance of ‘Shadow Warrior’ at NAISDA for Developing Artists Rachael Swain, founding member and co-artistic director of Marrugeku delivers a NAISDA Masterclass Narelle Benjamin delivers a NAISDA Masterclass Developing Artists Edan Porter and Kiara Wilson attend secondments with Bangarra Dance Theatre NAISDA Developing Artists perform at the Shell CP Sydney Programme at Sydney Opera House Developing Artists and staff attend performance of ‘My Urrwai’ by Ghenoa Gela at the Art House, Wyong Developing Artists attend industry workshops hosted by Jasmin Sheppard, Katina Olsen and Ghenoa Gela Developing Artists attend an excursion to Carriageworks to see ‘Burrbgaja Yalirra’ by Marrugeku NAISDA hosts the Zonta Annual Dinner onsite Jawun Round Two Secondment

JUNE − − − −

Developing Artists Edan Porter and Kiara Wilson attend a three-week professional secondment at the Banff Centre, Canada NAISDA partners with Central Coast Local Area Health to run the Quick Meals For Kooris Program NAISDA attends the community night performance of ‘Bangrarra:30 years’ and celebrates the milestone with a pre-show reception at Sydney Opera House Developing Artists attend an excursion to Sydney Opera House to see ‘A O Lang Pho’

− − − −

JULY − − − −

NAISDA launches Nhangara Barayi, its dancing ground and living learning space Developing Artists Kiarn Doyle and Jarryd Dixon complete a secondment week with Australian Dance Theatre Developing Artist Maddison Paluch participates in a secondment with Expressions Dance Company NAISDA welcomes Alvin Rangel for a second consecutive year to conduct a three-week intensive in the Horton Technique and deliver a NAISDA Masterclass

NAISDA presents Nhangara Ngangga, the mid-year performance and school workshop season at Nhangara Barayi NAISDA Developing Artists and staff travel to Mua Island for the week-long offsite cultural residency Developing Artists and students from NIDA’s writers and directors courses participate in a week long intensive collaboration hosted at the NAISDA campus NAISDA welcomes students from Edogawa/Narara High School Visit

AUGUST − NAISDA welcomes Deon Hastie to the position of Head of Dance − Developing Artists perform at the Local Government Awards Dinner − NAISDA staff participate in cultural awareness training through the ArtsReady strategy − Developing Artists participate in industry workshop/exchange hosted by Legs on the Wall − Developing Artists participate in Sydney Dance Pre-Professional Year Exchange − Three drug and alcohol awareness workshops are delivered by Central Coast Local Area Health − Jawun Round Three Secondment SEPTEMBER − NAISDA and The University of Auckland’s Faculty of Creative Arts and Industries enter into a Memorandum of Understanding − The NAISDA Advanced Diploma of Professional Dance Performance for Aboriginal and Torres Strait Peoples is submitted to the Australian Skills Quality Authority − NAISDA partners with Campbelltown Arts Centre to present the 2019 CAC/NAISDA Dance Project − NAISDA Diplomas present original works at the inaugural Diploma Choreographic Night − Developing Artists attend an excursion to Parramatta Riverside Theatre to see ‘A Night’s Game’ by FORM − Developing Artist Kiara Wilson participates in an industry secondment with Atamira Dance Company, Auckland − NAISDA graduate Neville Williams Boney and Amy Flannery create and present ‘Brutal’ for Jopuka Productions − Annual NAISDA assessments begin OCTOBER − NAISDA hosts the Jawun Executive Dinner at Nhangara Barayi − Artist-in-Residence Sani Townson commences his residency choreographing work for ‘Ngoenakap’ to be performed at Carriageworks in November − NAISDA maintains a community engagement presence at the 2019 Koori Knockout − NAISDA hosts Round One of the 2019 audition process − Jawun Round Four secondment NOVEMBER

− − −

NAISDA’s 2019 Sydney Season ‘Ngoenakap’, directed by NAISDA graduate Sani Townson opens at Carriageworks Sydney NAISDA presents a post-show conversation with Developing Artists, Sani Townson and Sydney Festival Artistic Director Wesley Enoch NAISDA presents a creative workshop as part of Solid Ground Creative Arts Camp at Carriageworks Sydney

DECEMBER − NAISDA welcomes a campus visit from primary and high school students from Miriki Performing Arts, Cairns − NAISDA graduate Amy Flannery is the first recruit of the Australian Ballet’s Dance Education Cadetship − NAISDA hosts Round Two of the 2019 audition process − NAISDA receives approval from the Australian Skills Quality Authority for the delivery of its Advanced Diploma of Professional Dance Performance for Aboriginal and Torres Strait Peoples in July 2020

ON CAMPUS ________________________________________________________________

CURRICULUM DEVELOPMENT The 2019 academic year began on Tuesday 29 January with the delivery of Certificates III, IV and Diploma in Dance Practice for Aboriginal and Torres Strait Islander Peoples. Encorporating extensive industry consultation to ensure that NAISDA's education and training provides relevant career pathways and best practice against industry standards, the NAISDA Board of Studies and staff continued development of the curriculum throughout the year in the form of an Advanced Diploma of Professional Dance Performance for Aboriginal and Torres Strait Peoples. The Advanced Diploma was submitted to the Australian Skills Quality Authority (ASQA) in September 2019 and received approval in December 2019. It is due to be brought on to the NAISDA curriculum scope and delivered in 2021.

THE 2019 COHORT 20 young people from across Australia were invited to audition for NAISDA’s 2019 academic year. Of these, 13 were offered places, with 7 applicants successfully accepting their places to study in 2019. 17 Continuing Developing Artists, 3 returning Developing Artists and 7 new Developing Artists comprised the 2019 cohort of 27 Developing Artists.

2019 Cohort

Total Developing Artists by qualification

Heritage

Cert III - Heritage

Cert IV Heritage

Diploma Heritage

Cert III

Cert IV

Diploma

Aboriginal

Torres Strait Islander

Aboriginal and Torres Strait Islander

Aboriginal

Torres Strait Islander

Aboriginal and Torres Strait Islander

Aboriginal

Torres Strait Islander

Aboriginal and Torres Strait Islander

Aboriginal

Torres Strait Islander

Age

Gender

State Of Origin

Aboriginal and Torres Strait Islander

16-17

18 - 20

21-25

Over 25

Female

Male

Queensland

New South Wales

Victoria

Tasmania

South Australia

Western Australia

Northern Territory

ACT

2019 AUDITIONS As part of its 2019 engagement strategy, and in consultation with Jawun partners, NAISDA undertook considerable review of its audition process. This included assessment of communications to streamlinine processes, messages, collateral and data management and capitalise on digital platforms and tools. In 2019 NAISDA also scheduled two audition rounds – one in October, the second in December, to maximise opportunity to engage with schools, communities and applicants across Australia and satisfy increased demand in applications to join the 2020 cohort.

PROFESSIONAL DEVELOPMENT, PARTNERSHIPS AND COLLABORATION NAISDA enjoys strong partnerships with key organisations to deliver its secondment and professional development program. Through these unique secondments, which can last between two weeks to two months, Developing Artists hone skills, develop contacts and learn how to maximise opportunities within a professional environment.

ARTS8 Exchange ARTS8 is the national body of elite performing arts organisations supported by the Australian Government and consists of • Australian Ballet School (Southbank, Victoria) • Australian National Academy of Music (South Melbourne, Victoria) • Australian Youth Orchestra (Sydney, NSW) • Flying Fruit Fly Circus (Albury, NSW) • NAISDA Dance College (Gosford, NSW) • Australian Film, Television and Radio School (Sydney, NSW) • National Institute of Circus Arts (Prahran, Victoria) • National Institute of Dramatic Art (Kensington, NSW) Once a year, two student representatives from each organisation come together in a shared space for a creative collaboration based upon a chosen theme. The result is an artistic work incorporating all performance media championed by the ARTS8 organisations – from dance, drama and movement to film and music.

From 3 to 5 May, Developing Artists Jesse Murray and Janaya Lamb represented NAISDA Dance College alongside NAISDA Training Delivery Coordinator Craig Bary and CEO Kim Walker at the 2019 Arts 8 Collaboration, hosted by the Flying Fruit Fly Circus in Albury-Wodonga on the Victoria/New South Wales border. The 2019 collaboration focussed upon the theme of belonging. The annual collaboration also provided opportunity for member organisations to exchange ideas and discuss industry issues. “Each year it is a privilege to experience the growth of our Developing Artists in this space, to see them come to appreciate what they know and how much they have to offer the other artists in the room; to see them open up the richness of their cultural knowings and story to those who don’t often get to hear and experience that space. “It always amazes me what the group of artists end up creating when you place them in a room for two days to explore and share in an unrestricted practice. The only boundaries are what they seem to place in front of themselves. This year they took us on a journey through the creative space exploring all facets of their own art forms, focusing a little more on celebrating what they can do and sharing themselves openly. The use of music, sound and voice was truly touching, giving a

deeper understanding to what they wanted to say about their belonging as individuals and as a group. A profound experience that gives way to the idea of making this a bigger venture in the future, perhaps a performance outcome and a longer creative process.” - Craig Bary, Training Delivery Coordinator

NAISDA and NIDA collaboration NAISDA Developing Artists and students from NIDA’s Directing for Performance and Writing for Performance Courses came together for five days of intensive and inspirational creative collaboration in July. Working in small

groups, students from both organisations explored themes, shared ideas and skills across media to develop original works. The week culminated in a presentation of new works to the full cohort of students and the trainers of both organisations.

“This week has been absolutely amazing. I think what was so exciting was that, at the beginning of the week, no one had any idea of what the outcome would be. It was really nice to be starting at the same point, where we could stimulate creativity and ideas and work out mutual influences. The Developing Artists at NAISDA have been phenomenal to work with – they’re bold and creative. Having nine brains all working on the same project has been great... I think this is the future of Australian contemporary theatre-making. The mixing of voices, experiences and languages has been amazing, and we’ve created new work in an organic, collaborative way.”

– Miranda Middleton NIDA student

“The different approaches to art-making that the two cohorts have was eye opening. We came into it thinking ‘let’s articulate’ while the Developing Artists were like ‘let’s just get up and do’. It was two forces meeting and it’s exploded in the best way possible. The NIDA students are making something they would never have made on their own, and I think it’s the same for the NAISDA Developing Artists.” – JoJo Williams NIDA student

“ We’ve all come in with concepts and ideas and directed tasks. Everyone has been pretty open and willing to try, so it’s worked really well. ” - Darcy McGuire NAISDA Developing Artist

Joanne Harris Gifted and Talented Scholarship Joanne Harris spent her life studying, teaching and performing dance. Thanks to her legacy, NAISDA is able to annually award a scholarship of up to $10,000 to a Diploma Developing Artist to study and learn oversees. The 2019 scholarship recipient Kiara Wilson used the scholarship to participate in two international industry placements – with Atamira Dance Company in New Zealand and the Banff Centre in Canada.

“My aim as a dancer and choreographer is not only imprint on the souls of the dancers I work with, but also on the audience members, community and entire dance industry. The story to my

application for scholarship draws threads from my hometown of Broome, my father’s country in New Zealand and the First Nations’ choreographic lab in Banff, Canada. “I want to explore the barriers to knowing my story, privileging the gaps in my own body’s knowing, my own voice’s knowing through listening to and responding to others. I want to break down the barriers by partaking in other Indigenous peoples’ lives, in the hope that privileging their stories may help me find parts of my own lost and ever-growing cultural knowledge. ” – Kiara Wilson, Diploma Developing Artist

Australian Dance Theatre Secondment Week In June, Diploma Developing Artists Kiarn Doyle and Jarryd Dixon completed a Secondment Week with Australian Dance Theatre as part of their professional development. This is the first year Australian Dance Theatre has provided two scholarship opportunities to NAISDA Developing Artists to participate in the intensive. “When I started training at NAISDA, we were given the opportunity to see an Australian Dance Theatre production and it completely drew me in. I hadn’t really seen anything like it and knew that I wanted to be involved with them. Every day we had a morning class with a company member which went for about an hour and a half. We then did some tumbling to learn the tricks and skills in the company’s repertoire and would then go over the repertoire in the afternoons with classes and previews.

