AUSTRALIAN D A N C E T H E AT R E ANNUAL REPORT 2016
Artistic Director’s Report
Reach & Statistics
Executive Director’s Report
Awards & Media
Perfomance against goals
CHAIR’S REPORT KIM BOEHM As I reflect on 2016, there is much to be pleased and proud about.
the Australia Council for the Arts. It was a moment of both affirmation and relief.
Strategically, we went into the year with a goal to be more active and visible in our home State of South Australia. And we achieved this.
We are also indebted to our corporate sponsors. Novatech Creative Event Technology has been a long-time supporter of the company. We thank them for everything they provide and do for us. We would also like to thank SA Power Networks for their continued support.
We created three new works by our Artistic Director Garry Stewart. We participated in the Adelaide Festival, WOMADelaide, the Adelaide Biennial of Australian Art and the Adelaide Festival of Ideas. We were guest performers at the Art Gallery of South Australia’s First Fridays program, and were featured at Magill Estate as a part of the annual release of Penfolds Grange. In our final performance of the year, we were guest performers at the Ruby Awards, which honour South Australian arts and cultural excellence. We were proud to be invited to join the South Australian Government’s trade mission to India – a first for the company during Garry’s time as Artistic Director.
On behalf of all of the board, I would like to extend my appreciation and admiration to all of the staff of Australian Dance Theatre. We are like most arts organisations in that our resources do not always match what the Company would like to do. Finding and maintaining the right balance of fiscal responsibility and creative ambition is not easy. But in this regard, we have never been in better hands. We are indebted to Shaun Comerford, our Executive Director, and Garry Stewart, our Artistic Director, for their leadership and partnership. They are a formidable team and the future looks exciting under their remit.
We also launched ADT’s International Centre for Choreography (ADTICC) initiative, hosted three artists in residence as part of our Enhancement Program and presented our annual Rough Draft choreographic evening.
Finally, I would like to thank my board colleagues who all give their time and expertise willingly. We all feel privileged to be involved with such an incredible company. Watching Australian Dance Theatre perform is an uplifting and life-enhancing experience and the board will continue to work to find ways to help the company be seen by more people, in more places, more often.
We continued our commitment to the encouragement and development of dance through the ADT Youth Ensemble, our Learning Program, our public dance classes and our relationship with the Adelaide College of the Arts. We also played a role in bringing the Adelaide dance community together through our Meeting at the Dance Halls initiative, where we discuss current topics within the local dance sector. All of these activities were created, planned and successfully executed against our strategic pillars of ‘Artistic Innovation’, ‘Audience Engagement’, ‘Learning’ and ‘Operational Excellence.’
KIM BOEHM CHAIR
I would like to use this opportunity to say thank you to the people who make Australian Dance Theatre possible. First and foremost, the South Australian Government through its arts and cultural body, Arts South Australia. Without the financial support, advice and encouragement of Arts South Australia, we would not exist. We are enormously grateful. Our second most significant source of funding comes through the Australian Government’s arts funding and advisory body, the Australia Council for the Arts. One of the most significant moments of 2016 was when we were advised that we had been successful in our submission for renewed multi-year funding from
ARTISTIC DIREC TOR’S REPORT GARRY STE WART We were a very busy company in 2016, creating three new works for Adelaide audiences. There was a great deal of excitement and positive feedback from the local community and supporters regarding this augmentation of our Adelaide program. We were very fortunate to have attracted various strategic partners that enabled us to achieve this.
contemporary dancers this country has seen and we are thrilled that he has received this well deserved accolade. For the Adelaide season of Objekt we augmented the company ensemble from our usual nine members by bringing in three advanced undergraduate dance students from Adelaide College of the Arts (AC Arts). This was a component of a new relationship we have forged with the College to further each others aims toward excellence in dance and engagement with wider audiences.
The first development of our new work The Beginning of Nature premiered at WOMADelaide and was seen by approximately 6,000 people over two nights. The Beginning of Nature includes a stunning, original musical composition by Brendan Woithe. It was performed by the celebrated Adelaide-based string ensemble Zephyr Quartet along with two Indigenous singers singing in Kaurna – the language of the first nations peoples of the Adelaide Plains. We were honoured to work with Indigenous cultural leader Jack Buckskin who is a fluent speaker and teacher of Kaurna. We also engaged with cultural leader Leanne Buckskin and Kaurna Elder Uncle Lewis Yerloburka O’Brien and we thank them for their enthusiasm and support for the creation of The Beginning of Nature.
In July we brought back Ignition after a five-year hiatus. Ignition is our season for new choreographic works performed by ADT dancers, created by current ADT dancers and independent choreographers. ADT dancers Thomas Fonua and Matte Roffe were featured as well as independent choreographers Katrina Lazaroff and Erin Fowler. Former ADT dancer and renowned choreographer Lina Limosani created a more extensive 30-minute work for the program. Our video installation Collision Course continued its national tour as a feature of the Experimenta Recharge Biennale. It was simultaneously screened in Rundle Street, Adelaide as part of the East End Moving Image initiative. Another video installation work, Proximity Interactive, was included in the Adelaide Biennial of Australian Art – Magic Object at the Samstag Museum. The company was also invited to perform at the Art Gallery of South Australia as part of their First Fridays initiative.
As an ancillary project to this stage performance we also created a virtual reality version of the work, viewed through Google Cardboard viewers. With the support of a “Geeks-inResidence” grant from the Australia Council for the Arts we collaborated with a local digital design company, Sandpit, who specialise in creating immersive interactive artistic experiences. The project placed the ADT dancers in various natural settings in South Australia, performing choreographic sequences from The Beginning of Nature filmed in 360°. The Beginning of Nature in VR was viewed by hundreds of WOMADelaide attendees.
A highlight of the year was our participation in a South Australian Trade Mission to India organised by the Department of State Development (DSD). The company joined a delegation of around 100 South Australian business leaders on a tour to New Delhi, Jaipur and Mumbai. Our dancers performed excerpts from The Beginning of Nature at official functions as well as conducting workshops for young people in various state and private schools.
The Beginning of Nature was followed by the premiere of another new work, Habitus, that was created for the Adelaide Festival of Arts. Performed in the Space Theatre in the Adelaide Festival Centre, Habitus enjoyed extremely positive reviews to sold-out audiences.
2016 also saw the formation of the ADT International Centre for Choreography (ADTICC). This major initiative was created in order to foster meaningful research and experimentation in dance through local, national and international collaborations. We envisage that the ADTICC will invigorate the local dance sector and situate Adelaide as an important Australian destination for dance makers from around the world.
