QL2 2015 Annual Report

2015 ANNUAL REPORT

“

We develop the next generation of dance-makers.

We develop the youth dance sector: people and ideas.

We empower diversity in dance and culture.

We contribute to a passionate, caring, creative community.

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Version 2015 Annual Report _j01.docx 26/05/2016 12:59 PM

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QL2 provides an environment where

QL2 Dance Inc • Annual Report 2015

creativity and collaborative practices are nurtured and developed. It empowers young people to make decisions, develop their artistic voices and identify personal strengths. Through QL2 I was able to better understand who I was as a young person and the possibilities that were open to me in the future. Now as a professional choreographer, I am certain that the skills that I developed early in Quantum Leap have been essential to succeeding in the industry.

Moreover these are skills that are relevant to almost any profession or occupation. I think this is a major reason why so many Quantum Leap alumni become leaders and innovators, contributing widely to our Australian culture and beyond.

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James Batchelor

(Photo: James on RV Investigator, Australian Antarctic Arts Fellowship)

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CONTENTS

Report from the Treasurer _________________________________________________ 7 What we do, and why _____________________________________________________ 9 Report from the Artistic Director ___________________________________________ 11 Artistic Program ________________________________________________________ 13 The Big Picture .................................................................................................. 13 2015: the year’s program .................................................................................. 13 Quantum Leap .................................................................................................. 13 Quantum Leap major project: “Reckless Valour” ............................................. 14 Soft Landing ...................................................................................................... 18 Chaos project: “All the things” .......................................................................... 19 “Giant Steps” — choreographic project for young dancers ................................. 21 “Hot To Trot” – Quantum Leapers as choreographers ...................................... 21 “On Course” — tertiary students present short works .................................. 22 Training program ............................................................................................. 24 Curated Residencies and Grants of Space ...................................................... 26 Other projects ................................................................................................... 31 Artform Development ___________________________________________________ 33 Leadership Program ......................................................................................... 33 Careers and mentoring ..................................................................................... 33 Quantum Leap Alumni .....................................................................................34 KPIs & other measures __________________________________________________ 38 Key Performance Indicators ............................................................................. 38 Marketing & Audience Development _______________________________________ 39 Access & Equity, Safe Dance, Health Promotion ______________________________ 40 Organisation & Management Report _______________________________________ 40 Staffing ............................................................................................................. 40 Key partnerships ............................................................................................... 41 Funding ............................................................................................................. 41 Physical Resources, venues ............................................................................. 42 Operational challenges .................................................................................... 42 Biographies: Staff, and Advisors ___________________________________________ 43 Core Staff ...........................................................................................................43 Artistic Advisors ................................................................................................43 Other 2016 artistic staff ................................................................................... 44 Governance ___________________________________________________________ 46 The Association & The Board .......................................................................... 46 Board members 2015 ....................................................................................... 48 Conclusion ____________________________________________________________ 49

Cover photo: On Course 2015. Choreographer Rachael Wisby. This, and most project and studio images, are by photographer and sponsor LORNA SIM. PAGE 3

QL2 Dance Inc • Annual Report 2015

Report from the Chair ____________________________________________________ 5

QL2 Dance Inc • Annual Report 2015

QL2 Dance is supported by the ACT Government through artsACT,

QL2 Dance is based at Gorman Arts Centre, an ACT Government facility.

The Reckless Valour project and education resource was supported by the Australian Government’s Anzac Centenary Local Grants Program

MAJOR SPONSORS & PARTNERS

Lorna Sim Photography

MAJOR DONORS

Michael Adena & Joanne Daly

Brian O’Keeffe

Lorna Sim & Abell Ong

Greg & Jeannette Stone

Jenny & Mike Norris

Robert & Sonia Holgate

David & Margaret Williams

Sir William Deane

Kate Stevens

Barbara Hambley

Mike & Dianne Cross

Chris Bourke

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IN 2016, IT WILL BE 18 YEARS since contemporary youth dance commenced as an integral part of the then Australian Choreographic Centre Inc. That program developed, and in 2008 became an autonomous organisation, which has continued and developed those exciting beginnings. Therefore, as we approach what would be adulthood in a human being, it is worth reflecting on the benefits that longevity have had on the organisation, on Canberra and on dance practice.