“Over a couple of afternoons, we also learnt about career development and discussed things like using social media, promoting yourself as an independent artist and what’s involved in putting on a show. That part was eye-opening for me. Later on in my career, I would love to create my own shows. It gave me a better understanding of how to use my body. I come from a commercial background, so I am used to fast choreography and picking everything up quickly. This experience helped me to better understand how my body works with choreography. I learnt how to soften some of my moves. It’s all about finding yourself written in the choreography. I found it amazing that the company members and even the Artistic Director were very welcoming. There were over

30 of us in the classes and they were always more than happy to come over and work with you individually if you needed assistance or had a question. ” – Kiarn Doyle, Diploma Developing Artist

NAISDA thanks the generosity of its ongoing partners for the following 2019 secondment placements. NAISDA Participants Secondment Organisation Kiara Wilson Atamira Dance Company Kiarn Doyle Brianna Kemmerling Kiara Wilson Jarryd Dixon Kiarn Doyle Edan Porter Kiara Wilson Kiarn Doyle

Australian Dance Festival

Edan Porter Kiara Wilson

Banff Centre

Kiarn Doyle Kiara Wilson

Catapult Choreographic Hub Lucy Guerin

Maddison Paluch Jesse Murray Janaya Lamb Chandler Connell Maddison Paluch Maddison Paluch Kiarn Doyle Kiara Wilson Maddison Paluch David Biondi-Odo

Expressions Dance Company Legs On The Wall

Australian Dance Theatre Bangarra Dance Theatre

Marrugeku Sani Townson Stephanie Lake (Colossus) Stephen Tannos Sydney Dance Company

CULTURAL RESIDENCY PROGRAM Between two and six Aboriginal and Torres Strait Islander Cultural Tutors leave their communities early each year to deliver the week-long college-based Cultural Residency at the NAISDA campus. In January Cultural Tutors from Mua Island in the Torres Strait, Dujon Niue, Peli Ware and Harry Newie shared stories, songs and dance with the assistance of NAISDA sessional Cultural Trainers Berthalia Reuben and Luke Currie Richardson. The residency was the College’s inaugural learning experience in Nhangarra Barayi, the new onsite Dancing Ground and Living Learning Space. This was followed later in the year with NAISDA Developing Artists and staff visiting and staying with the community of Mua Island for a week as part of the July remote Cultural Residency Program. Further information regarding this program can be found under Cultural Connections section of this report.

ARTISTS IN RESIDENCE 2019

NAISDA’s Artist-in-Residency Program develops performance and production experiences in a contemporary theatre context. This year’s Artists-in-Residence were: Sani Townson A celebrated Torres Strait Islander choreographer and artist, Sani Townson is a NAISDA graduate (2000) and former Bangarra Dance Theatre dancer (2001-2006) who has worked nationally and globally across dance, music and acting disciplines. As NAISDA’s 2019 Artist in Residence, Sani directed the Sydney Season Ngoenakap (Nga-Na-Kup) at Carriageworks - a powerful exploration of First Nations Peoples’ connection to Country and Kinship.

“My core intention was always to use this powerful opportunity to honour, share and pay respect to the stories, history, ancestors and knowledge of my homeland – and my heart – the Torres Strait Islands. This year’s works were embedded with the rich inspiration and creative expression of my Torres Strait Island heritage. They celebrated and continued an extraordinary connection to Country with the beautiful Island of Mua that I was blessed to experience and nurture as a young NAISDA student on Cultural Residency. “Ngoenakap is also about NAISDA Dance College itself. It takes courage to become a professional artist; with equal amounts of fear, excitement and trepidation you literally put your heart and creativity on the line. For me, and many others, this incredible institution will remain the heartbeat of our practice; our springboard into finding our creative expression and pursuing professional careers. At some point in those careers there is a 360 degree turning point where we feel the need to give back and share our dance and cultural dialogues, skills and knowledge. Ngoenakap is my full circle. I am returning to the heart of where it all began.” - Sani Townson, Ngoenakap Director Alvin Rangel In June NAISDA welcomed, Associate Professor of Dance at California State University, international performer, choreographer, educator and scholar, Alvin Rangel back to campus for a second consecutive year to conduct a three-week intensive in the Horton Technique. The Horton Technique was pioneered by Lester Horton who developed the dance form based on Native American dances, anatomical studies and other movement influences to strengthen and open up the body for performance in any style. The Horton Technique has become an important part of the NAISDA curriculum, helping professional development and enhancing the technical skills of Developing Artists. “As a teacher, getting to come to NAISDA and teach gives me a chance to learn. Coming into a space where my students don’t know me and I’m not the regular teacher helps me learn how to better communicate and articulate. To me, it’s about opening doors and creating opportunities. Empowering disenfranchised or segregated communities to break the cycle. It’s about making

voices and stories heard. Empowering individuals to go on and empower not only their communities, but people all over the world. To act as ambassadors.” – Alvin Rangel, Horton Master and Associate Professor of Dance at California State University

NAISDA MASTERCLASS SERIES NAISDA CEO Kim Walker formally launched the inaugural NAISDA Masterclass Series at the 2019 Graduation Ceremony. Delivered by invited guest artists and industry experts, the masterclasses developed NAISDA Developing Artists’ skills and techniques, encompassing multiple disciplines including dance, film, drama, and dance on film. The exciting new program, which forms part of the NAISDA curriculum, was established through the generosity of NAISDA supporter Linda Herd. This 2019 inaugural series featured the following guest lecturers: • • •

Alvin Rangel: Horton Master and Associate Professor of Dance at California State University Rachael Swain: Founding Member and Co-Artistic Director of Marrugeku Carole Y Johnson: Dancer, Indigenous Arts Activist and Founding Director of NAISDA and Bangarra Dance Theatre

•

Narelle Benjamin: Acclaimed Choreographer and Dancer whose credits include Australian Dance Theatre, Chunky Move, Bangarra Dance Theatre and the Australian Ballet

2019 GRADUATION CEREMONY On Friday 12 April, 27 Developing Artists from the graduating class of 2018 attained professional qualifications. Renowned playwright and Sydney Festival Artistic Director Wesley Enoch delivered the Keynote Address. He was joined by celebrated journalist and NITV Presenter Natalie Ahmat as Master of Ceremonies.

The presentation of certificates and awards was made by a number of key advocates including Foundation Patron Dame Marie Bashir, Senator Deborah O'Neill, The Hon Don Harwin MLC and Lucy Wicks, Federal Member for Robertson. The Joanne Harris Scholarships were presented by Chris and Kathy Harris and the Chairperson's Award sponsored by the Commonwealth Bank of Australia was presented by NAISDA Chair Sean Gordon and the Noel Prakash, National Manager Indigenous Banking CBA.

Presentations were made to the following graduates: 10277NAT Certificate III in Dance Practice for Aboriginal and Torres Strait Islander Peoples

10628NAT Certificate IV in Dance Practice for Aboriginal and Torres Strait Islander Peoples

10629NAT Diploma of Professional Dance Performance for Aboriginal and Torres Strait Islander Peoples

James Boyd, Jannali-Ann Johnston, Janaya Lamb, D’arcy Maguire, Daniel Mateo, Jesse Murray Statement of Attainment awarded to: Lacey Bilger, Michael Price David Biondi-Odo, Chandler Connell, Jarryd Dixon, Kiarn Doyle, Thomas Kelly, Brianna Kemmerling, Maddison Paluch, Edan Porter, Kiara Wilson Statement of Attainment awarded to: Cody Cosson, Hosken MacFarlane, Codey Thomas Joan Atkinson, Amy Flannery, Emily Flannery, Kallum Goolagong, Gusta Mara, Aroha Pehi, Neville Williams Boney

AWARDS NAISDA Awards While NAISDA follows a competency-based training and assessment system, Developing Artists may be awarded a NAISDA Distinction or High Distinction for their studies. Developing Artists are assessed to have achieved all of the following criteria for each award: High Distinction − −

95% attendance overall Receive a high distinction in assessment of the unit

− − −

Excellent general attitude Excellent dance and academic performance Contribution to NAISDA culture

Distinction − − − − −

90% attendance overall Receive a distinction in assessment of the unit Excellent general attitude Excellent dance and academic performance Contribution to NAISDA culture

NAISDA awards were presented to the following graduates at the Graduation Ceremony: Amy Flannery, High Distinction for units in Contemporary Urban Dance and Music Composition Gusta Mara, Distinction for unit in Contemporary Dance Aroha Peli, Distinction for unit in Physical Theatre Neville Williams Boney, Distinction in units for Dance Film, Physical Theatre, Cultural Studies onsite and on Country Madison Paluch, Distinction in unit in Ballet Janaya Lamb, High Distinction for units in Contemporary Dance and Contemporary Urban Dance Daniel Mateo, Distinction for unit in Ballet Jesse Murray, Distinction for units in Contemporary Dance and Contemporary Urban Dance`

Chairperson’s Excellence Award 2019 Sponsored by Commonwealth Bank of Australia The Chairman’s Excellence Award is presented each year to a graduating Diploma Developing Artist in recognition of their exemplary positive contribution to college life and highly distinguished artistic and academic

performance record. A trophy and monetary gift are presented and the Developing Artist’s name is recorded on a perpetual trophy. The 2019 Chairperson’s Excellence Award was presented to Neville Williams Boney 2019 Zonta Scholarship This scholarship is generously donated by the Zonta Club of Central Coast and is awarded to a female Developing Artist to support her studies. The application and selection process is completed early in Term One. This year’s recipient was Diploma Developing Artist, Kiara Wilson.

THE JOANNE HARRIS SCHOLARSHIP FUND The Joanne Harris Scholarship fund was launched in 2015. Joanne Harris was passionate about studying, teaching and performing dance. Her vision and generous legacy nurtured under the leadership of Chris and Kathy Harris, has enabled NAISDA to offer a unique range of annual scholarships and bursaries which assist Developing Artists to pursue training and career pathways. The Fund established four annual scholarships: • • • •

Pre-Professional Support Scholarship Early Talent Identification Scholarship Gifted and Talented Scholarship NAISDA Bursary Program

The Gifted and Talented Scholarship was awarded to Diploma Developing Artist Kiara Wilson who used the award to attend in two international industry placements – with Atamira Dance Company in New Zealand and Banff Centre, Canada (see page xxx ) Chris and Kathy Harris presented Bursary Awards to James Boyd, Chandler Connell, Brianna Kemmerling, D’arcy Maguire, Jesse Murray and Maddison Paluch In addition to the established scholarships the Fund recognises a NAISDA trainer who has provided excellent support and guidance to Developing Artists. The 2019 Award for Recognition of Excellence in Training recipient was Unit Manager of Ballet Francoise Angenieux. The Pre-Professional Support Scholarship and Early Talent Identification Scholarship were not awarded in 2019.

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LEARNING AND WELLBEING SUPPORT ________________________________________________________________

NAISDA’s is committed to supporting its cohort through a comprehensive wellbeing and learning support program. This includes culturally safe and appropriate accommodation; physical and emotional wellbeing support; injury management; language, literacy and numeracy education; and life skills development.

COLLEGE ONSITE ACCOMMODATION The NAISDA precinct includes seven four-bedroom cottages within walking distance to the College. The cottages are provided for over-18 Developing Artists undertaking full time study. Each has their own bedroom (shared in some instances) with shared common areas and facilities. The cottages are simply furnished and fitted with kitchen, kitchenware and laundry appliances. Developing Artists pay a bond and weekly rent inclusive of electricity, water, furniture, TV, utensils and washing machine/dryer as part of the accommodation package. Accommodation is heavily subsidised by NAISDA to ensure rent remains affordable for all Developing Artists. This approach is substantiated by the Review of Higher Education Access and Outcomes for Aboriginal and Torres Strait Islander People (The Behrendt Report 2012) which identified the lack of access to affordable accommodation as a significant barrier to Indigenous young people accessing and completing further education.

HOMESTAY The NAISDA homestay program, created in 2011, has been successful in helping young people adjust to the pressures of moving away from home for the first time to engage in full-time tertiary study. The Homestay Program provides accommodation and a supportive living environment for Developing Artists under 18, as well as for those who may who require additional support to complete their studies. Homestay parents are accredited through the NAISDA application process. The comprehensive accreditation process ensures a positive experience for homestay families and Developing Artists. Selected families receive a thorough induction process; detailed information regarding NAISDA responsibilities, procedures and policies; continued assistance, support and communication; cultural connection through cultural events and engagement; as well as support payments throughout the program.