Following this I travelled to Germany to create another new work, Objekt, on the dancers of tanzmainz. This project represents ADT’s first collaboration with another international dance company. tanzmainz is the resident company within the Staatstheater in Mainz and operates under the guidance of Artistic Director Honne Dorhmann. Objekt was performed by the 16 dancers of tanzmainz and was subsequently recreated back in Adelaide on 12 dancers at ADT.
I would like to thank our entire team for their ongoing tenacity, vision and passion in making 2016 such an outstanding year for the company.
ADT dancer Kimball Wong accompanied me for my trip to Germany, and fully impressed the dancers of tanzmainz with his phenomenal skill and generosity. In 2016 Kimball won the Helpmann Award for Best Male Dancer in a Ballet or Physical Theatre Work. He is truly one of the most gifted and outstanding
GARRY STEWART ARTISTIC DIRECTOR
E XECUTIVE DIREC TOR’S REPORT SHAUN COMERFORD In 2016, our 51st year, ADT embraced the start of a new half century with renewed ambition and optimism. While the arts funding landscape in Australia shifted very publicly, moments of change and uncertainty can sometimes provide a chance to recalibrate and project a new vision for the future.
Beyond four ‘home’ seasons in Adelaide, we endeavoured to better tell our stories. Through traditional marketing and PR channels, and an ever-widening social media presence, we reconnected and grew audiences both in person and digitally. Embracing our community and leading the sector in which we operate became a defining goal for 2016. With the creation of a new forum, entitled Meeting at the Dance Hall, ADT brought together key members of the South Australian dance sector to discuss our challenges, pool our strengths, and project a vision for the growth and vitality of the industry.
New beginnings became the unmistakable theme for the year. The first projects in ADT’s Nature Series, Habitus and The Beginning of Nature premiered. In a time where humankind’s impact on the world is debated more than ever before, these works provoke thought and further conversation and will find a long touring life in coming years.
On completion of my first full year with ADT, I am continually amazed by the incredible work ethic, creativity and passion of our team. Garry and I are both exceptionally lucky to lead such an enthusiastic and intelligent group of people. We are a collective who clearly inspire and manifest the best in each other, and the results of 2016 provide a wonderful base for the coming years, both artistically and strategically.
Another first for ADT was our international co-production with German dance company tanzmainz, Objekt. This collaboration, along with additional travel to Edinburgh, England, France, India and China, reframed our global focus and established and renewed international partnerships that will now see extensive touring to more than five international regions across the next three years. After a decade-long hiatus of North American touring, the company appointed KMP Artists as agents to re-establish a presence in the United States and Canada, and plans are underway for a 2018 tour of The Beginning of Nature. Additionally, following my time at the Edinburgh Festival Fringe in August, the company is now working with Scotland’s National Centre for Dance to formalise a relationship with our International Centre for Choreography and establish opportunities for residencies and exchanges.
SHAUN COMERFORD EXECUTIVE DIRECTOR
The company’s standing as Australia’s leading dance export was further exemplified through our successful Catalyst application for our multi year international program. This support from the Federal Ministry for the Arts, combined with ongoing organisational funding from the Australia Council and continued state investment through Arts South Australia, provided ADT with a renewed mandate to continue the incredible legacy of the company into its next fifty years. Finding new ways to build relationships with partners has never been more important. In 2016, we commenced a project with long time partner, SA Power Networks. This pilot program involves workshops presented by ADT which look at strength and conditioning, health and safety and mental preparation for work – all themes relevant to non-dance workplaces. Another sponsor who joined us in 2016, Tonkin Consulting, found parallels in the mentoring work offered by ADT, and supported the return of Ignition, the company’s season for choreographic development.
THE CO BOARD OF DIRECTORS Kim Boehm - Chair Fraser Bell Anne Carman Anita Ewing Jeff Meiners Peter Seltsikas David Stobbe Christopher Tooher Danielle Tsogas Tricia Walton
(until Februar y 2016)
MANAGEMENT Artistic Director Executive Director Associate Artistic Director Production & Operations Manager Finance Manager & Company Secretary Marketing & Administration Coordinator Producer & Program Coordinator Production Administrator & Stage Manager Stage Manager
Garry Stewart Shaun Comerford Elizabeth Old Paul Cowley Bev Majda Madison Thomas Eira Swaine Lucie Balsamo Françoise Piron
DANCERS Thomas Bradley Habitus and The Beginning of Nature Zoë Dunwoodie Scott Ewen Objekt Thomas Fonua Lonii Garnons-Williams (until April 2016) Thomas Gundry Greenfield Habitus and The Beginning of Nature Samantha Hines (until March 2016) Lina Limosani Objekt Jake McLarnon Objekt Christopher Mills (commenced October 2016) Michael Ramsay (until October 2016) Matte Roffe Ellya Sam Ignition Felix Sampson (commenced May 2016) Kimball Wong
EUROPEAN AGENT Gie Baguet
Frans Brood Productions
NORTH AMERICA AGENT Kristopher McDowell
OMPANY RESEARCH PARTNER University of Western Sydney
(completed June 2016)
CULTURAL CONSULTANT Vincent ‘Jack’ Buckskin
CONTRACTORS Shauntai Batzke Damien Cooper - The Yellow Agency Closer Productions Davis Browne Design Michelle Delaney Rebekah Devlin Daniel Gibbs - Posture Podiatry
Vonda Last MASH Design Novatech Creative Event Technology Thomas Pachoud PKF Kennedy - Chartered Accountants Chris Petridis Rockethouse
Sam Haren - Sandpit Chris Herzfeld - Camlight Productions Michael Heynen - Mitcham Rehab Olivia Iacobelli
Short Black Opera Company David Tang - Red Fox Films Brendan Woithe - KLANG Music Sound Ideas Zephyr Quartet
Daniel Davey Johnathon Edwards Sam Hopkins Samuel Hore Freddy Komp Ryan Kroon Alexander Ramsay Simon Tait Matan Tatarko Oliver Taylor Lachlan Turner Timothy Willett
Israel Aloni Contemporary teacher Janet Bridgman Ballet teacher Billie Cook Fringe youth coordinator Johnathan Dragt Circus skills Scott Ewen Contemporary teacher Katrina Lazaroff Contemporary teacher Larissa McGowan Contemporary teacher Poe One Breaking teacher Simi Roche Yoga teacher Triton Tunis-Mitchell Circus skills Maura Vergara Yoga teacher
PUBLIC DANCE CLASS TEACHERS
ADT YOUTH ENSEMBLE TEACHERS
Tobiah Booth-Remners Zoë Dunwoodie Scott Ewen Thomas Fonua Lonii Garnons-Williams Andrew Haycroft Carol Wellman Kelly Katrina Lazaroff Larissa McGowan Jessie McKinlay Christopher Mills Kialea-Nadine Williams