The year 2015 is a good time to do this for the program this year included a remount of the very popular and well-received program, Reckless Valour, also a fitting contribution to the Centenary of Anzac celebrations. This, in itself, is one of the three particular contributions that our history has made. We are now a sufficiently mature organisation to bring an earlier performance piece back into production. To have such a repertoire, rare in contemporary dance and though it will not often be repeated—in part because of the way our performances are developed from the creativity of the participants— nevertheless demonstrates a stability and completeness of the organisation. Our longevity also made it possible for an alumnus, James Batchelor, now a distinguished independent artist, to return for the production and choreograph a new section in it.

Secondly, longevity has allowed us to build an impressive group of alumni who have made a significant mark on contemporary dance practice. We continue to find that those who have completed programs and classes with us increasingly move on to tertiary dance studies, in which they find that the grounding they have received with us gives them a decided advantage.

Our alumni are also often generous in their willingness to return to Canberra and work with us again, enabling them to refine and enhance their skills but also give back to new participants through choreographic work and as role models that continues to enrich our practice. We were particularly proud to see in 2015, an alumnus, Sam Young-Wright, performing in Canberra with the Sydney Dance Company and the excellence of his work and his shining talent.

Sam Young Wright. PHOTO: LORNA SIM

Thirdly, it has enabled us to create a profile beyond Canberra which has promoted youth dance as an important part of the arts and, within that, the dance sector.

Our profile in Australia is as a leader in the youth dance sector and we were again enabled to convene a meeting of youth dance companies in 2015 and build on the earlier meeting we convened with help from a grant from the Australia Council. The 2015 meeting was supported by a private donor. The meeting committed to the proposed Commonwealth Youth Dance Festival to coincide with the Commonwealth Games to be held in Queensland in 2018; for which QL2 Dance has agreed to undertake organisational responsibility at this stage.

Our profile in Australia has also attracted independent artists, especially those who return to Canberra where we can provide some work but particularly provide space and mentoring. We have become, in many ways, a hub for contemporary dance practice with features such as residencies that, flatteringly to us, are now being offered by other companies who have followed our lead.

Our longevity has also enabled us to create, consolidate and develop our international profile. We have strong connections with the Bangkok Dance Academy, developed over many years. Our regular attendance at conferences of Dance and the Child International has also cemented our profile internationally as a leader in creativity in

REPORT FROM THE CHAIR

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QL2 Dance Inc • Annual Report 2015

REPORT FROM THE CHAIR

QL2 Dance Inc • Annual Report 2015

youth dance practice. In 2014, our attendance at the Commonwealth Youth Dance Festival enabled us to make a strong connection with the National Youth Dance Company of Scotland, which will be strengthened by their visit to Canberra in 2016.

The year is reviewed in detail in the report of the Artistic Director. I need only to say that it has been most successful and I have no doubt it will have enriched the lives of our many participants, especially young people, but also those independent artists who contribute as artists in various capacities to our work and our audiences.

This would not be possible without the superb artistic leadership of Ruth Osborne, who has been a driving force for the whole of the period since 1999 and led us to our present position of significance. She continues, to my amazement, to educe the most stunning creativity from our participants and encourage all who come within her orbit.

She is greatly supported, as is the Board, by the hard, conscientious work of our General Manager, Gary Barnes, who keeps our participants organised and safe, and services the Board with careful attention to detail and good governance. I thank both of them very warmly for their work and commitment to QL2 Dance and its participants. I thank, too, the other staff who contribute so effectively to our success.

I thank and pay tribute to the dedication and attention given to the work of the Association by the members of the Board. With a keen sense of governance but strong engagement with the organisation and its work, they have steered it through challenging times to the successful year we have had.

I pay particular tribute to the members who left the Board in 2015. We are grateful for the contributions made by Merrilee Chignell and Annabel Reid whose terms expired and who did not seek re-election. They both made major contributions to the work of the Company and the effectiveness of the Board.

Kylie Hunter resigned in circumstances that are a great credit to her loyalty to the Company, were personally very upsetting to me, and inexplicable on any reasonable basis that I know from the way corporate governance should properly be managed.

Nevertheless, she remains a staunch supporter, a great contributor to our work and will continue to be able to advise the Board from her enormous knowledge and experience.