HOLISTIC AND HEALTHCARE SUPPORT NAISDA employs Developing Artist Support Officers (DASOs) who assist, guide and mentor Developing Artists in a range of support services and ensure a safe environment to discuss issues in a culturally appropriate and confident manner. Support services are underpinned by First Nations’ perspective on self and determinants of wellbeing. Support strategies are delivered in conjunction with community service organisations and include open forums for communication and discussion such as Yarn Time as well as the cultural practice of Men’s and Women’s Business.

At the start of the 2019 academic year, the cohort received a free annual Health Check with Yerin Aboriginal Health Services. Central Coast Youth Health also provided a special session of Yarn Time to outline the range of services available to the Developing Artists including optometry services. In August Central Coast Local Area Health delivered three drug and alcohol awareness workshops for Developing Artists In 2019 NAISDA implemented body conditioning classes as a proactive program to strengthen and Improve Developing Artist flexibility. Positive outcomes were evident in the reduced number of injuries sustained in class. Should injuries in class occur, DASOs implement an Injury Recovery Program through the NAISDA Injury Management Program, to cover consultation with a variety of specialists including Doctors, Chiropractor, Physiotherapist and a tailored pilates program NAISDA provides a shuttle bus service from Gosford railway station each morning and afternoon. An additional lunchtime shuttle is provided on Monday, Wednesday and Friday if requested, to assist with grocery shopping and other activities.

LIFE SKILLS DEVELOPMENT AND MENTORING In February, Developing Artists attended the Barang Regional Alliance Empower Youth Summit which brought together over 200 young Indigenous leaders for a series of forums, activities and knowledgesharing, empowering Indigenous young people over the two-day onsite event. In June NAISDA partnered with nutritionists from Central Coast Local Area Health to run the ‘Quick Meals for Kooris Program’ which included instruction on health and hygiene, preparation techniques, planning menus and meals and ingredient storage. The model ensured at least one Developing Artist from each of the NAISDA cottages completed the session so that they could become the 'trainer' for the rest of the cottage at a subsequent cooking event. A copy of the ‘Quick Meals for Kooris at Home’ cookbook was also provided for participants. At least twice a year NAISDA arranges visits for Developing Artists to engage, both on and offsite, with Aboriginal and Torres Strait Islander men from The Glen Central Coast Drug and Alcohol Rehabilitation Centre. The twoway learning process builds empathy, understanding and social cohesion. Activities include playing beach volleyball or touch football and having a yarn around the fire circle.

CULTURAL CONNECTIONS ________________________________________________________________

The NAISDA cultural residency program underpins all learning and informs the development of Contemporary Indigenous dance in Australia. It also offers a unique opportunity for Developing Artists to build their cultural knowledge and connection by travelling to remote communities where they can dance on Country and learn first-hand from Elders and knowledge holders. Each year, NAISDA is privileged to welcome Cultural Tutors from our Indigenous communities to campus. The Developing Artist cohort pay a return visit later in the academic year to the Cultural Tutors’ home community for a week of cultural learning and sharing.

ON-SITE CULTURAL RESIDENCY NAISDA was privileged to host Cultural Tutors from Mua Island in the Torres Strait from 4 until 8 February for the 2019 onsite cultural residency. Over the week, Dujon Niue, Peli Ware and Harry Newie shared stories, songs and dance with Developing Artists with the assistance of NAISDA sessional Cultural Trainers Berthalia Reuben and Luke Currie Richardson. This residency was the College’s inaugural learning experience at Nhangara Barayi, NAISDA’s new Dancing Ground and Living Learning Space.

“I felt connected to the breath of this country, and it gave me permission to create.” – Dujon Niue’s reflection on Nhangara Barayi

REMOTE CULTURAL RESIDENCY Organisation began early in the year in preparation for the 2019 week-long remote cultural residency which was held from 6 until 14 July 2019. This included detailed and coordinated communications with St Pauls Council and Community Elders to ensure protocols, activities and community engagement were delivered appropriately and respectfully. Complex logistical arrangements including flights, funding applications, accommodation, meals, health and safety-planning transposed learning from the Central Coast to the Torres Strait for 25 Developing Artists and four NAISDA staff members.

The residency officially began on Monday 8 July with a welcome meeting between NAISDA and Elders at the Council building. One of the Elders, a tutor from NAISDA’s first 1984 offsite residency to Mua Island, Auntie Dora, warmly shared the history of St Pauls (Wug), explaining the movement of South Sea Island families from Mabuyag to establish St Pauls. Staff and Developing Artists were privileged to view historical photos from the late 1800s of the Namok and Ware families, the first peoples to call St Pauls home.

NAISDA Cultural Tutor Dujon Niue attended all meetings between NAISDA, Elders and Council staff, ensuring community members, Elders and youth felt welcomed to observe and participate in NAISDA activities. Developing Artists were billeted with community families who generously opened their homes to NAISDA. The hall was an essential community space and used daily for meals, warmups, rehearsals, cultural activities and communication debriefs. During the week, staff and Developing Artists were taught cultural activities including coconut oil making; weaving; fishing, from both the wharf and reef; jewellery-making; prop construction of the sik, marap, warup; learning of new songs; rehearsing and practicing dance repertoire; storytelling; and a site visit to Bul Bul beach an abandoned village where Gelam and Usar stories originate.

Under the guidance of Dujon, the men made 30 new maraps over the course of four days. The women were given instruction on weaving palm leaves for headdresses, zazi and were also taught weaving techniques to make baskets with grasses. Mana (Angela Torenbeek) is a master weaver of techniques specific to the Torres Strait and as an artist, has acquired global weaving skills and styles which she incorporatesinto to her art. She is renowned for being among the first artists to create sculptural pieces with ghost nets.

On Friday 12 July NAISDA performed a suite of cultural dances created by Dujon to an audience of 150 people including Elders from Kubin and St Pauls villages, young people and host accommodation families. Diploma Developing Artist Chandler Connell led a performance of New South Wales Aboriginal dances as a performance finale. The community commented on how inspiring it was for their youth to see NAISDA students interacting with the Elders and learning cultural knowledge. NAISDA staff who attended the 2019 Cultural Residency were Jasmine Gulash Berthalia Reuben Sani Townson Francoise Angeneuix

Artistic Producer/Cultural Unit Manager Sessional Cultural Trainer Artistic Director of NAISDA 2019 End of Year production Joanne Harris Trainer scholarship

“Planting coconut palms along the foreshore prevents erosion, provide shade and creates resources of leaf materials for weaving and craft making. Coconut is a great food source and making coconut oil a thriving business. NAISDA Developing Artists were shown how to remove young leaves with minimum harm to its growth and fruiting and learnt if you plant the coconut upside down (leaves down) you will grow a short stature tree.” (caption for photo to be used in Annual Report)

NHANGARA BARAYI - DANCING ON DARKINJUNG LAND On Thursday 27 June NAISDA opened Nhangara Barayi, a unique, purpose-specific dancing ground and living learning space situated at Cottage One within the grounds of the NAISDA campus. Nhangara Barayi was officially launched by Dr Nerida Blair, Chair of NAISDA Board of Studies as part of a special, intimate ceremony. NAISDA welcomed students from Darkinjung Barker College as the first community group to perform in the space in collaboration with Darkinjung Elder Uncle Gavi Duncan from Darkinjung Local Aboriginal Land Council. The event also included a performance by NAISDA’s male Developing Artists.

As a sand dancing ground Nhangara Barayi ensures cultural learning, engagement and performance takes place in a live, outdoor creative space, grounded on Darkinjung Land. This increases authenticity of experience for performers and audiences by being intrinsically linked to the richness of lands, cultures and peoples. Nhangara Barayi also provides an opportunity for NAISDA to increase connection with community. It was the venue and focus of NAISDA’s 2019 NAIDOC community celebrations - a three-day program of fully-booked performances and school workshops held in the space and attracting over 700 people. The success will inform future gatherings, helping build ownership as a place of Aboriginal celebration and congregation for the wider community. Nhangara Barayi was made possible through the NSW Government Department of Family and Community Services, Social Housing Community Improvement Grant. We thank and acknowledge this invaluable support and funding. “The words Nhangara Barayi have been respectfully gifted to NAISDA from the Darkinjung language. They are a proud declaration of NAISDA’s connection and belonging to our creative home here on Darkinjung Country. As a unique gathering place intrinsically linked to community and storytelling, Nhangara Barayi will foster belongingness and relatedness in a creative,

nourishing space. It is a place where our young people will come together to learn, share and celebrate the richness of our cultures through the powerful voice of dance, language and song.”

VISIT TO NYINYIKAY, EAST ARNHEM LAND In August, NAISDA CEO Kim Walker, COO Debra Schleger, Head of Dance Deon Hastie and Artistic Producer/Cultural Unit Manager Jasmine Gulash travelled to the community of Nyinyikay, East Arnhem Land. This important visit was scheduled to ensure Elders, family and community have opportunity and voice to reflect, record and shape the future of a successful ten year Cultural Residency partnership between NAISDA and the homeland community. It was also an occasion to introduce community and family to NAISDA’s new Head of Dance Deon Hastie. The visit was part of NAISDA’s strict adherence to observing cultural maintenance and responsibility. NAISDA does not learn or perform cultural expression without establishing respectful and deep relationships with community. The annual cultural residency program builds upon this with the transmission of cultural knowledge integral to NAISDA’s connection to Country, learning and contemporary practice.

Strong, regular communication with residency partners, both remotely and through regular visits on Country ensures customs and cultural protocols are upheld. This includes the protection of Indigenous voice, control and integrity; and the learning and use of songs, dances and materials within a culturally appropriate manner and in consultation and with full recognition with Aboriginal and Torres Strait Islander communities.

RAYMOND D BLANCO Raymond D Blanco is one of Australia’s most influential dance figures, NAISDA graduate and former Head of Culture and Training Operations. He returned to NAISDA for a week of block teaching in June and August to assist with the delivery and assessment of ‘My Mob’, a critical unit of cultural knowledge, history, systems, language, protocols and identity. .

DANCING ON SAND EXCURSION In August, as part of cultural learning units, Developing Artists practiced the techniques of dancing on Country, in sand at Avoca Beach. This important experience enabled Developing Artists to feel connection to the earth and understand how such interaction informs the dance.

MEN AND WOMEN’S LUNCHES Throughout 2019 NAISDA hosted a program of lunches for its young men and women, inviting guest speakers including Raymond D Blanco and Jasmine Sheppard to attend and provide insight from their own cultural and creative experiences. These events provided cultural opportunities for Developing Artists to come together in an informal forum, learn from inspirational mentors and share stories.

CULTURAL LEARNING THROUGH ARTSREADY PROGRAM In August NAISDA staff took part in cultural awareness training provided through ArtsReady, as part of the ArtsReady ARTS 8 Indigenous Pathways Pilot program. The session was run by Tarina Fanning, a proud Larrakia/Tiwi woman. She has dedicated her career to developing and facilitating Indigenous cultural education and competency by providing workplaces and communities with the knowledge and understanding to build on their capability to work more effectively with Aboriginal and Torres Strait Islander Peoples.

NATION DANCE In December NAISDA participated in Nation Dance, a special nationwide event calling First Nations peoples across Australia to dance on Country as one. The community event on Darkinjung land was led by Jo Clancy and Stu McMinn and held at Nhangara Barayi NAISDA’s Dancing Ground.

MABO DAY

A special viewing of the documentary 'Wik vs Queensland' (The Day Wik Won The Battle But Lost The War) directed by Dean Gibson was organised as an acknowledgement of the fights and continued struggles for First Nations people to be recognised as the legal custodians of their Countries. After the viewing Developing Artists, staff and community came together over a meal discuss, reflect and honour the legacy of Koiki Mabo.

SMOKING CEREMONY WITH DARKINJUNG ELDER UNCLE GAVI In May Darkinjung Elder Uncle Gavi Duncan performed a smoking ceremony across campus to mark the commencement of term two. Staff and Developing Artists gathered to listen to Uncle Gavi’s stories, pay respect to Darkinjung Land and prepare for a new term of learning with a smoking of buildings and spaces.

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ON STAGE ________________________________________________________________

NAISDA produces two performance seasons annually; presented on the Central Coast in alignment with NAIDOC celebrations and at Carriageworks, Sydney at the conclusion of academic year in November. These enable NAISDA Developing Artists to develop artistic and creative excellence within a professional performance environment. It is also an important engagement program enabling audiences to connect with cultural and creative expression through performance.