Billie Cook Tobiah Booth-Remners Janet Bridgman Zoë Dunwoodie Scott Ewen Thomas Fonua Lina Limosani Larissa McGowan Kialea-Nadine Williams
HABITUS “This is ADT at its fluent best, with all of the thrills and spills we’ve come to expect from this most physical company” – The Advertiser
ADT commenced 2016 with the World Premiere of Habitus as part of the 2016 Adelaide Festival of Arts. A major new work from Garry Stewart, Habitus explores our modern obsession with domestic objects and how the detritus of 21st century living will inevitably be reclaimed by the inexorable and persistent forces of nature. Over the course of 70 minutes, nine dancers wield books, sofas, tables, chairs, clothes and ironing boards to reframe our perspective on how we relate to these seemingly banal objects that constitute our everyday world, and how they act as agents to shape our identity and relationships. Habitus is the first work in Garry Stewart’s The Nature Series, a series of works that are conceptually linked to ideas that relate to nature in various ways. Habitus was nominated for a number of Helpmann Awards, including Best Female Dancer in a Dance or Physical Theatre Work – Lonii Garnons Williams, Best Ballet or Dance Work – Australian Dance Theatre and Best Choreography in a Dance or Physical Theatre Work – Garry Stewart & Larissa McGowan. The company was delighted that long-serving ADT dancer Kimball Wong received the Helpmann Award for Best Male Dancer in a Dance or Physical Theatre Work for his work in Habitus. CREDITS Conceived and Directed – Garry Stewart Assistant to Garry Stewart – Elizabeth Old Choreography - Garry Stewart and Larissa McGowan with the dancers of Australian Dance Theatre Composer - Brendan Woithe Lighting Design– Damien Cooper Set & Costume Design – Garry Stewart & Gaelle Mellis Dancers – Thomas Bradley, Zoë Dunwoodie, Thomas Fonua, Lonii Garnons-Williams, Thomas Gundry Greenfield, Samantha Hines, Michael Ramsay, Matte Roffe & Kimball Wong SEASON 26 February – 5 March 2016, The Space Theatre – Adelaide Festival Centre # PERFORMANCES 9 TOTAL ATTENDANCE 1,941
F I R S T S TAG E D E V E LO P M E N T
T H E B E G I N N I N G O F N AT U R E “This is a powerful work, in which music, movement and design make a coherent whole, and it drew a rapturous reception from the spellbound crowd” - Dance Australia
Immediately following the premiere of Habitus, ADT was featured as part of the lineup at WOMADelaide, the annual world music and dance festival held in Botanic Park, Adelaide as part of the WOMAD series of music festivals. ADT premiered the first stage of creative development of a new work, The Beginning of Nature, performing over 2 nights to over 6000 Festival attendees. The Beginning of Nature is a spellbinding depiction of ecosystem processes and the notions of transformation and metamorphosis. Set to a score featuring live vocals and a string quartet, this second work in ADT’s The Nature Series is underpinned by the complex symphony of rhythms within nature – flocking and herding, day and night, shifting seasons, growth and decay, tidal patterns. ADT and composer, Brendan Woithe, collaborated with Kaurna consultant, Jack Buckskin, to develop the original score. The libretto features the Kaurna language, the language of the traditional people of the Adelaide Plains, where ADT is based, and was performed live at WOMAD by Shauntai Batzke and Vonda Last. The WOMAD performances also featured the Zephyr Quartet. CREDITS Conceived and Directed – Garry Stewart Assistant to Garry Stewart – Elizabeth Old Choreography – Garry Stewart and the dancers of Australian Dance Theatre Composer – Brendan Woithe Costume Design – Davis Browne Design Cultural Consultant – Jack Buckskin Dancers - Thomas Bradley, Zoë Dunwoodie, Thomas Fonua, Lonii Garnons-Williams, Thomas Gundry Greenfield, Samantha Hines, Michael Ramsay, Matte Roffe & Kimball Wong SEASON 12 – 14 March 2016 # PERFORMANCES 2 TOTAL ATTENDANCE 6,000
IGNITION “Ignition, in its return to the ADT dance calendar, is just as exciting and valuable a means of showing off the choreographic caliber within the company” – The Barefoot Review
2016 saw the relaunch of ADT’s Ignition, a program supporting the next wave of Australian choreographers and dance makers who will shape the future of contemporary dance in this country and internationally, with a season of five performances at Adelaide College of the Arts. Initially launched by Artistic Director Garry Stewart in 2000, and run annually until 2010, Ignition gained a national reputation as a breeding ground for the next generation of Australian choreographers - it helped launch the choreographic careers of such notable Australian dance artists as Larissa McGowan, Ross McCormack, Antony Hamilton, Daniel Jaber, Tanja Liedtke, Narelle Benjamin and Lina Limosani. Performed by the dancers of ADT, this year’s program explored the theme “history” and included works by two dancers from the company who are emerging as choreographers in their own rights. Thomas Fonua explored the dark history of the Human Zoos (Völkerschau) and colonization in The Village, an excerpt from his full-length work in development, MALAGA, while Matte Roffe’s WOOLF! drew inspiration from the 1962 play, Who’s Afraid of Virginia Woolf? ADT also supported three South Australian-based independent choreographers in this year’s program. Erin Fowler’s EPOCH played with time and history, while Katrina Lazaroff ’s Caught in Past Tense asked what would happen if every step, every movement and every word were caught in the past? ADT commissioned in-demand independent choreographer and former ADT dancer, Lina Limosani, to develop and present the next stage of her work, One’s Wicked Ways, as part of the program. Set in the baroque period, this work is a reflection on our propensity toward perverse pleasures and gluttony, and drew a rapturous response from audiences and critics alike with its blend of dance and theatre. These artists are among the next wave of choreographers in this country, and ADT was proud to provide a platform to showcase their exceptional talents and fresh ideas at Ignition.The company was thrilled that Thomas Fonua received a nomination for The Adelaide Critics Circle Award for Emerging Artist of the Year for his work as a choreographer. ADT’s season of Ignition was assisted by the support of Adelaide College of the Arts and Tonkin Engineering. CREDITS Choreographers – Matte Roffe, Erin Fowler, Thomas Fonua, Katrina Lazaroff and Lina Limosani Set Build - Freddy Komp (WOOLF!) Lighting Design - Chris Petridis (EPOCH) Cosutme and Wig Design - Davis Browne Design (One’s Wicked Ways) Makeup - Jana Dibiasi (One’s Wicked Ways) Dancers – Zoë Dunwoodie, Thomas Fonua, Matte Roffe, Ellya Sam, Felix Sampson & Kimball Wong SEASON 9-16 July 2016 - Main Theatre, Adelaide College of the Arts # PERFORMANCES 5 TOTAL ATTENDANCE 770
OBJEKT “A riveting and exciting artistic achievement reflecting quality collaboration on all levels” - InDaily