I thank also our sponsors and supporters. We remain very grateful for the continuing support of the ACT Government through artsACT. We welcomed the new appointment of Adam Stankevicius who replaced David Whitney as Director. David was a great friend of the Company and we wish him well in his retirement. We hope to see him at our performances. We thank WildBear Entertainment, which continues to support our work most generously and with great expertise and efficiency. We thank, too, Lorna Sim Photography and Morks Restaurant for their most liberal and much appreciated support. I thank our ever-supportive Patrons, Sir William and Lady Deane and Professor Shirley McKechnie.

The year has been a busy but productive one and continues to contribute to the vitality of Canberra’s arts program, to enrich the lives of our participants and to enhance the reputation of Canberra.

Justice Richard Refshauge, Chair 26 April 2016

REPORT FROM THE CHAIR

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REPORT FROM THE TREASURER QL2 Dance Incorporated, I take pleasure in presenting the audited Financial Report and Treasurer’s Report for the year ended 31 December 2015.

Income The Association’s income decreased by 4% in 2015 to $576,741.

This was our second year of our five-year funding agreement with the ACT Government through artsACT, in the 'multi-year' category, totalling $311,344. Funding of $20,523 from the Australian Government (Department of Veterans’ Affairs, ANZAC Centenary Local Grants Program) supported our major project Reckless Valour.

Box office income increased by 4%, largely due to school matinee sales. Venue hire income was down by 56%, from a combination of factors: reduced external users — largely due to constraints imposed by Gorman Arts Centre’s changed lease arrangements with artsACT — and increased use for our own activities. Income from consultancy and commissions was lower, but was more than made up for in performance fees from the National Portrait Gallery for Building Elvis and Walking and Falling.

With our restructured and expanded training programs, participant fees from this area increased by 21% to $40,242. Total participant fees income was down by 20%, as the 2014 figure included the substantial participant contributions to our overseas tour costs that year.

In-kind sponsorship reported in the accounts represents 6% of total income and is mainly attributed to our major sponsors: WildBear Entertainment (formed from the merger of previous sponsor Bearcage Productions with Wild Fury) and Lorna Sim Photography.

Cash donations income increased by 45% to $26,176 or 4.5% of total income. This is subject to significant year to year fluctuation as it largely consists of several large donations.

Interest on cash holdings increased by 20%, due to more active management of working accounts and term deposits.

Numerous in-kind donations and support that do not appear in the income statement were again vital for QL2’s activities.

Expenditure The Association’s expenditure decreased by 3% in 2015 to $560,313. A significant contributor was costs in 2014 associated with our overseas tour that year, which was not repeated in 2015.

Rent for QL2’s premises at Gorman Arts Centre increased by 26% from December 2014. This was absorbed by reduced program expenditure.

Financial Risk A large portion of the QL2’s budget is risk-free grant income. Our core uncontrolled risk, box office income, amounted to less than 6.5% of income.

REPORT FROM THE TREASURER

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QL2 Dance Inc • Annual Report 2015

AS TREASURER of

Core Staffing

QL2 Dance Inc • Annual Report 2015

In 2015 QL2 continued its staffing structure of two senior fulltime staff, and one longterm part time staff member at 0.7 FTE. Full provision has been made for annual and long service leave at 2016 pay rates.

Surplus At the start of 2015, QL2’s operating budget projected a breakeven result.

Operational decisions and program refinements led to significant changes to the operating budget through the year. In addition, a venue rent increase which was budgeted for was delayed until 2016, realising significant savings. We achieved a surplus of $16,428 after a surplus of $22,263 in 2014.

Statement of Financial Position Total equity of the Association increased to $211,116. This is equivalent to 37% of total revenue for the year. Net assets of the Association consist of working capital of $190,669 being the difference between current assets and current liabilities, and $20,447 in fixed capital consisting of plant and equipment and deposits paid in advance.

The cash flow statement shows only minor investment in plant and equipment for the year. Cash funds have been invested in term deposits to increase interest income earnings.

Key Financial Ratios The Board has set targets for key financial ratios. For 2015, our Current Cash Reserves (equity minus non-current assets / gross income) were 33% — up from 29% in 2014, against our target of greater than 22%. Our Current Ratio (Current Assets / Current Liabilities) was 2.1, up from 1.9 in 2014, against a greater than 1.4 target.

Outlook for 2016 The 2015 financial result, together with pre-existing reserves, has put the Association in a good position for 2016.

Audit Bellchambers Assurance fees for the 2015 audit were $5,000. The audit opinion for 2015 was an unqualified opinion.