NHANGARA NGANGGA Nhangara Barayi, NAISDA Dance College 1 -3 July 2019 Over the past five years, NAISDA has established a strong regional presence through mid-year performances and workshops aligned with NAIDOC Week. In 2019, NAISDA presented a number of unique NAIDOC events for the community at Nhangara Barayi, the recently opened Dancing Ground and Living Learning Space. The NAIDOC celebrations included a series of fully-booked workshops and performances for Central Coast and Hunter primary and high school students and culminated in a special community performance on Wednesday 3 July. The twilight performance saw NAISDA’s Developing Artists give voice to the richness of stories, lands and peoples featuring dances shared by NAISDA’s Cultural Tutors from Mua Island in the Torres Strait, Dennis Niue, Peli Ware and Harry Newie. The words Nhangara Ngangga, meaning Dance Talk, were respectfully gifted to NAISDA from the Darkinjung Language. Reflecting the powerful voice of dance within the 2019 NAIDOC theme ‘Voice Treaty Truth’, they were a proud declaration of NAISDA’s connection and belonging to Darkinjung Land.

The NAISDA NAIDOC program of community engagement, performance and workshops was supported with NAIDOC grant funding by the Aboriginal Affairs New South Wales and NAIDOC grant funding from the Australian Government’s Department of Prime Minister and Cabinet. Produced by Jasmine Gulash, NAISDA Artistic Producer/Cultural Unit Manager Number of Performances: 5 Number of School Workshops: 4 Total Audience: 700

NGOENAKAP

Carriageworks ,20 - 23 November 2019 4 stars ★★★★ - – Sydney Morning Herald “A sense of joy from start to finish”. – Sydney Morning Herald “Ngoenakap was a most exciting programme, full of stylish polish combined with athleticism”. – Dance Magazine Directed by celebrated Torres Strait Islander choreographer and NAISDA graduate Sani Townson, Ngoenakap presented stories that resonated with First Nations Peoples’ connection to Country and Kinship.

Ngoenakap, which means ‘heart’ in Sani Townson’s Torres Strait Island language of Kala Lagaw Ya, offered a captivating glimpse into the stories, history, ancestors and knowledge of his homeland – and heart – the Torres Strait. The production featured powerful choreography, original contemporary works as well as works by special guests from Wug Village, Mua Island, Torres Strait to communicate a deeply personal celebration and rich reflection on Torres Strait Islander culture and community. Friday 22 November featured an exclusive post-show open ‘in-conversation’ with NAISDA’s Developing Artists and Director hosted by renowned playwright and Artistic Director of the Sydney Festival, Wesley Enoch. Directed by Sani Townson Featuring special guests from Wug Village, Mua Island, Torres Strait. Number of Performances: 5 Total Audience: 1151

DIPLOMA CHOREOGRAPHIC PERFORMANCE In September NAISDA delivered its inaugural performance of works choreographed by NAISDA’s Diploma Developing Artists. The event was an opportunity for Diploma Developing Artists to gain invaluable production experience by presenting their original choreographic and music composition works within a public forum. The occassion also acted as a showcase to industry experts who subsequently provided each participant with external feedback and advice.

2019 CORPORATE AND COMMUNITY EVENTS

Throughout 2019, NAISDA Developing Artists were afforded professional performance opportunities outside of their scheduled training hours. 2019 Corporate and Community events included: The Times Higher Education (THE) Research Excellence Summit: Asia-Pacific, Museum of Contemporary Art, Sydney 19 February 2019

Shell Sydney Programme, Sydney Opera House 21 May 2019 Local Government Awards Dinner 2019, Swissotel, Sydney 1 August 2019 2019 Jawun Executive Dinner, Nhangara Barayi, NAISDA 30 October 2019

ENGAGEMENT AND OUTREACH ________________________________________________________________

NAISDA delivers a significant portfolio of engagement and outreach programs each year. School workshops, touring programs, partnerships and community events provide a tangible, physical and engaging representation of Indigenous creative and cultural heritage through Indigenous traditional and contemporary dance.

NHANGARA NGANGGA SCHOOL PERFORMANCE AND WORKSHOP PROGRAM As part of its mid-year community engagement season and aligned to 2019 NAIDOC celebrations, NAISDA hosted Nhangara Ngangga (Dance Talk) from 1 -2 July. The free program of cultural dance performances and workshops was delivered to over 400 primary and high school students celebrating the 2019 NAIDOC theme ‘Voice, Treaty, Truth’. The powerful voice of dance being reflected in the program’s title.

For the first time, the program was held at Nhangara Barayi, NAISDA’s new Dancing Ground and living learning space. Students experienced a 45-minute cultural dance performance featuring dances shared by NAISDA’s Cultural Tutors from Mua Island in the Torres Strait, Dujon Niue, Peli Ware and Harry Newie. Participants then had an opportunity to learn and perform dances within the immersive space intrinsically linked to land, community and storytelling.

Participating schools and groups included: Darkinjung Barker Glenvale Public School Wyong Creek Public School Brooke Avenue Public School Glendore Public School Mannering Park Public School Central Coast Steiner School Wamberal Public School East Gosford Public School Gwandalan Public School Unima Beach Public School Kariong Mountains High School Narara Valley High School Tuggerah Lakes Secondary College Wyong High School Tumbi Umbi Campus Toronto High School Lisarow High School Erina High School The Gilli Dancers

Feedback from participating schools included: “We would love to be involved with more of these amazing activities”

“It was excellent - the blend of the NAISDA dancers performing and then the workshop was a great idea. Loved every minute” “My students all enjoyed the experience it was wonderful to see them performing with the dancers. Boys and girls were totally engaged” “The workshop was great” “They loved the fact they got to watch and learn how to do the dances then be taught the dance moves. They were able to go back to school and share it with the rest of the school” “It assisted some of our Indigenous students to gain some knowledge and confidence to dance” “I have been to the last two that you have held and your organising of the events has been spot on” “It was a well-organised, valuable cultural experience for students” “They all enjoyed the experience, especially being at the Nhangara Barayi” “The workshop was brilliant and allowed for all students to participate, regardless of their abilities” “A very valuable experience to engage in an aspect of their culture”

2019 CAMPBELLTOWN ARTS CENTRE/NAISDA DANCE PROJECT The CAC/NAISDA Dance Project is a longstanding collaboration between NAISDA Dance College and Campbelltown Arts Centre. It has been running for 13 consecutive years. The project supports Aboriginal and Torres Strait Islander students in the Macarthur region to explore their creative voice through artistic

mentorship in dance, cultural knowledge and performance skills led by community Elders and Aboriginal and Torres Strait Islander dance artists. The 2019 project was spearheaded by celebrated choreographer and NAISDA alum Jo Clancy. In the prelude to the project, NAISDA graduates ran a series of dance workshops in high schools across the Macarthur region. School students who demonstrated an interest in dance were then identified to participate in an intensive three-day residency at NAISDA Dance College. This resulted in the creation of an original dance work called burra bamal, meaning sky and earth in Dharawal language. The work was premiered at Campbelltown Arts Centre as part of a special showing on 12 September.

SOLID GROUND DANCE CAMP

NAISDA Dance College is involved in a number of community outreach programs and enjoys a close relationship with Solid Ground – an initiative of Carriageworks which provides education, training and employment pathways for young Indigenous Australians in Redfern, Waterloo and Blacktown. In 2019, Solid Ground held its inaugural Creative Arts Camp from 20 -22 November. The three-day event saw NAISDA present one of three creative workshops for local Aboriginal and Torres Strait Islander high school students. “NAISDA ran a dance workshop with students providing them with the opportunity to sample different dance forms and learn about what we do at NAISDA. Some of the students were quite shy. For many, this was their first time experiencing dance. It was good to give them an introduction to dance so that they can explore this further if they want to. “Having one of NAISDA’s Developing Artists, Kiarn Doyle present a hip hop session was particularly valuable as the students were able to hear about NAISDA from a young person’s perspective. It’s much easier for young people to relate to someone who is closer to their own age. For some of the participants, they are only just starting to connect with their identity and find out about their culture. Platforms like this give them the opportunity to learn more about their background. It also gives them a chance to build their identity, self-esteem and confidence.” – Deon Hastie, NAIDSA Head of Dance

MIRIKI PERFORMING ARTS Miriki Performing Arts is a young person’s performing arts training organisation based in Cairns, Queensland. Led by NAISDA alum Pauline Lampton, the organisation predominately works with Aboriginal and Torres Strait Islander primary and high school students and provides a holistic approach to performing arts with a focus on dance, music and language. The visit provided Miriki young people the opportunity to watch a NAISDA rehearsal, meet and engage with Developing Artists. This connection also encouraged applications for future cohort intakes. The visit concluded with the Miriki group performing for NAISDA staff and Developing Artists. They presented a work focussing on the theme of fire and its many aspects from destruction to rebirth.

KOORI KNOCKOUT NAISDA organised a stall and community engagement presence over the October long weekend at New South Wales’ largest Indigenous sporting event, the Koori Knockout which was held at the Central Coast Regional Sporting and Recreation Complex in Tuggerah.

AVONDALE UNIVERSITY COLLEGE

On 25 October, NAISDA hosted an onsite engagement visit from Humanities and Creative Arts students from Avondale University College. This was an opportunity for students from both organisations to share experiences, and explore meaningful cultural and creative dialogue.

SHARING THE VISION ________________________________________________________________ NSW SOCIAL HOUSING COMMUNITY INFRASTRUCTRE FUNDING A grant of $50,000 secured through the NSW Social Housing Community Infrastructure Fund supported NAISDA’s development and construction in 2019 of Nhangara Barayi, a unique purpose-specific Dancing Ground and living learning space. Nhangara Barayi was officially opened by Dr Nerida Blair Chairperson of NAISDA Board of Studies on Thursday 27 June as the inaugural venue for NAISDA’s 2019 NAIDOC three-day program of fully-booked performance and school workshops. It provides a unique gathering place for NAISDA’s cultural and creative training and learning and the focus for ongoing cultural engagement, community celebration and performance. “ Nhangara Barayi fosters belongingness and relatedness in a creative, nourishing space. It is a place where young people come together to learn, share and celebrate the richness of cultures through the powerful voice of dance, language and song”.

“Over the last five years, we have established a strong regional presence through our mid-year performances and workshops aligned with NAIDOC week. Nhangara Barayi will inform the model for future gatherings, helping build ownership as a place of Aboriginal celebration and community congregation.” Kim Walker – CEO NAISDA Dance College

REGIONAL CULTURAL FUND Following a successful application to the Regional Cultural Fund, NAISDA engaged respected infrastructure Project Managers Root Partnerships to work on the strong guiding principles for business case delivery, measurement and success towards realising its plans for the future Centre for Indigenous Creative Learning Naya Wa Yugali (We Dance in Darkinjung Language) In consultation with J9 Consultancy, NAISDA also commissioned a comprehensive Fundraising Feasibility Study to assess its investment-ready ability to deliver the new development. The draft Business Plan by Root Partnerships, Cost Benefit Analysis by Syneca Consulting and Fundraising Feasibility Report by J9 Consulting were presented to a joint Boards meeting in August 2019 for review prior to submission to the Regional Cultural Fund and the State and Federal Governments in 2020. Discussions with the Hunter Central Coast Development Corporation continued throughout the year regarding the procurement of the site for the project. New fundraising collateral for Naya Wa Yugali was produced and distributed and extensive stakeholder consultations within local state and federal arena continuing throughout 2019.

ABORIGINAL CULTURAL HERITAGE FUNDING A NSW Aboriginal Cultural Heritage grant of $48,000 was secured in 2019 through the NSW office of Environment and Heritage. The grant supported future community engagement programing at Nhangara Barayi as well as design and construction of interpretive signage permanently linking the space with NAISDA, Darkinjung land and showcasing the significance of cultural performance, dance, song, language and heritage within this space.

NAIDOC GRANTS AND FUNDING Two grants were secured to deliver a powerful program of three days of NAIDOC celebrations and engagement for Central Coast and Hunter primary and secondary schools, Aboriginal Elders and community and the general public. Grants were secured from NSW Aboriginal Affairs and the Department of Prime Minister and Cabinet

SPONSORSHIP AND SUPPORT The 2018-9 Songlines Summer Appeal was launched at a VIP event prior to the opening night of StoryPlace at Carriageworks November 2018. The special guest for the evening was the Federal Minister for the Arts, The Hon Mitch Fifield. The event engaged a range of sponsors, supporters, prospective supporters, Government representatives and officials, the arts community and Aboriginal and Torres Strait Islander community in Sydney. Significant support received in 2019 secured delivery of: The inaugural 2019 NAISDA Masterclass Series, generously supported by NAISDA donor Linda Herd. Program of collaborative creative engagement for Developing Artists supported by NAISDA donor Janet Stevenson. Corporate sponsorship in 2019 was provided through support from Audio Visual Events, Carriageworks and Chameleon Touring systems. On behalf of the NAISDA Board, staff and Developing Artists, NAISDA would like use this opportunity to express warm and sincere appreciation for all ongoing and generous support throughout 2019.