The company’s final season for the year was the Adelaide premiere of Objekt, an exhilarating new work created by Garry Stewart in collaboration with German dance company, tanzmainz, of Staatstheater Mainz. This was the first collaboration of its kind for ADT under Stewart. Exploring the objectification as a fundamental human condition, Objekt holds a lense up to today’s socio-political reality through viewing someone else as ‘the other’, we cease to recognise their humanity. Through the manipulation of objects and challenging choreography, synonymous with ADT, this work deconstructs the body as an object, taking the viewer on a journey through subjugation, confrontation, transformation, and ultimately, redemption. The work originally premiered in Mainz in June as part of tanzmainz’s repertoire, and had its Australian ADT premiere in October. Dancers from ADT were joined by three secondees from AC Arts, as part of our creative partnership with the College, as well as former ADT company members Jake McLarnon, Scott Ewen, Lina Limosani and Michael Ramsay for this Adelaide season. A visually arresting work that blurs the borders between visual arts and dance, the Australian Premiere season of Objekt was acclaimed by Adelaide audiences and critics alike. Objekt was assisted by the Australian government through the Ministry for the Arts’ Catalyst—Australian Arts and Culture Fund. CREDITS Conceived and Directed – Garry Stewart Assistant to Garry Stewart – Elizabeth Old Choreography – Garry Stewart and the dancers of Australian Dance Theatre Dramaturgy – Johanna Milz Composer – Brendan Woithe Costume Design – Lucia Vonrhein Lighting Design – Mark Pennington Set Design – Garry Stewart SEASON 5-8 October - Main Theatre, Adelaide College of the Arts # PERFORMANCES 6 TOTAL ATTENDANCE 920
OTHER AC TIVITIES PROXIMITY INTERACTIVE AT 2O16 ADELAIDE BIENNIAL OF AUSTRALIAN ART - MAGIC OBJECT: 27 FEBRUARY - 15 MAY
THE PENFOLDS COLLECTION GALA: TUESDAY 18 OCTOBER
Proximity Interactive was featured as part of this year’s Adelaide Biennial of Australian Art – Magic Object. Initially created for ADT’s mainstage work, Proximity, Proximity Interactive is an interactive dance installation by Garry Stewart, with video effects developed by French video engineer, Thomas Pachoud. Visitors to the Anne & Gordon Samstag Museum of Art were captivated by the installation, engaging with the real-time video effects to generate a world of magical effects as they moved and interacted with the screen. FIRST FRIDAYS AT THE ART GALLERY OF SOUTH AUSTRALIA: 6 MAY ADT was featured in the Art Gallery of South Australia’s First Fridays program in May this year. First Fridays is the Gallery’s late night event on the first Friday of every month, inviting visitors to take in the latest exhibitions and engage with live performances. Our two performances throughout the evening received an overwhelmingly positive response, and exposed us to new audiences. COLLISION COURSE: 18 AUGUST–23 SEPTEMBER ADT’s video installation Collision Course was screened at the Anne & Gordon Samstag Museum of Art as part of the national tour of Experimenta Recharge: 6th International Biennial of Media Art. Collision Course features a series of bodies colliding in mid-air captured in extreme slow motion and includes a cast of over 100 sports people and dancers trained in various different physical disciplines drawn from the community of Perth, WA. Experimenta Recharge was presented in Adelaide as part of Oz Asia Festival. Collision Course was also screened nightly in Rundle Street in Adelaide during August and September as part of the Adelaide City Council’s East End Moving Image Program, an Art in the Evening initiative of the City of Adelaide.
ADT was invited to perform at the Gala to celebrate the 2016 release of The Penfolds Collection at Magill Estate in South Australia. We performed an excerpt from The Beginning of Nature to 140 guests at the black tie event amongst the vines of Penfolds’ spiritual home. RUBY AWARDS: SATURDAY 1O DECEMBER We were honoured to be featured as guest artists at the 2016 Ruby Awards. Held at the Adelaide Symphony Orchestra’s Grainger Studios, the awards celebrated the best of South Australia’s arts and culture in 2016. Dancers Zoë Dunwoodie, Thomas Fonua and Kimball Wong performed an excerpt from The Beginning of Nature. ADELAIDE FESTIVAL OF IDEAS: 22 OCTOBER At the re-launch for the Adelaide Festival of Ideas, a dynamic three day event celebrating ideas, robust discussion and thinking, ADT presented a forum discussing the results of an Australian Research Council Linkage Project examining distributed cognition and dynamic memory in Australian Dance Theatre dancers. Speakers included the research partners Scott DeLaHunta, Professor David Kirsch, Professor James Leach, and Professor Kate Stevens, as well as ADT’s Associate Artistic Director Elizabeth Old, and ADT dancers Zoë Dunwoodie and Kimball Wong. ROUGH DRAFT: 6 NOVEMBER An evening of dance and choreography, Rough Draft provides an opportunity for the audience to step inside the minds of some of South Australia’s most innovative creative thinkers and experience their creative development process in a raw and informal setting. This year’s event featured performances and talks by ADT dancers as well as members of the local dance sector and academia. Featured artists and speakers: Jeff Meiners, Lina Limosani, Kimball Wong, Gabrielle Nankivell Thomas Fonua, Carlie Angel, Felix Sampson and Matte Roffe
I N T E R N AT I O N A L DEVELOPMENT AC TIVITIES
I N T E R N AT I O N A L DEVELOPMENT AC TIVITIES SOUTH AUSTRALIAN GOVERNMENT TRADE MISSION TO INDIA: 6-14 AUGUST
INTERNATIONAL ARTIST RESIDENCIES
In August the company travelled to India as part of the South Australian Government Trade Mission delegation. The trade mission was a key action in the South Australia-India Engagement Strategy. Our activities on the Mission included conducting an intensive workshop with Danceworx Performing Arts Company in Delhi, performing an excerpt of The Beginning of Nature at the Indian Trade Mission Gala Dinner at The Taj Mahal Palace, and hosting an inspiring day of workshops at Fazlani L’Académie Globale, Nanhi Kali & St. Xavier’s College. MADE IN ADELAIDE – EDINBURGH, SCOTLAND: 8-19 AUGUST In August, ADT’s Executive Director, Shaun Comerford, travelled to Edinburgh, Scotland as part of the Made In Adelaide delegation facilitated by Arts South Australia, the South Australian Government’s arts funding body. The delegation coincided with both the Edinburgh Fringe and the Edinburgh International Festival and provided an opportunity for Adelaide-based arts organisations to develop relationships with international artists and organisations. Introductory meetings have since led to the development of a relationship with Dance Base, the National Centre for Dance based in Edinburgh, that will see our two organisations engage in reciprocal exchanges and other professional development activities as part of ADT’s International Centre for Choreography.