Summary With the surplus produced this year, we have a comfortable level of reserves.

QL2 Dance Inc continues to operate in a financially prudent manner, with sufficient reserves to meet assessed risks, and ensuring artistic goals are met within financial constraints.

Barbara Hambley, Treasurer 21 April 2016

REPORT FROM THE TREASURER

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WHAT WE DO, AND WHY

“

We run innovative, challenging, diverse and rigorous dance and artist development programs for young people aged 8 to 26, with a staged progression over several years of their lives. We support young dance artists through their critical early years and as they emerge as professionals, beyond and alongside other learning they gain from universities, dance studios, and elsewhere.

For graduates and tertiary students, our reach is national. For younger dancers, our focus is on young people from Canberra and the region.

For both, we have international connections. We support dance artists who work in youth dance. We present excellent performances by young artists and emerging professionals.

We treat young people as potential artists from their first engagement with us. We bring together community and professional practice so young people can develop as artists producing provocative, high quality performances for both adult and young audiences. We provide and support an ever-changing balance of taught skills, rigorous challenge, creative practice, disciplined activity, and provocative guidance. These structures, skills and environments encourage them to look beyond athleticism and fixed aesthetics, to utilise discipline and self-control, to take risks, and to embrace complexity.

As they mature as artists and people — travelling through university courses and into professional practice — we support and challenge them to develop their own artistic vision, choreographic voice, and professional practice. These are the tools for a resilient independent life as an artist.

Our focus is on the artist, and artists lead all our programs.

WHAT WE DO, AND WHY

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QL2 Dance Inc • Annual Report 2015

Strategy summary

PURPOSE

Values: core beliefs

QL2 Dance Inc • Annual Report 2015

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Young dance artists are not only the future of dance, but a vital part of the present.

At QL2 Dance, we want young people to develop as artists and be valued. We challenge traditional pathways for the development of contemporary dance artists. We prioritise choreographic literacy, intellectual engagement, and the discipline of creative practice. We want more young people to experience personal growth through dance. We want engagement with dance to become a lifelong passion, through educated audiences and audience-aware artists.

We develop the next generation of dance-makers.

We develop the youth dance sector: people and ideas.

We empower diversity in dance and culture.

We contribute to a passionate, caring, creative community.

We believe the nascent artist in each young person should be valued and developed at an early age, so a greater diversity of excellent artists succeed. We believe that young people should develop, in parallel, both technical facility as dancers and choreographic understanding. We believe in the value of dance as an artform, and as a vehicle for personal and community development.

Artists can succeed from an early age—when supported appropriately—in both development and performance of works appreciated by audiences of all ages.

Emerging professionals need guided assistance as well as resources for autonomous action.

We want to see creative, engaged dancers, choreographers and crossartform practitioners, producing great work. These emerge through a complex brew of aptitude, attitude, early creative experiences, technical training, consistent age-appropriate challenge and support, and exposure to the creative and professional practice of older artists. They need financial support, resources, hard work, individual responsibility, self-awareness and luck. They must develop high aspirations for autonomy, self-reliance, quality, and intellectual rigour; and openness to honest self-assessment. And they often need encouragement to keep going, when external validation is rare and fleeting.

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WHAT WE DO, AND WHY

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QL2’S ARTISTIC PROGRAM has grown and matured every year, and 2015 has proven to be another great year full of exciting opportunities and rewarding projects. Even in an environment fraught with funding issues and negative perspectives nationally, dance at and around QL2 has been thriving. From our associated independent dance artists, pre-tertiary students and to our youngest participants, everyone has enjoyed making, performing and watching inspiring dance performances.

We introduced a new and exciting training program that develops skills, strength, technique, and creativity through various levels of programs for dancers from 8 years to pre-professional. Our highly qualified teachers are keen to develop the young dancers through this training model and are committed to giving the students the most current and accurate safe dance training. We run classes four nights per week and the standard of the attendees has improved considerably over the year. The classes cover contemporary, classical for contemporary dancers, stretch and conditioning and yoga. This model of training, along with our collaborative performance projects is an excellent preparation for entrance into tertiary dance courses. We encourage all our Quantum Leapers to attend performances by professional dance companies and independent projects by providing group bookings at reduced rates.