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IN THE SPOTLIGHT ________________________________________________________________

MEDIA Harnessing the expertise of marketing and public relations agency Brilliant Logic, NAISDA secured the

following coverage and media mentions in 2019. NEWSPAPERS The Daily Telegraph

Central Coast Express Advocate Kidz on the Coast Koori Mail Coast Community News Koori Mail National Indigenous Times Arts Review

January 13, 2019 Kim Walker brings Graeme Murphy and Kristian Fredrikson’s Turandot back to the Opera House stage 17 January 2019, Pg 20 - ‘Homestay for NAISDA’ February 2019 – ‘NAISDA Homestay Program’ Pg 40, ‘Graduates dance into culture, 24 April 2019 Pg 24, ‘NAISDA developing artists visit The Glen’, 2 May 2019 17 July 2019, pg 46, NAISDA celebrates new dancing grounds 1 July 2019, New dancing ground on Darkinjung Country: https://nit.com.au/new-dancing-ground-on-darkinjung-country/ 16 July 2019, NAISDA Dance College appoints new Head of Dance: https://artsreview.com.au/naisda-dance-college-appoints-newhead-of-dance/

First Nations Telegraph

25 July 2019, NAISDA Dance College appoints new Head of Dance: https://www.firstnationstelegraph.com/socialthe-sporting-worldwalks-together

National Indigenous Times

‘Blak, gay and poz: Jacob Boehme shares his HIV journey through theatre and dance’, 1 August 2019, online article: www.nit.com.au/blak-gay-and-poz-jacob-boehme-shares-his-hivjourney-through-theatre-and-dance/ ‘Cultural Collaboration’, 11 September 2019, pg 39 6 November 2019, Dance form the Heart of the Torres Strait, Pg 8 19 November 2019, NAISDA delves into connection to Country in vibrant Sydney showcase - https://nit.com.au/naisda-delves-intoconnection-to-country-in-vibrant-sydney-showcase/ 1 November 2019, ‘Ngoenakap: Connection to Country’ http://sydneyscoop.com/arts-entertainment-features/ngoenakapconnection-to-country/

Koori Mail Koori Mail National Indigenous Times

Sydney Scoop

RADIO ABC Radio Central Coast Koori Radio Koori Radio

TELEVISION NBN Television

NBN News

NITV SBS REVIEWS Adelaide Review

Dance Australia

Sydney Morning Herald

Dance Magazine

ONLINE ARTICLES AND PUBLICATIONS ArtsHub Witness,

Interview with Kim Walker regarding the new dancing ground –26 June, 7:15am Interview with Kim Walker regarding NAISDA and auditions – Tuesday 25 June, 10:15am 18 November 2019, Radio interview with Sani Townson on Blackchat program for Ngoenakap

NAISDA Opens Unique Dancing Ground on the Central Coast, June 2019, Online article: https://www.nbnnews.com.au/2019/06/27/naisda-opens-uniquedancing-ground-on-the-central-coast/ ‘NAISDA graduates create production for local youth theatre company’, 10 September 2019: https://www.nbnnews.com.au/2019/09/10/naisda-graduatescreate-production-for-local-youth-theatre-company/ ‘NAISDA Graduation’ NITV News, 7pm on NITV ‘NAISDA Graduation’ 19 April on SBS Taree Sansbury weaves Ngarridjeri traditions with contempory dance, June 2019, Online Article: www.adelaidereview.com.au/arts/performing-arts/taree-sansburydance-miwi/ 21 November 2019, ‘Review: NAISDA Dance College, Ngoenakap’ https://www.danceaustralia.com.au/reviews/naisda-dance-collegengoenakap 24 November 2019, ‘Review: A sense of joy from start to finish Sydney Morning Herald’ https://www.smh.com.au/culture/dance/a-sense-of-joy-from-startto-finish-20191124-p53dih.html 22 November 2019, ‘Review: NAISDA Dance College’s 2019 season ‘Ngoenakap’ - https://dancemagazine.com.au/2019/12/naisdadance-colleges-2019-season-ngoenakap/ March 2019, Online Article – ‘It’s Bangarra’s 30th anniversary and the whole country is invited’ - http://bit.ly/2Ij40cy 26 March 2019, Online Article – ‘Dance Massive: CO_EX-EN’ https://witnessperformance.com/dance-massive-co_ex-en/

Witness,

Dance Life Inbox News

Dance News

Arts Hub

Michelle Potter Indigenous.gov.au

What’s On Sydney

NSW Government Dance Australia

ArtsHub

Bangarra Dance Theatre

The Real

Dance Magazine

19 March 2019, Online Article – ‘Dance Massive: Same but Different’ - https://witnessperformance.com/dance-massive-same-butdifferent/ 1 March 2019, Online Article – ‘NAISDA Dance College 2020’ https://www.dancelife.com.au/naisda-college-2020/ Online article, ‘Labour supports NAISDA Dance College’, 13 April 2019: https://inbox.news/newsroom/press-releases/5592/laborsupports-naisda-dance-college Online article, ‘A farewell for Bangarra’s Elma Kris’, April 2019: https://dancemagazine.com.au/2019/04/a-farewell-for-bangarraselma-kris/ 20 July 2019, On the Move: Latest Appointments and Departures: https://performing.artshub.com.au/news-article/news/performingarts/performing-arts-editor/on-the-move-latest-appointments-anddepartures-258398 Dance Diary – July 2019: https://michellepotter.org/news/dancediary-july-2019 17 July 2019, NAISDA Dance College appoints new Head of Dance: https://www.indigenous.gov.au/news-andmedia/announcements/naissa-dance-college-appoints-new-headdance NGOENAKAP (Nga-Na-Nup), October 2019 https://whatson.cityofsydney.nsw.gov.au/events/ngoenakap-ngana-nup 22 September 2019, ‘Ngoenakap’ - https://www.nsw.gov.au/newsand-events/events/ngoenakap/ Event listing, ‘NGOENAKAP’ https://www.danceaustralia.com.au/yafevent/naisda-dance-collegepresents-ngoenakap Event listing ‘NAISDA presents Ngoenakap’ https://performing.artshub.com.au/whats-on/sydney/performancesand-gigs/naisda-presents-ngoenakap-245545 2 October 2019, ‘Thirteen years in reflection – looking back through time with Waangenga Blanco’ - https://bangarraknowledgeground.com.au/journeys/waangenga-blanco 25 October 2019, The Real Life featuring Rarriwuy Hick – The Real https://www.the-real.com.au/2019/10/25/the-real-life-featuringrarriwuy-hick/ 4 November 2019, ‘Sydney Festival 2020 program announced Dance Informa’ - https://dancemagazine.com.au/2019/11/itscoming-sydney-festival-2020-program-announced/

WHAT THE CRITICS SAID IN 2019 ★★★★ – Sydney Morning Herald

“This production certainly had plenty of heart, polish, sass and style” - Dance Australia

“A sense of joy from start to finish” – Sydney Morning Herald “Ngoenakap looked less like a graduation performance designed to showcase the students’ abilities, and more like a professional production with a great sense of coherence in the selection of dance works performed” - Dance Australia

“The 2019 Sydney season showcases the work of NAISDA Developing Artists and reflects not only on the deeply personal connection to culture, community and Country, but NAISDA itself” - National Indigenous Times

“Ngoenakap was a most exciting programme, full of stylish polish combined with athleticism” – Dance Magazine

“There was a warm, joyous atmosphere when we entered and a great sense of connection to land and country in NAISDA Dance College’s 2019 season, Ngoenakap”- Dance Magazine

“The natural wonders are celebrated not only through dance but with clever use of video and digital projections.” - Sydney Morning Herald

“Ngoenakap was a most exciting programme, full of stylish polish combined with athleticism, and of the

graduating students, Jarryd Dixon, David Biondo-Odo, Edan Porter and Kiara Wilson showed special promise.” - Dance Magazine

“Its title means “heart” in the Torres Strait Islander language of its director, Sani Townson, who aims to bring his heritage to the stage through the dance and music of NAISDA Dance College students and 2019 diploma graduates. He and his creative team have succeeded, joyously.” - Sydney Morning Herald

“NAISDA delves into connection to Country in vibrant Sydney showcase.” – National Indigenous Times

MEDIA STATISTICS 2019

Annual increase

4,383

Facebook followers

27% increase

716

Average Facebook reach per post

1,564

Instagram followers

25% increase

1,114

Twitter followers

3% increase

1,721

Youtube views

32% increase

13,307

Website sessions

43% increase

39,289

Website page views

7% increase

NAISDA CONGRATULATES In March Vicki Van Hout was awarded the 2019 Australia Council Award for Dance at the 2019 Australia Council Awards. As well as a NAISDA graduate, Vicki is a teacher, mentor and inspiration to many NAISDA Developing Artists. She is a celebrated independent artist with a career spanning over two decades. NAISDA graduate Waangenga Blanco was nominated and awarded Best Male Dancer in a Ballet, Dance or Physical Theatre Production at the 2019 Helpmann Awards. Bangarra Dance Theatre was nominated and awarded Best Regional Touring Production for Bennelong at the 2019 Helpmann Awards.

In December NAISDA graduate Amy Flannery was announced as the first recruit for The Australian Ballet’s Dance Education Cadetship for First Nations artists. Dance Australia announced NAISDA graduate Ryan Pearson as one of the most outstanding dancers of 2019 for his role in Stamping Ground by Bangarra Dance Theatre NAISDA graduate Emily Flannery was announced as one of three recipients of 2019 Creative Art Central by Central Coast Council. NAISDA alumni Thomas E S Kelly, Shan O’Brien and Emily Flannery were announced as successful 2019 applicants to Bundanon Trust’s artist-in-residence program.

NAISDA alum Elma Kris was awarded Artist of the Year at the 2019 National NAIDOC Awards. A celebrated choreographer and artist, Elma danced with Bangarra Dance Theatre for over two decades.

NAISDA celebrated Bangarra Dance Theatre's 30th anniversary season Bangarra: 30 years of sixty five thousand at Sydney Opera House

NAISDA sent congratulations to valued Senior Cultural Tutor Marcus Lacey for receiving the STEM Champion Award at the 2019 CSIRO Indigenous STEM Awards for his work with Gumurr Marthakal Rangers. The Awards

recognised the achievements of Aboriginal and Torres Strait Islander STEM professionals and students as well as schools, teachers and mentors working in Indigenous STEM Education.

NAISDA congratulas CEO Kim Walker on his successful temporary engagement as Revival Director for Opera Australia's production of Turnadot at Sydney Opera House from 15 January to 30 March.

GOVERNANCE

________________________________________________________________

Over its forty-four year history, NAISDA has existed through a number of governance structures. Prior to 9 November 2009, NAISDA drew its acronym from its full name – the National Aboriginal and Islanders Skills Development Association. From that date, NAISDA Ltd has operated under the regulations of the Corporations Act 2001 as a company limited by guarantee. NAISDA Ltd is a Deductible Gift Recipient (DGR) under Item 1 of the Income Tax Assessment Act 1997. NAISDA Ltd, including its registered business name of NAISDA Dance College, operates its business in accordance with the provisions outlined in its Constitution. The purposes and objects for which the company has been established are as follows: 1. To encourage Aboriginal and Torres Strait Islander performing arts; 2. To educate Aboriginal and Torres Strait Islander people in dance and the performing arts; 3. To promote the development and advancement of Indigenous dance education, training and performance in Australia and overseas; 4. To stage productions of Aboriginal and Torres Strait Islander arts, dance and theatre; 5. To promote cultural and artistic understanding of Aboriginal and Torres Strait Islander performing arts; 6. To properly administer and do all that is incidental to, for the benefit of, or necessary for these objects;

7. For the purpose of furthering these objects, to raise money by all lawful means, including gift, grant and borrowing (whether on a secured or unsecured basis) and to undertake commercial activities to selfgenerate income and to conduct fundraising campaigns, and 8. To assist where possible the ongoing professional development of graduates of the company.