Botis Seva In June, Garry Stewart was included on the jury for the Hanover Ballet Society’s annual International Competition for Choreographers, supported by the Tanja Liedtke Foundation. Botis Seva, a London-based choreographer and Artistic Director of London based company Far From the Norm, was awarded both first prize and the audience award for his work 60 sec. As part of the prize, Seva, 25, undertook a three-week residency with ADT to be mentored by Stewart and work with the ADT dancers. The scholarship was awarded by the Tanja Liedtke Foundation, established in memory of the German-born former ADT dancer and choreographer. Gili Goverman As part of the collaboration between ADT and tanzmainz for Objekt, ADT hosted tanzmainz dancer Gili Goverman in our Adelaide studios for two weeks in August to assist in remounting the work for its Australian premiere season. Goverman had performed in the world premiere season of Objekt in Germany earlier in 2016.
CHINASPAF: 9-18 OCTOBER ADT’s Executive Director, Shaun Comerford, was included in an Australian delegation to the China Shanghai Performing Arts Fair (ChinaSPAF) 2016, led by the Australia Council for the Arts. During the week, delegates were supported to build connections with international arts professionals and organisations to develop future partnership and touring opportunities across Asia.
With a strong commitment to nurturing dance artists at all levels the ADT Learning program continues to offer meaningful opport development of The Spinners by Lina Limosani as part of Enhancement ( ADT’s choreographic residency program), the delightful e our engagement with the tertiary dance sector through our ever-popular ADT
SECONDMENT WEEK The company is committed to providing development opportunities to young dancers who are passionate about a career in dance. As part of this commitment, we hold an annual Secondment Week for tertiary and vocational dance students, to provide unique learning support for growing a successful career in dance. This year’s 35 participants, who came from both interstate and overseas, worked with ADT dancers on a rigorous program which exposed them to ADT repertoire, tumbling and other ADT training methodologies, as well as lectures on the business side of dance, including grant-writing and company life. “I can’t express how grateful I am to have been taught by such artists. I was very challenged and pushed, further developing myself as a dancer in only a single week. It was indescribable to dance in such an inspiring space with such positive energy” – Ben “..one of the most inspirational and enjoyable dance experiences I have had in a long time. You have set up a really wonderful program and the dancers who ran it were beautifully humbled and inspirational and amazing to be around!” – Maddy WORKSHOPS, OPEN REHEARSALS AND DANCE DAYS ADT has continued to lead workshops at home and overseas in high schools and vocational training institutions, contributing to the enrichment of arts education by offering specialist knowledge. ADT continue relations with the local high schools in Adelaide, inviting students into the studio to watch and learn about the work and creative practice. On a short tour to India as part of South Australian Government trade mission, ADT company dancers visited three education institutions to teach and meet with students. The cultural interaction was a definite highlight for all involved. ADT hosted a Kaurna language workshop, led by language custodian Jack Buckskin as an adjunct to his involvement in developing the libretto for The Beginning of Nature. Jack is an animated and experienced speaker who brought to life the Indigenous peoples and culture of the Adelaide Plains in new ways. Audience members learned about the ongoing work to revive the Kaurna language and its continued presence in various place names today.
School workshops 14
Public dance class attendees 736
Participants 430 29
tunities for development that have positive impact in the real world. Particular highlights for 2016 were hosting of the second stage experience of watching Youth Ensemble members reach their full potential through an engaging program of commissioned work, Secondment Week and a close partnership with Adelaide College of the Arts.
ADT YOUTH ENSEMBLE The ADT Youth Ensemble enjoyed a diverse program that offered a carefully planned journey towards professional style performance. Beginning with the Adelaide Festival Fringe Parade the ADT Youth Ensemble dancers introduced Adelaide to their bubbly personalities with a stylish appearance at this popular large scale event, attended by 66,000 people! Following that the focus was on developing new skills and the creation of new work. Tumbling and aerial skills formed the backbone of Tobiah Booth-Remmers’ gutsy piece which was presented in-house for parents and friends at ADT’s studios. Building upon that experience the Youth Ensemble performed a “curtain rasier” at ADT’s Australian premiere season of the Objekt, providing them with a performance experience in a professional setting. This performance at AC Arts Theatre premiered a commissioned work by local choreographer and teacher Billie Cook. ADT Youth Ensemble dancers ended the year learning company repertoire and further ADT specific dance skills from current ADT dancers. Eleven out of the seventeen students from the 2016 cohort were accepted into some of the most respected vocational training institutions in Australia to follow their dream of becoming a professional dancer. Three dancers remain in the Ensemble for 2017. ENHANCEMENT Enhancement is ADT’s choreographic residency program. In 2016, Enhancement offered support to two mid-career dance makers, and former dancers of ADT, Lina Limosani and Gabrielle Nankivell. Lina Limosani, as recipient of Arts South Australia tri-annual funding, spent time in first-stage creative development for The Spinners. Gabrielle Nankivell was the 2015 recipient of the Tanja Liedtke Founation Fellowship. Gabrielle continued with development of her work, Split Second Heroes, which involved the ADT dancers and several of her own cast members. Both residencies held public showings of the work at ADT studios.
R E AC H & S TAT I S T I C S
AT T E N DA N C E 32 performances 10,905 audience members 20,904 exhibition attendees
SOCIAL & ONLINE 26,732 likes
674,000 video views 1,980 followers
AWARDS & MEDIA Linda via Facebook (Habitus) “SUCH a fabulous show!” Sufiyo via Facebook (Habitus) “It was and you were all soooo AWESOME!!!” Sandra via Facebook (Objekt) “Experienced it last night....... magnificent, bravo!” Rosie via Facebook (The Beginning of Nature) “I feel lucky to say ‘I was there’. What an extraordinary work! Very moving and the music was perfect. Thank you. Congratulations to everyone involved” Helpmann Award Best Male Dancer in a Dance or Physical Theatre Work Kimball Wong (Habitus) Other nominations: Best Female Dancer in a Dance or Physical Theatre Work – Lonii GarnonsWilliams (Habitus) Best Ballet or Dance Work: Australian Dance Theatre (Habitus) Best Choreography in a Dance or Physical Theatre Work: Garry Stewart & Larissa McGowan (Habitus) The Clothesline (Habitus) “We are extremely blessed to have a contemporary dance company of such quality and acclaim around the world based here in Adelaide” Broadway World (The Beginning of Nature) “their performance stole the day” Dance Australia (Objekt) “Objekt is one of the most sophisticated works Stewart has made in some time, and its ‘after images’ linger in the mind disturbingly”
PERFORMANCE AGAINST GOALS
GOAL A RT I S T I C I N N OVAT I
Mainstage works across the 2016-202 Create a diverse program of new works/events/productions that can be toured to national and international audiences
Secondary works (smaller scale work Community Projects International tours
Collaborate with national and international artists
Commission guest choreographers to work with Artistic Director on development of Guest choreographers are engaged to new works work per year Grow and maintain an expanded company of at least 9 fulltime dancers
Number of dancers
Promote innovation in dance through research projects and partnerships with universities
Involvement in at least 1 project durin
Guest teachers (including ADT alumn
Guest artists and companies visiting A
ADT members are provided with cho the development of AC Arts student Rough Draft program, and other oppo
Maintain a culture of artistic excellence
Artistic advisory processes
Feedback on artistic merit through m velopment & after premieres and tou Reviews in media
ONE ON & DISTINCTION
Habitus, TBON, Objekt
Proximity Interactive - Adelaide Biennial of Australian Art - Magic Object, Collision Course at Experimenta Recharge and East End Moving Image project
Tanzmainz - Objekt
Lina Limosani - One’s Wicked Ways, as part of Ignition
ng the 2016-2020 period
ARC Study - cognition and dynamic membory in ADT dancers Adelaide Festival of Ideas - presentation of ARC study
ni) for company classes
50% of classes
ADT (national and international)
Achieved - Gili Governman, Botis Seva, Gabrielle Nankivell
o produce or collaborate on one new
oreographic opportunities eg, through 2-4 company works, Youth Ensemble works, ADT’s members ortunities outside of ADT activities
managers’ debrief during creative deurs, and peer reviews
Achieved: Objekt - Kimball Wong Ignition - Matte Roffe & Thomas Fonua; Rough Draft - Matte Roffe, Thomas Fonua, Felix Sampson & Kimball Wong
Achieved - ongoing
Achieved - more than 75% positive reviews
AUDIENCE & COMMU
Attract and retain strong local and national urban, regional and remote audiences
Refresh and refine audience database (see Marketing Plan) Public programs/events in Adelaide (eg, Adelaide Embedded) Implement National Touring Strategy Implement International Touring Strategy Build schools audience through:
~ Lecture demonstrations/schools matinees and open rehearsals for teachers and students
Undertake at least one national tour every 2 years, working with presenting partners to de marketing and audience engagement activities (see Marketing Plan and Learning Plan)
Maintain existing audience engagement programs (including â€œExperience ADTâ€? program) an ways to reach potential audiences (see Marketing Plan and Learning Plan) ~ Workshops and Q&As ~ Streaming company activities ~ Pre-tour workshop roadshow Increase audience accessibility: ~ Offer student and concession prices Expand regional and remote learning programs ~ Local, regional and remote workshops in SA ~ Seek new partnerships with other organisations operating in this space, such as Country School of the Air and regional community dance organisations. Retain existing and build new relationships with presenting bodies
Establish/continue relationship with national presenters ~ Attend and pitch/present at national performing arts markets ~ Invite presenters to see new work as it develops Establish/continue relationships with international agents:
Retain audiences in existing international markets and build audiences in new markets
Deliver effective learning program
~ Attendance at international performing arts markets
Assessment and revision of the current learning program ADT public dance program Via social media, digital platforms, and direct marketing ~ Reach of digital media
Share information about the company to expand audiences and increase engagement
~ Facebook likes ~ Twitter followers ~ Instagram followers ~ Direct marketing
Consolidate and streamline existing ADT databases
Investigated and implemented CRM.
Achieved - 2-3
Develop National Touring Strategy
Scheduled annual National touring with pitches at APAM, APACA PAX and Vic Showcase.