GOVERNMENT PARTNERSHIPS

NAISDA’s lead operational funding is provided through the Federal Government’s Department of Infrastructure, Transport, Regional Development and Communications (formerly the Department of Communications and the Arts) under a sextennial funding agreement 2016 – 2022. As part of the agreement, a midterm review was undertaken by Justin McDonnell of the Anzarts Institute in 2019. The report was presented to the NAISDA Board on 4 December Board prior to submission to the Department of Infrastructure, Transport, Regional Development and Communications on 6 December. Supplementary NAISDA funding is also received through the Indigenous Advancement Strategy through the National Indigenous Australians Agency within the Department of Prime Minister and Cabinet and the Smart and Skilled program within the NSW Department of Industry. Project funding is also strenuously sought through other tiers and agencies of government, corporate and private philanthropy and sponsorship.

CORPORATE PRIORITIES

NAISDA operates under five key overarching priorities within the funding period 2019 - 2022. They are all underpinned by the commitment to the NAISDA and NAISDA Dance College values and principles: 1. The development, performance and sharing of artistic expression and creative responses informed by Indigenous knowings. 2. Accreditation and introduction of the new curriculum in 2018 and 2019 that provides more and diverse entry points and career pathways for NAISDA Developing Artists. 3. The development of an organisational structure that will support the continuing development and sustainability of the organisation. 4. The diversification of funding to support the sustainable operation of the organisation. 5. The development of the Naya Wa Yugali capital infrastructure project – an international centre of Indigenous performing arts excellence and integral partnerships and programs.

STRATEGIC ALLIANCES

Jawun Secondment Program The Jawun Secondee Program provides NAISDA with unique access to corporate sector expertise, enabling it to strategically advance operations and programs. In 2019 NAISDA warmly welcomed the following secondees over four rounds who were generously shared their skills and knowledge: Jessica Panozzo from CBA who advised on building organisational financial capacity; Lisa Molden from Dan Murphys who worked on Developing Artist a Recruitment and Engagement strategy; Amber Gladstone from Westpac who undertook a review of digital platforms; Gavin McDonald from CBA who provided advice on socialising the capital infrastructure business case.

MOU of Academic Exchange with the University of Auckland In September 2019 NAISDA and The University of Auckland’s Faculty of Creative Arts and Industries signed a significant Memorandum of Understanding (MOU) fostering a new program of artistic and cultural collaboration and international academic cooperation. Recognising the strong foundation of cultural, academic and philosophical alignment between the two learning institutions, the MOU strengthened existing programs into a valuable long-term exchange of information, learning excellence and connectivity between students, trainers and facilities.

The exchange included collaborative masterclasses, hands-on learning secondments for students and trainers and cooperative creative projects. It also presented a catalyst to leverage further opportunities in cultural and creative education and enhance international academic career pathways and networks for graduates. “We are elated to be entering into this next stage of our relationship with NAISDA. In partnership we welcome the opportunity to develop culturally responsive, relevant and equitable arts education practices. For Australia and New Zealand and other Indigenous and non-Indigenous global networks, the reciprocity in this relationship highlights significant contributions for the creative and autonomous flourishing of our Indigenous communities.” -The Dance Studies Department, The University of Auckland Alliance of First Nation’s Independent Education and Training Providers On Friday 2 November the three remaining organisations (including NAISDA Dance College) of the Federation of Aboriginal Education, which was formed in 1996 as a peak body for Indigenous training organisations, met to revisit the Federation. Commitment was made to revive the federation as an advocate for change in the teaching, funding and approach to education for Aboriginal and Torres Strait Islander young people. A change in name was agreed upon as the Alliance of First Nations’ Independent Education and Training Providers (AFNIETP).

Barang Regional Alliance Empowered Communities NAISDA continues to nurture the Barang Regional Alliance. NAISDA CEO and Head of WHS and Operations attend Barang Board meetings and support the growth of the collective.

FACILITIES AND INFRASTRUCTURE All on and offsite Developing Artist accommodation services are heavily subsidised by NAISDA Dance College, as part of its holistic support program, to ensure that rents remain affordable for all Developing Artists. During 2019 NAISDA continued to provide responsive accommodation services across seven onsite cottages and offsite through the NAISDA Homestay program. NAISDA’s comprehensive accreditation process ensures a positive experience for homestay families and Developing Artists. Selected families receive a thorough induction process, detailed information regarding NAISDA responsibilities, procedures and policies, continued assistance, support and communication as well as support payments throughout the program. All training and accommodation spaces received a comprehensive clean and maintenance finalisation in preparation for delivery of the 2019 academic year. Ongoing and regular training, maintenance, WHS compliance and communications with Developing Artists ensures environments are safe, sustainable, fit for purpose and welcoming. IT upgrades were appraised and the introduction of new corporate IT platforms including Sharepoint and Employee Connect were prioritised for delivery. NAISDA was the recipient of desks, tables and chairs surplus to Westpac requirements. These were utilised in the Developing Artists’ Computer and Common Rooms. As part of UNSW Creative Lab’s relocation to new premises, NAISDA was offered and secured retractable seating due for demolition. The seating will form an integral part of an enhanced plan for training spaces for 2020 curriculum delivery. Further adjustment and upgrades within this space will be undertaken prior to the seating being ready for use. NAISDA is grateful to UNSW for their generosity and support

Planning commenced for the delivery of the Advanced Diploma in 2021 with an audit of current training and corporate spaces, equipment and requirements. The NAISDA Executive began formal consultation and forecasting with staff and stakeholders to determine future optimum arrangements. The delivery of the Advanced Diploma also requires a review of the technology that underpins the training and operations. This will be completed once the spatial planning is determined.

Capacities and Efficiencies Thoughout 2019 NAISDA applied a continuous improvement approach to systems, policies and procedures, ensuring all legal and regulatory requirements were met. Progress Reports were submitted to lead funders the Federal Government’s Department of Infrastructure, Transport, Regional Development and Communications (formerly the Department of Communications and the Arts) and the NAISDA Board reporting regularly against the NAISDA strategic plan. NAISDA holistic review across policies and procedures began in October with a focus on Developing Artist policies and procedures for the update of the Developing Artist Handbook. Documents were reviewed and updated to ensure rigor, ease of communication and alignment with industry best practice. Throughout the year, the NAISDA WHS Management System and Committee worked to comply with requirements across all training, accommodation and corporate operations within the College and maintain the highest possible standards. The opening of Nhangara Barayi for onsite NAISDA learning and community engagement required significant planning and risk assessment to ensure all factors of the new operations were considered, documented and outcomes actioned. NAISDA’s recruitment policy for 2019 achieved recruitment goals for Aboriginal and Torres Strait Islander staff and worked to attract and retain a cohort of quality staff. A review of the NAISDA Enterprise Agreement, including the Achievement and Development Scheme was initiated. Ongoing provisions under the existing Enterprise Agreement were maintained.

OUR PEOPLE FOUNDER AND ARTISTIC DIRECTOR EMERITUS Carole Y Johnson

NAISDA BOARD OF DIRECTORS Chair Sean Gordon (until December 2019) Directors Robyn Heras (Board Secretary) Elizabeth Butcher AM Mayrah Sonter Josh Riley Wesly Enoch Ex Officio Debra Schleger (Company Secretary) Bronwyn Hodgekiss (Staff Representative) Kiara Wilson (Developing Artist Representative)

NAISDA STAFF EXECUTIVE Chief Executive Officer Kim Walker Chief Operating Officer Debra Schleger

Corporate Services Executive Assistant Casey Bourke

CORPORATE SERVICES Head of WHS and Operations

Mark Colless Head of Development Jan Wells Corporate Services Coordinator Kate O’Brien NAISDA Projects Officer Receptionist Jaylee Lawrence (until May 2019) Celeste Uerata (from August 2019) Facilities Officer Karen Bluff Bus Driver Greg Dubose

TRAINING SERVICES Head of Dance Deon Hastie Artistic Producer/Cultural Unit Manager Jasmine Gulash Head of Compliance and Training Operations Bronwyn Hodgekiss Training Delivery Coordinator Pamela Williams Training Delivery Coordinator Craig Bary Academic Manager Jane Austin

Academic Administration Officer Meaghan Bonser Developing Artists Support Officer Adelle Grogan Developing Artists Support Officer

Jenelle Iakopo

NAISDA BOARD OF STUDIES Chair Dr Nerida Blair Board Members Shane Carroll Johanna Clancy Dr Christine Evans Dr Brooke Collins-Gearing Pamela Williams Ex Officio Kim Walker Bronwyn Hodgekiss

CULTURAL TUTORS Dujon Niue Peli Ware Harry Newie

CULTURAL TRAINERS Berthalia Selina Reuben Luke Currie Richardson

SESSIONAL TRAINERS Frances Rings Raymond D Blanco Jasmin Sheppard Katina Olsen Phil Walford Dr Brooke Collins-Gearing Johanna Clancy Tahlia Watton Callan Purcell Matthew Doyle Ghenoa Gela Jhuny Boy-Borja Huey Benjamin Francoise Angenieux Angelyn Diaz Carole Y Johnson Joshua Thomson Chima Olujie Karl Shore

Yvette Maher Amy Thornhill Narelle Benjamin Sean Burns Vanessa Ziesing Victoria Hunt Juliette Vern

VISITING ARTISTS Sani Townson Alvin Rangel-Alvarado

APPOINTMENTS AND DEPARTURES In April NAISDA Dance College team said goodbye to Developing Artist Support Officer Casey Natty who took up a new appointment within Indigenous men’s education. In April staff and Developing Artists came together in celebration of the contribution of Head of Creative Studies Frances Rings. NAISDA’s Developing Artists performed a special tribute to Frances courtesy of Cultural Tutor and artist Dujon Niue. Frances took up a new appointment with Bangarra Dance Theatre as Associate Artistic Director. In July NAISDA was delighted to announce the appointment of Deon Hastie to the position of Head of Dance. This significant role oversees the College’s unique and rigorous artistic and cultural training program. A descendant of the Djabugay people of Far North Queensland, Deon is a former student of NAISDA. From 1999 until 2011, he was a major artist with the renowned contemporary dance company Leigh Warren Dancers, performing, contributing to their choreographic process and touring nationally and internationally. Passionate about educating and guiding Aboriginal and Torres Strait Islander young people, Deon was appointed Artistic Director of Adelaide’s Kurruru Youth Performing Arts in 2010 In August NAISDA welcomed Celeste Uerata to the role of receptionist as maternity cover for Jaylee Lawrence. NAISDA Foundation was delighted to announce the appointment of Board Director Heather Brown NAISDA Board welcomed Josh Riley and Wesley Enoch to the position of NAISDA Ltd Board Directors.

NAISDA’s Artistic Producer, Unit Manager of Cultural Delivery and graduate Jasmine Gulash departed NAISDA in December to pursue creative, community and industry opportunities. NAISDA CEO formerly recognised Jasmine’s huge contribution and dedication to NAISDA at the 2019 Ngoenakap launch reception at Carriageworks.

In December, NAISDA warmly said goodbye and thankyou to Sean Gordon who stepped down as NAISDA Chair. Sean passionately served NAISDA as Chair of the Board from 7 April 2016 until 4 December 2019 and as Board Director from 29 April 2011 until 4 December 2019. NAISDA welcomed Board Director Mayrah Sonter to the position of Chair in December 2019.

RECOGNISING LONG SERVICE ACCOMPLISHMENT At the 2019 Graduation Ceremony CEO Kim Walker recognised the following staff who reached the significant milestone of ten year long service with NAISDA: • Artistic Producer/Unit Manager Cultural Delivery Jasmine Gulash • Facilities Officer Karen Bluff • Training Delivery Coordinator Pam Williams • Sessional Trainer Francoise Angenieux

TRAINING AND PERSONAL DEVELOPMENT NAISDA provides staff training and learning opportunities for professional development. All staff-initiated training is collated through the Achievement and Development meetings throughout the year. NAISDA also initiated and completed annual or prescribed-interval training including emergency evacuation, warden training, antidiscrimination training and cultural awareness training.

In 2019 a number of training staff completed their TAE Certificate IV in Training and Assessment as required by the Australian Skills Quality Authority (ASQA).