Develop International Touring Strategy
Received Catalyst funding for 2017 - 2020 International Program
15 schools access resources
nd explore new
Investigate and trial streaming company class
Successfully trialed streaming of lecture/demonstration
Investigate a new regional circuit and funding support (public and private)
APAM, Vic Showcase, APACA PAX
Achieved - signed with new North American agent
2 - ChinaSPAF and Made In Adelaide at Edinburgh Fringe 2 Existing - Work on UK, Europe, North America
Undertake review of program and develop and implement refined program
Program reviewed and 2017 plan implemented
Review current class timetable
result 31% increase - total 26732
result 4% increase - total 1980
result 113% increase - total 6947
STRENGTHEN DANCE S
KEY ACTIVITIES/KPIs/MEASURE Support and develop local choreographers ~ ADT ICC ~ Rough Draft / Enhancement / Ignition programs
Provide development opportunities for local artists
~ Choreographic intensives “Made to Dance” program
~ Open professional classes (Mon-Fri except whe attended by independent artists Support the local dance sector
Annual roundtable discussion for South Australian at the Dance Hall”
Contribute to elevating the calibre of vocational an production graduates via “Fast Track to Dance” pro ~ AC Arts Creative Partnership ~ Annual Secondment Week Nurture the next generation of Australian danc~ KickStart ers ~ Masterclasses (per season) ADT Youth Ensemble ~ Classes & training ~ Performance opportunities
1 x Ignition, 1 x Enhancement, 1 x Rough Draft in 2016 Achieved - Ignition (5) Enhancement (2) Rough Draft (8)
Over-achieved - we have had 5 MATDH - and are leading the sector through a process of review
Achieved - Exceeded expectations
en company touring)
dance sector â€œMeeting
nd tertiary dance and ogram:
2-4 hours per week Achieved 3-4 per year
GOAL B U I L D A N D M A I N TA I N O P E R AT I O N A L A N
Maximise income through existing programs and new initiat Sponsorship Private sector support ~ Maintain existing and acquire new sponsors Implement philanthropy program (also see Marketing Plan) Income from co-commissioning
~ 1 new major work every 2 years to be co-commission
Achieve financial security
Income from government and NGO grants for new project
Box office income through 2 South Australian seasons per y Income from ADT Learning Program: ~ ADT Public Dance Classes ~ Secondment Week ~ KickStart ~ Workshops
Maintain a majority of tour financial results that are breakev
Policies and procedures manual redeveloped to ensure rele Operate according to best practice governance guidelines Adopt Australia Council for the Arts’ “Essential governance organisations”
Secure appropriate accommodation for the Relocate ADT to a permanent purpose-designed home in A company state of the art studios and offices
FOUR D F I N A N C I A L S TA B I L I T Y A N D S T R E N G T H
tives: Acquire 1 new major sponsor and 1-2 Major Sponsor - Not Achieved in 2016; supporting partners 1-2 supporting partners achieved 5% increase in donations
Not achieved in 2016
year at AC Arts Theatre
50% break-even or better; 50% subsidised
Achieved targets across 2 seasons Achieved Achieved
1 - Not achieved in 2016 Achieved
ven or better
evance and application Review & update as required
practices for arts
Governance program in place
Revised and implemented new governance practices
Continue relocation strategy
Process is on target
C O R P O R AT E G OV E R N A N C E S TAT E M E N T IT IS THE AIM OF ADT TO MEET BEST PRACTICE IN CORPORATE GOVERNANCE, WITH A FRAMEWORK DESIGNED TO: • • •
Enable the board to provide strategic guidance for ADT and effective oversight of management Clarify the respective roles and responsibilities of board members and senior executives in order to facilitate board and management accountability to ADT and its stakeholders Ensure a balance of authority so that no single individual has unfettered powers
ROLE OF THE BOARD AND ITS MEMBERSHIP
ROLE OF MANAGEMENT
The board is responsible for the corporate governance of ADT. It oversees the business and affairs of the company, approves the strategies and financial objectives to be implemented by management, and monitors standards of performance against those plans in achieving the company’s goals.
The role and responsibility of management is to: •
The membership of the board will be directed by the following requirements: •
The constitution of ADT specifies that there must be at least three directors and no more than ten. The board may determine the size of the board within those limits The board must consist of a majority of independent directors who satisfy the criteria for independence adopted by the board The Chair of the board must be an independent director who satisfies the criteria for independence adopted by the board The board should, collectively, have the appropriate level of personal qualities, skills, experience and time commitment to properly fulfil its responsibilities or have ready access to such skills where they are not available
• • • • •
The board may also establish committees to assist it in carrying out its responsibilities. The board will adopt charters setting out the membership, administration, purpose, responsibilities and functions appropriate to each committee. In 2016, committees in operation were the Learning Committee, Governance & Nomination Committee and Marketing Committee.
Recommend the strategic direction, plans and options for the board’s consideration and translate the board’s approved strategic direction into the operations of the business Assume the day to day responsibility for ADT’s conformance with relevant laws and regulations and its compliance framework Achieve the performance targets set by the board Develop, implement and manage ADT’s risk management and internal control frameworks Develop, implement and update ADT’s policies and procedures Be alert to relevant trends in the industry and ADT’s operating environment and respond accordingly Provide sufficient and relevant information to the board to enable the board to effectively discharge its responsibilities Act as a conduit between the board and ADT Manage ADT’s human, physical and financial resources to achieve ADT’s objectives
Supporting the Australian Premiere season of Objekt
Providing expert technical support and production equipment
Supporting the return season of Ignition
Long-term supporter of the company, providing probono audits
Supporting the Australian Dance Theatre Learning Program
Supporting the Australian Premiere season of Objekt
Images Cover: Objekt - Matte Roffe, Zoë Dunwoodie. Photo credit Chris Herzfeld Camlight Productions pg.2: Habitus - books. Photo credit Chris Herzfeld Camlight Productions pg.4: The Village (Ignition) - Felix Sampson, Thomas Fonua, Kimball Wong, Matte Roffe, Ellya Sam. Photo credit Chris Herzfeld Camlight Productions p.6: Objekt - Jake McLarnon. Photo credit Chris Herzfeld Camlight Productions pg.8: The Beginning of Nature - Kimball Wong, Zoë Dunwoodie, Samantha Hines, Thomas Fonua, Lonii Garnons-Williams. Photo credit Chris Herzfeld Camlight Productions pg.10-11: Habitus - Matte Roffe, Zoë Dunwoodie, Thomas Bradley, Samantha Hines, Kimball Wong. Photo credit Chris Herzfeld Camlight Productions pg.14-15: The Beginning of Nature - Samantha Hines. Photo credit Rob Sferco pg.15: Habitus - Kimball Wong, Lonii Garnons Williams. Photo credit Chris Herzfeld Camlight Productions pg.17: The Beginning of Nature - Kimball Wong, Samantha Hines, Zoë Dunwoodie, Thomas Bradley. Photo credit Tony Lewis pg.19: One’s Wicked Ways (Ignition) - Thomas Fonua, Matte Roffe, Kimball Wong, ZoëDunwoodie, Felix Sampson. Photo credit Tony Lewis pg.21: Objekt - Photo credit Chris Herzfeld Camlight Productions pg.23: Art Gallery of South Australia’s First Fridays event. - Matte Roffe, Zoë Dunwoodie, Thomas Fonua. Photo credit Sam Oster. pg.24. India Trade Mission. Michael Ramsay, Kimball Wong, Thomas Fonua, Matte Roffe, Zoë Dunwoodie. pg.25. India Trade Mission. pg.27-28: ADT Youth Ensemble - Katie Maxtead. Photo Credit Sofia Calado Photography pg.31-32: Habitus - Matte Roffe, Thomas Fonua, Michael Ramsay, Thomas Bradley, Samantha Hines, Zoë Dunwoodie. Photo credit Chris Herzfeld Camlight Productions pg.33: Objekt - Felix Sampson. Photo credit Chris Herzfeld Camlight Productions pg.35. Helpmann Award Ceremony. Kimball Wong receiving Best Male Dancer in a Dance or Physical Theatre Work. pg.37-38. Habitus - Thomas Fonua, Zoë Dunwoodie, Lonii Garnons-Williams, Michael Ramsay, Matte Roffe, Samantha Hines, Thomas Bradley. Photo credit Chris Herzfeld Camlight Productions pg.47: The Beginning of Nature - (Top-Bottom) Matte Roffe, Jake McLarnon, Thomas Fonua, Michael Ramsay. Photo credit Chris Herzfeld Camlight Productions pg.49: Objekt - Thomas Fonua, Scott Ewen, Jake McLarnon, Matte Roffe, Zoë Dunwoodie, Felicity Boyd, Felix Sampson, Lina Limosani. Photo credit Chris Herzfeld Camlight Productions
A N I TA E W I N G
Kim is Director of Talent Management and Marketing for the Clemenger Group, Australasia’s largest marketing communications company. He has previously held Managing Director positions with advertising agencies Clemenger Harvie Edge (Melbourne), Young & Rubicam (Melbourne) and Clemenger BBDO (Adelaide).
Anita is a senior solicitor at the Crown Solicitor’s Office with 11 years experience and brings her legal acumen to the Board. Anita works in-agency at the Office of the Public Trustee which sees her principally engaged in civil litigation, appearing regularly at the District Court and Supreme Court of South Australia and also the South Australia Civil and Administrative Tribunal.
Chair of the Board
Kim has previously been a board member of CARE Australia and Catherine House; a member of the school council for the Srathcona Girls School; Chair of the Advertising Federation of Australia’s Chapters in both Adelaide; a member of the Adelaide University Media Advisory Board and a member of the UniSA MBA advisory board.
Non-Executive Director Fraser Bell is a partner at Thomson Geer Lawyers. He is a member of the Property & Environment team and the head of the Adelaide practice group focusing on the areas of environment, planning, climate change and contaminated land. Fraser focuses on providing pragmatic, solution orientated, commercial advice on all transactions with an environmental aspect. Fraser works with a number of industry leaders in developing strategies to deal with a wide range of environmental issues.
ANNE CARMAN Non-Executive Director
Anne Carman BA, Grad Dip Psych, MHRM and Coaching, is an Organisational Development Consultant. She has considerable experience in strategic organisational development, operational review and change, leadership assessment and development, executive coaching, cultural change programs and talent and performance management. Anne works both strategically and operationally and has enacted substantive change for organisations, including having developed and implemented global strategies within the Asia Pacific region.
Anita has provided high level advice to the government in the advising section of the CSO and has extensive experience advising in the health and medical sphere. She was engaged as a Ministerial Advisor to the Minister for Health which, in addition to the political component to that role, saw her manage all legislation within the health portfolio through Parliament. Outside of the Public Service, Anita has also worked in the commercial section of a private law firm providing strategic business advice and drafting complex commercial documentation. She has also worked in-house as a taxation consultant in a chartered accountancy and business advisory firm which experience has furnished her with strong business understanding.
JEFF MEINERS Non-Executive Director
Jeff Meiners works at the University of South Australia’s Division of Education, Arts and Social Sciences. He has taught extensively, directed movement for children’s theatre, and works with government arts and education organizations, dance companies and international dance projects. Jeff was an Australia Council for the Arts Dance Board Community Representative (2002–2007), 2009 Australian Dance Award winner for Outstanding Services to Dance Education and dance writer for the new Australian Arts curriculum Shape paper. Jeff ’s research focuses on the construction of the dance curriculum.
P E T E R S E LT S I K A S
Peter is currently the Senior Manager, Asset Management for SA Water. In this role he leads the strategic, operational and capital investment planning for the Corporation’s $14bn of infrastructure assets. Peter has 20 years experience in the utility sector, first within Oil and Gas and more recently within the water industry. Peter has a strong commercial and operational background with a strategic mindset and has held many senior leadership roles driving business through significant change.
Danielle Tsogas is a strategically minded brand, marketing and communications professional who is well respected and networked in the South Australian market place. She has developed and delivered long term, integrated strategic media and marketing plans for local, national and international brands across not-for profit, public and private sectors.
Peter holds an Engineering Degree with Honours and a Master’s In Business Administration. Peter is a fellow of the Governors Leadership Foundation, a member of AICD, a past executive member of Engineer’s Australia Centre for Engineering Leadership & Management Committee in South Australia and a member of the Water Services Association of Australia Asset Management Committee. Peter is also a Non Executive Director of Australian Dance Theatre.
CHRIS TOOHER Non-Executive Director
Christopher Tooher is the Executive Director of Sydney Festival, one of Australia’s best-loved annual events hosting an array of free and ticketed performance in Sydney in January. Prior to Sydney Festival, Christopher was the General Manager at Bell Shakespeare Company. His comprehensive career in the performing arts sector has also seem him working as a Producer at Sydney Opera House and Director/CEO of Illawarra Performing Arts Centre in Wollongong. Present board memberships include Australian Dance Theatre and Riverside Theatre.
DAVID STOB B E Non-Executive Director
David has a Bachelor of Business (Accounting) and is a member of CPA Australia with 15 years finance experience gained in the private sector utility industry. David has a strong business acumen, sound accounting proficiency in the areas of management reporting, budgeting and forecasting as well as knowledge of WH&S practices and policies. Through his other board appointments including sporting club and other non-for-profit organisations, David has accumulated expertise in both sponsorship and fundraising with a community focus. David joined the ADT in 2014 and Chairs the Governance and Nomination Committee.
With a Bachelor of Business Management majoring in Marketing and having completed the Institute of Company Directors course, Danielle has a passion for playing an active role in business success. Her portfolio spans a number of key industry sectors specialising in retail, entertainment, leisure, hospitality, FMCG, publishing and destination marketing.
T R I C I A WA LTO N Non-Executive Director
Tricia has 25 years’ experience in arts administration, management and governance mainly in small-to-medium youth arts, adult education and publishing organisations. She is experienced in strategic leadership, organisational change and policy development. Currently, Tricia is Chief Executive of Carclew, which delivers a multi-art form program for South Australia children and young people. She has managed regional arts program delivery for Country Arts SA, run Kurruru, an Aboriginal youth performing arts organisation, and edited Artwork Magazine for Community Arts Network SA. Tricia chairs A>R>T a collective of artists and educators committed to arts rich learning environments in SA primary schools. She is a non-executive director of the Australian Dance Theatre and is Chair of the SA Writers’ Centre. Tricia has a BA Degree (Literary Studies), a Grad Dip (Education and Training of Adults), is a fellow of the South Australian Governor’s Leadership Foundation and a graduate of the Australian Institute of Company Directors (GAICD).
AUSTRALIAN DANCE THEATRE