______________________________________________________

FINANCIAL FOR THE YEAR ENDED 31 DECEMBER 2019

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ACN 140 026 268

FINANCIAL REPORT FOR THE YEAR ENDED 31 DECEMBER 2019

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ACN 140 026 268

CONTENTS

Directors' Report Auditor's Independence Declaration Statement of Profit or Loss Statement of Comprehensive Income Statement of Financial Position Statement of Changes in Equity Statement of Cash Flows Notes to the Financial Statements Directors' Declaration Independent Auditor's Report

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ACN 140 026 268 DIRECTORS' REPORT Board Report The Board of Directors submit the Financial Report of NAISDA Limited fo the financial year ended 31 December 2019. Board Directors The names of Board Directors during the year ended 31 December 2019 are:

Chair (from 7 April 2016 - 4 December 2019)

Sean Gordon Director since 29 April 2011; 3 meetings attended of a possible 5 in 2019 Resigned 4 December 2019 Chair (from 4 December 2019 - present)

Mayrah Sonter Director since 4 October 2017; 6 meetings attended of a possible 6 in 2019 Board Secretary (from 28 May 2010, previously Deputy Chair) Robyn Heras Director since 2003; 6 meetings attended of a possible 6 in 2019 Elizabeth Butcher AM Director since 2008; 6 meetings attended of a possible 6 in 2019 Sharon Burnett Director since 26 August 2011; 6 meetings attended of a possible 6 in 2019 Dean Parkin Director since 19 July 2017; 1 meeting attended of a possible 3 in 2019 Resigned 17 June 2019 Josh Riley Director since 12 April 2019; 2 meetings attended of a possible 3 in 2019 Wesley Enoch AM Director since 17 September 2019; 1 meeting attended of a possible 1 in 2019

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ACN 140 026 268 DIRECTORS' REPORT Principal Activities The principal activities of the company during the financial year were to provide excellence in Indigenous dance and performing arts education and training, preparing its talented students for a range of professional careers in the arts and entertainment industry and to be enterprising, engage in lifelong learning, and lead fulfilling lives. NAISDA operated across a range of key responsibility areas, including: • Training and assessment of nationally-accredited curriculum; • Student accomodation and holistic support activities; • Community engagement programs; • Industry and stakeholder engagement and consultation in relation to the development of Naya Wa Yugali • Development of, and advocacy for, Indigenous performing arts; • Development of skilled and effective staff; • Development and maintenance of fit for purpose facilities and equipment; • Legal and corporate governance requirements NAISDA achieved a number of major outcomes during the year: • Delivery of nationally accredited courses: o 10628NAT Certificate IV in Dance Practice for Aboriginal and Torres Strait Islander Peoples and o 10629NAT Diploma of Professional Dance Performance for Aboriginal and Torres Strait Islander Peoples to supplement the Certificate III course introduced in 2018: o 10277NAT Certificate III in Dance Practice for Aboriginal and Torres Strait Islander People • Artists in Residence and Guest Trainers including Sani Townson, Jasmin Sheppard, Katina Olsen and Ghenoa Gela (Australia) and Alvin Rangel (USA) contribute to NAISDA learning programs. • Delivery of the remote cultural residency program at Mua Island in the Torres Strait • Delivery of Masterclasses by Carole Y Johnson, Narelle Benjamin and Rachael Swain. • Performance and engagement activities including: o Delivery of the mid-year show, Nhangara Ngangga and associated school workshops at NAISDA's newlyopened cultural dance ground, Nhangara Barayi o Delivery of the end-of-year show, Ngoenakap at Carriageworks in Sydney o NAISDA and NIDA's writing and directing students participate in a week long intensive collaboration hosted at NAISDA o NAISDA participates in the fourth collaborative project with Arts8 o The presentation of the inaugural Diploma Choreographic Showing was an opportunity for Developing Artists to present their original choreographic and music composition works in a public forum • NAISDA completed the construction of the cultural dance ground, Nhangara Barayi which is offically opened by the NAISDA Board of Studies Chair, Dr Nerida Blair • NAISDA and the University of Auckland's Faculty of Creative Arts and Industries signed a Memorandum of Understanding • In conjunction with Root Partnerships, NAISDA significantlly progressed the development of the Business Plan for Naya Wa Yugali • NAISDA significantly reviewed the Audition processes and successfully completed two rounds of auditions in October and December for the 2020 intake • NAISDA's comprehensive accomodation and holistic healthcare and learning support services were provided to the Developing Artist cohort

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ACN 140 026 268 DIRECTORS' REPORT Principal Activities (cont.) • Through the Joanne Harris Scholarship Fund, financial support was provided to eight Developing Artists through the bursary program and to one Diploma DA through the Gifted & Talented Program to undertake an international training Significant Changes There was no significant change in the nature of these activities during the year. Operating Results The deficit from ordinary activities for the 2019 year was $0 compared to a deficit for the 2018 year of $86,410. No matters or circumstances have arisen since the end of the financial year which significantly affected or may significantly affect the operations of the company, the results of those operations, or the state of affairs of the company in future financial years. Dividends The Company’s constitution prohibits the payment of dividends to members. Consequently no dividends have been paid or intend to be paid. Other Matters No indemnities have been given or insurance premiums paid, during or since the end of the financial year, for any person who is or has been an officer or auditor of the company. No person has applied for leave of court to bring proceedings on behalf of the company or intervene in any proceedings to which the company is a party for the purpose of taking responsibility on behalf of the company for all or part of those proceedings. The company was not a party to any such proceedings during the year. Auditor's Independence Declaration The auditor has presented to the Board a statement dated 24 March 2020 declaring his independence in relation to the conduct of the audit. Signed in accordance with the resolution of the Members of the Board.

________________________________ Mayrah Sonter

________________________________ Elizabeth Butcher AM

Dated:

7 April 2020

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ACN 140 026 268 STATEMENT OF PROFIT OR LOSS FOR THE YEAR ENDED 31 DECEMBER 2019 Note

Revenue

Changes in inventories Employee benefits expense Depreciation and amortisation expenses Finance costs

Other expenses Profit (loss) before income tax

2019 $

2018 $

3,146,290

3,196,361

5,476

(1,663,390)

(1,641,834)

(46,323)

(56,499)

(63,756)

(65,612)

(1,378,297)

(1,518,826)

(86,410)

Tax expense

Profit (loss) for the year

(86,410)

Profit (loss) attributable to member of the company

(86,410)

The accompanying notes form part of these financial statements. These statements should be read in conjunction with the attached auditor's report.

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ACN 140 026 268 STATEMENT OF COMPREHENSIVE INCOME FOR THE YEAR ENDED 31 DECEMBER 2019 Note

2019 $

Profit (loss) for the year

2018 $

(86,410)

Other comprehensive income: Total other comprehensive income for the year

Total comprehensive income (expense) for the year

(86,410)

Total comprehensive income (expense) attributable to member of the company

(86,410)

The accompanying notes form part of these financial statements. These statements should be read in conjunction with the attached auditor's report.

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ACN 140 026 268 STATEMENT OF FINANCIAL POSITION AS AT 31 DECEMBER 2019 Note

2019 $

2018 $

2,987,476 114,923 23,098 62,384

2,315,311 240,199 17,621 36,534

3,187,881

2,609,665

38,078 270,095

144,092 167,890

308,173

311,982

3,496,054

2,921,647

209,300 25,933 328,069 1,226,133

222,105 16,195 381,057 715,185

1,789,435

1,334,542

140,572

21,058

140,572

21,058

TOTAL LIABILITIES

1,930,007

1,355,600

NET ASSETS

1,566,047

EQUITY Retained earnings

1,566,047

TOTAL EQUITY

1,566,047

ASSETS CURRENT ASSETS Cash and cash equivalents Trade and other receivables Inventories Other assets

5 6 7 8

TOTAL CURRENT ASSETS NON-CURRENT ASSETS Trade and other receivables Property, plant and equipment

6 9

TOTAL NON-CURRENT ASSETS TOTAL ASSETS LIABILITIES CURRENT LIABILITIES Trade and other payables Borrowings Provisions Other

10 11 12 13

TOTAL CURRENT LIABILITIES NON-CURRENT LIABILITIES Borrowings

TOTAL NON-CURRENT LIABILITIES

The accompanying notes form part of these financial statements. These statements should be read in conjunction with the attached auditor's report.

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ACN 140 026 268 STATEMENT OF CHANGES IN EQUITY FOR THE YEAR ENDED 31 DECEMBER 2019 Retained Earnings

Total

Balance at 1 January 2018 Comprehensive income Profit (loss) for the year Total comprehensive income for the year attributable to the member of the company

1,652,457

Balance at 31 December 2018

1,566,047

Balance at 1 January 2019 Comprehensive income Profit (loss) for the year Total comprehensive income for the year attributable to the member of the company

1,566,047

Balance at 31 December 2019

1,566,047

The accompanying notes form part of these financial statements. These statements should be read in conjunction with the attached auditor's report.

1,652,457

(86,410)

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ACN 140 026 268 STATEMENT OF CASH FLOWS FOR THE YEAR ENDED 31 DECEMBER 2019 Note Cash flows from operating activities Receipts from clients and others Payments to suppliers & employees Interest received Interest paid Income taxes paid Net cash provided by operating activities

2019 $

2018 $

3,845,859 (3,271,957) 9,756 (989) -

3,670,940 (3,019,823) 8,201 (3,931) -

582,670

655,387

106,014 (11,544)

10,410 (16,685) (50,650)

Net cash provided by investing activities

94,470

(56,925)

Cash flows from financing activities Repayment of finance leases Borrowings Dividends Paid

(4,973) -

(39,575) -

Net cash provided by financing activities

(4,973)

(39,575)

Cash flows from investing activities Loans advanced Loan repayments received Payments for plant, equipment & vehicles

Cash at beginning of financial year

2,315,311

1,756,424

672,167

558,887

Cash at end of financial year

2,987,478

2,315,311

Reconciliation of Cash Cash on Hand Bank Accounts & Bank Investments

271 2,987,205

393 2,314,918

2,987,476

2,315,311

Net increase (decrease) in cash held

The accompanying notes form part of these financial statements. These statements should be read in conjunction with the attached auditor's report.

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ACN 140 026 268 NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 DECEMBER 2019 The financial statements cover Naisda Limited as an individual entity. Naisda Limited is a company limited by shares, incorporated and domiciled in Australia.

SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES Basis of Preparation These general purpose financial statements have been prepared in accordance with the Corporations Act 2001, Australian Accounting Standards and Interpretations of the Australian Accounting Standards Board and International Financial Reporting Standards as issued by the International Accounting Standards Board. The company is a for-profit entity for financial reporting purposes under Australian Accounting Standards. Material accounting policies adopted in the preparation of these financial statements are presented below and have been consistently applied unless stated otherwise. The financial statements, except for cash flow information, have been prepared on an accruals basis and are based on historical costs, modified, where applicable, by the measurement at fair value of selected non-current assets, financial assets and financial liabilities. The amounts presented in the financial statements have been rounded to the nearest dollar. (a) Income Tax The company is endorsed by the Australian Taxation Office as a charitable institution and accordingly is exempt from Australian income tax (b) Inventories Inventories are measured at the lower of cost and net realisable value. (c) Depreciation The depreciable amount of all fixed assets, including buildings and capitalised lease assets but excluding freehold land, is depreciated on a diminishing value basis over the asset's useful life to the company commencing from the time the asset is held ready for use. (d) Leases These financials contain the first-time adoption of AASB 16 Leases, bringing onto the balance sheet for the first time the fair value of lease payments liability, and the asset that is controlled through those leases. Comparative figures have not been calculated. (e) Employee Benefits Provision is made for the company's liability for employee benefits arising from services rendered by employees to the end of the reporting period. Employee benefits have been measured at the nominal amounts expected to be paid when the liability is settled, plus any related on-costs. Both annual leave and long service leave are recognised within the provisions liability. (f) Debt Forgiveness Included in Other Expenses is a forgiveness of $50,408 debt owed by NAISDA Foundation. This was approved by NAISDA's board of directors. (g) Grant Uplift Recognition During 2019 NAISDA received an unexpected increase in grant funding from the Department of Communications and the Arts, to enable the development of an Advanced Diploma course. As significant capital expenditure is expected in the 2020 year in relation to the development and delivery of this course, a majority of the funds received during 2019 has not been recognised as revenue in this year, but will be recognised once this expenditure has been incurred in future years. These notes should be read in conjunction with the attached auditor's report.

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ACN 140 026 268 NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 DECEMBER 2019 (h) Provisions Provisions are recognised when the company has a legal or constructive obligation, as a result of past events, for which it is probable that an outflow of economic benefits will result and that outflow can be reliably measured. Provisions are measured using the best estimate of the amounts required to settle the obligation at the end of the reporting period. (i) Cash and Cash Equivalents Cash and cash equivalents include cash on hand, deposits held at call with banks, other short-term highly liquid investments with original maturities of three months or less, and bank overdrafts. Bank overdrafts are shown within borrowings in current liabilities on the statement of financial position. (j) Revenue and Other Income Revenue is measured at the fair value of the consideration received or receivable after taking into account any trade discounts and volume rebates allowed. Any consideration deferred is treated as the provision of finance and is discounted as a rate of interest that is generally accepted in the market for similar arrangements. The difference between the amount initially recognised and the amount ultimately received is interest revenue. Revenue recognition relating to the provision of services is determined with reference to the stage of completion of the transaction at the end of the reporting period and where outcome of the contract can be estimated reliably. Stage of completion is determined with reference to the services performed to date as a percentage of total anticipated services to be performed. Where the outcome cannot be estimated reliably, revenue is recognised only to the extent that related expenditure is recoverable. (k) Borrowing Costs Borrowing costs directly attributable to the acquisition, construction or production of assets that necessarily take a substantial period of time to prepare for their intended use or sale are added to the cost of those assets, until such time as the assets are substantially ready for their intended use or sale. All other borrowing costs are recognised in the income statement in the period in which they are incurred.

(l) Goods and Services Tax (GST) Revenues, expenses and assets are recognised net of the amount of GST, except where the amount of GST incurred is not recoverable from the Australian Taxation Office (ATO). Receivables and payables are stated inclusive of the amount of GST receivable or payable. The net amount of GST recoverable from, or payable to, the ATO is included with other receivables or payables in the statement of financial position. (m) Comparative Figures When required by Accounting Standards, comparative figures have been adjusted to conform to changes in presentation for the current financial year. (n) Critical Accounting Estimates and Judgements The directors evaluate estimates and judgements incorporated into the financial statements based on historical knowledge and best available current information. Estimates assume a reasonable expectation of future events and are based on current trends and economic data, obtained both externally and within the company. These notes should be read in conjunction with the attached auditor's report.

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ACN 140 026 268 NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 DECEMBER 2019

2019 $

2018 $

Grants Received Donations, Sponsorship & Bequests Other Income Interest Received Memberships Received Rent Sundry Income

2,941,609 61,585 52,729 9,756 591 80,020 -

2,876,180 24,876 102,991 8,201 545 118,513 65,055

Total revenue

3,146,290

3,196,361

Interest expense on financial liabilities not at fair value through profit or loss: External Total finance costs

63,756 63,756

65,612 65,612

Depreciation and amortisation expense

46,323

56,499

1,503,584 159,806

1,493,912 147,922

13,500

16,500

271 2,987,205

393 2,314,918

2,987,476

2,315,311

REVENUE AND OTHER INCOME

PROFIT (LOSS) FOR THE YEAR Profit (loss) from continuing operations includes the following specific expenses: Expenses:

Employee benefits expense Superannuation Contributions

AUDITOR'S REMUNERATION Remuneration of the auditor: Auditors Remuneration

CASH AND CASH EQUIVALENTS Cash on Hand Cash at Bank

These notes should be read in conjunction with the attached auditor's report.

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ACN 140 026 268 NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 DECEMBER 2019 2019 $

TRADE AND OTHER RECEIVABLES CURRENT Trade Debtors Good And Services Tax

114,923 -

237,216 2,983

114,923

240,199

38,078

144,092

23,098

17,621

62,384

36,534

Building Improvements

311,430 (261,210) 50,220 360

311,430 (261,210) 50,220 -

Total land and buildings

50,580

50,220

Plant And Equipment Less Accumulated Depreciation

100,958 (85,880) 15,078

100,141 (79,333) 20,808

Motor Vehicles Less Accumulated Depreciation

111,895 (82,062) 29,833

111,895 (74,642) 37,253

Office Furniture And Equipment Less Accumulated Depreciation

194,490 (164,391) 30,099

189,495 (141,796) 47,699

NON-CURRENT Advances to Naisda Foundation Trust

2018 $

INVENTORIES CURRENT At cost: Stock on hand

OTHER ASSETS CURRENT Prepayments

PROPERTY, PLANT AND EQUIPMENT Leasehold Improvements at Cost Less Accumulated Depreciation

These notes should be read in conjunction with the attached auditor's report.

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ACN 140 026 268 NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 DECEMBER 2019 2019 $ Leased Motor Vehicles Less Accumulated Depreciation

148,896 (141,373) 7,523

2018 $ 148,896 (136,986) 11,910

Other assets under lease

136,982

Total plant and equipment

219,515

117,670

Total property, plant and equipment

270,095

167,890

(a) Movements in carrying amounts For disclosure on movement in carrying amounts please refer to note 16(a) at the end of this financial report.

10.

TRADE AND OTHER PAYABLES CURRENT Good And Services Tax Trade Creditors Other Creditors and Accruals Withholding Taxes Payable

11.

17,861 54,218 98,628 38,593

93,236 105,252 23,617

209,300

222,105

CURRENT Vehicle Creditors Mastercard

18,669 7,264

6,174 10,021

Total current borrowings

25,933

16,195

NON-CURRENT Vehicle Creditors Lease liability

140,572

21,058 -

Total non-current borrowings

140,572

21,058

Total borrowings

166,505

37,253

BORROWINGS

These notes should be read in conjunction with the attached auditor's report.

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ACN 140 026 268 NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 DECEMBER 2019 2019 $

12.

PROVISIONS CURRENT Provision for Holiday Pay Provision for Long Service Leave

13.

192,890 135,179

209,587 171,470

328,069

381,057

142,985 1,083,148

142,985 572,200

1,226,133

715,185

OTHER LIABILITIES CURRENT Unexpended Donation Unexpended Grant

14.

2018 $

COMPANY DETAILS The registered office of the company is: Naisda Limited 5/31 The Avenue Mt Penang Parklands Kariong NSW 2250 The principal place of business is: Naisda Limited 5/31 The Avenue Mt Penang Parklands Kariong NSW 2250

15.

CASH FLOW INFORMATION Net profit (loss) as per accounts Non Cash Item Depreciation Decrease in Debtors Increase in Inventories Increase in Creditors Increase in Provision for Annual Leave Increase in Prepayments Increase in Unexpended Grants Increase in Provision for Long Service Leave

46,322 122,292 (5,476) (12,578) (16,697) (25,850) 510,948 (36,291)

(86,410) 56,499 (34,367) 1,073 67,976 44,476 28,993 517,145 60,000

Net cash provided by operating activities

582,670

655,385

These notes should be read in conjunction with the attached auditor's report.

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ACN 140 026 268 NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 DECEMBER 2019 Other Assets under Lease

Leasehold Improvements at Cost

Plant And Equipment

Motor Vehicles

Office Furniture And Equipment

Leased Motor Vehicles

Total

16. (a) MOVEMENT IN CARRYING AMOUNTS Movements in the carrying amounts for each class of property, plant and equipment. Balance at 1 January 2018

27,839

44,673

51,486

33,057

157,055

Carrying amount at 31 December 2018

50,220

20,808

37,253

47,699

11,910

167,890

136,982

5,733

816

Current Year Additions at Cost

4,995

148,527

Disposals

Profit on Disposal

Depreciation Carrying amount at 31 December 2019

136,982

(5,373)

(6,546)

(7,420)

(22,597)

(4,387)

(46,323)

50,580

15,078

29,833

30,098

7,523

270,095

These notes should be read in conjunction with the attached auditor's report.

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ACN 140 026 268 DIRECTORS' DECLARATION

In accordance with a resolution of the directors of Naisda Limited , the directors of the company declare that: 1.

the financial statements and notes which comprise the statement of financial position as at 31 December 2019, the statement of profit or loss, statement of changes in equity and statement of cash flows for the year then ended, a summary of significant accounting policies and other explanatory notes present fairly the company's financial position as at 31 December 2019 and its performance for the year ended on that date in accordance with Australian Accounting Standards; and

In the directors' opinion there are reasonable grounds to believe that the company will be able to pay its debts as and when they become due and payable.

Director

___________________________ Mayrah Sonter

Dated:

7 April 2020

howes accounting services ABN 61 195 456 328

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ABN: 19 177 937 206 INDEPENDENT AUDITOR'S REPORT TO THE MEMBERS OF NAISDA LIMITED Auditor's Opinion I have audited the accompanying financial report of Naisda Limited (the company) which comprises the statement of financial position as at 31 December 2019, the income statement, statement of changes in equity and statement of cash flows for the year then ended, notes comprising a summary of significant accounting policies and other explanatory information and the director's declaration. In my opinion: The financial report of Naisda Limited is in accordance with the company's constitution including: i.

giving a true and fair view of the company's financial position as at 31 December 2019 and of its performance for the year ended on that date; and

ii.

complying with Australian Accounting Standards (including the Australian Accounting Interpretations) and the company's constitution.

Basis for Opinion I conducted my audit in accordance with Australian Auditing Standards. My responsibilities under those standards are further described in the Auditor’s Responsibilities for the Audit of the Financial Report. I am independent of the audited organisation in accordance with the ethical requirements of the Accounting Professional and Ethical Standards Board’s APES 110 Code of Ethics for Professional Accountants (the Code) that are relevant to my audit of the financial report in Australia. I have also fulfilled my other ethical responsibilities in accordance with the Code. I believe that the audit evidence I have obtained is sufficient and appropriate to provide a basis for my opinion.

Director's Responsibilities for the Financial Report The director of the company is responsible for the preparation of the financial report that gives a true and fair view in accordance with Australian Accounting Standards and the financial reporting requirements of the company's constitution and for such internal control as the director determines is necessary to enable the preparation of the financial report that is free from material misstatement, whether due to fraud or error. In Note 1, the director also states, in accordance with Accounting Standard AASB 101: 'Presentation of Financial Statements', that the financial statements comply with International Financial Reporting Standards (IFRS).

Suite 14 Victoria Court, 36 Victoria St, East Gosford NSW 2250 PO Box 4350, East Gosford NSW 2250 2367 Kelvin Road Gunnedah NSW 2380 Phone 02 4302 0899 Email admin@howas.com.au Website www.howas.com.au A DIVISION OF VICTORIA COURT ACCOUNTING & TAXATION SERVICES PTY LTD ACN 111 763 341

NAISDA LIMITED (A COMPANY LIMITED BY GUARANTEE) ABN: 19 177 937 206 INDEPENDENT AUDITOR'S REPORT TO THE MEMBERS OF NAISDA LIMITED In preparing the financial report, the directors are responsible for assessing Naisda’s Limited ability to continue as a going concern, disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless the organization either intends to liquidate or to cease operations, or has no realistic alternative but to do so.

The directors are responsible for overseeing the organization’s financial reporting process.

Auditor's Responsibilities for the Audit of the Financial Report My objectives are to obtain reasonable assurance about whether the financial report as a whole is free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes my opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an audit conducted in accordance with Australian Auditing Standards will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of the financial report. As part of an audit in accordance with the Australian Auditing Standards, I exercise professional judgment and maintain professional skepticism throughout the audit. I also: Identify and assess the risks of material misstatement of the financial report, whether due to fraud or error, design and perform audit procedures responsive to those risks, and obtain audit evidence that is sufficient and appropriate to provide a basis for my opinion. The risk of not detecting a material misstatement resulting from fraud is higher than for one resulting from error, as fraud may involve collusion, forgery, intentional omissions, misrepresentations, or the override of internal control. Obtain an understanding of internal control relevant to the audit in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of Naisda’s Limited internal control. Evaluate the appropriateness of accounting policies used and the reasonableness of accounting estimates and related disclosures made by Naisda Limited. Conclude on the appropriateness of Naisda’s Limited use of the going concern basis of accounting and, based on the audit evidence obtained, whether a material uncertainty exists related to events or conditions that may cast significant doubt on the entity’s ability to continue as a going concern. If I conclude that a material uncertainty exists, I am required to draw attention in my auditor’s report to the related disclosures in the financial report or, if such disclosures are inadequate, to modify my opinion. My conclusions are based on the audit evidence obtained up to the date of my auditor’s report. However, future events or conditions may cause the entity to cease to continue as a going concern.