The year of the Centenary of ANZAC was the perfect time to re-imagine the awardwinning Reckless Valour on a new cohort of dancers for our major Quantum Leap season at the Canberra Playhouse. Reckless Valour was first created in 2005 for the ninetieth anniversary of the landing at Gallipoli. We invited the four original choreographers and four composers to return to rework their sections. It was affirming to note that Natalie Cursio, Rowan Marchingo, Jodie Farrugia and Fiona Malone were keen to return for this project. They are all 10 years on in their careers and very busy with their own projects. I also invited James Batchelor to choreograph a new section. This was bringing James full circle in the project, as he was the youngest dancer in the original Reckless Valour and now returned as a skilled professional choreographer. It also gave me an opportunity to focus the second act of the production on war in the present day.

We hosted six visiting dancers: from Thailand, the Philippines and Perth. They contributed beautifully to the production and bonded well with the Canberra dancers.

The whole ensemble gained enormously from developing this work through research, discussion and collaborative processes with the support of the Australian War Memorial and staff of the Department of Veterans’ Affairs.

This year’s ‘Chaos’ project All The Things attracted another wonderful group of 46 younger dancers aged 8 to 18. Some senior Quantum Leapers take a supportive role with the junior and intermediate groups. This project is a great introduction to our collaborative process and prepares the younger dancers for progression into the Quantum Leap ensemble when they reach the right age. Joshua Lowe, Alison Plevey and Jamie Winbank worked beautifully with the cast to create a full-length work in a very short but enjoyable process. The performances at Theatre 3 were a great success.

I am pleased to report that we now have three levels of mentored choreographic development projects, to cater to specific stages of choreographic exploration for young people. The newest is Giant Steps, which we created to give our intermediate dancers a taste of developing a short work with their classmates. This is an excellent preparation and confidence booster to Hot to Trot. Hot to Trot is our longest running

REPORT FROM THE ARTISTIC DIRECTOR

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QL2 Dance Inc • Annual Report 2015

REPORT FROM THE ARTISTIC DIRECTOR

QL2 Dance Inc • Annual Report 2015

project for Quantum Leapers to experience taking the lead as choreographers before they enter tertiary dance courses. In 2015 eleven choreographers presented nine short works in two performances in our QL2 Theatre. On Course is for tertiary students returning to Canberra, or those keen to participate from other states. Thirteen choreographers from seven tertiary institutions from around Australia and New Zealand made new dance, physical theatre and circus works. The program was full and varied and was received enthusiastically by two large audiences.

QL2 is committed to supporting independent dance practice through our Curated Residencies program and ongoing mentorship. Thanks to this program QL2 is a dance hub that attracts independent dance artists (mostly alumni) back to Canberra to make work or perform for others, as well as supporting those permanently residing in Canberra. In 2015 Ashlee Bye, Eliza Sanders, Jake Kuzma, Paul Jackson, Imogen Cranna, Jamie Winbank and Alison Plevey were granted Residencies. The third year of Strange Attractor brought another cohort of artists to Canberra and we are pleased to give ongoing support to this excellent initiative of Adelina Larsson, Alison Plevey and Jamie Winbank. Eliza Sanders presented a performance season of Pedal.Peddle in the QL2 Theatre and gave accompanying workshops to Quantum Leapers.

Quantum Leapers were also invited into Far Flung for the You Are Here festival, Site Effects for the Art Not Apart festival, and Dance on the Edge Dance Week performances at Belconnen Arts Centre. Quantum Leapers were also given special workshops and masterclasses with: Sydney Dance Company (special boys masterclass), Bangarra Dance Theatre (Quantum Leapers masterclass), and Eliza Sanders.

After the success of the previous year, the Tanja Liedtke Foundation offered QL2 another subsidised “Inspiring Dance” three day workshop for our senior Quantum Leapers and local independent artists. This was an opportunity to engage with Tanja’s methods, concepts and repertoire through challenging techniques and inspiring creative tasks. Kristina Chan and Amelia McQueen led the workshop. It was a very immersive experience and the dancers felt privileged to be a part of it.

The National Portrait Gallery approached me to make a short work with professional dancers to accompany the exhibition All That Fall, looking at the First World War from the home front. With returning QL2 alumni Dean Cross, Caitlin McKenzie and Gemma Dawkins we developed a work called Walking and Falling. This was very well received and I won a Canberra Critics Circle Award for the choreography. It was a wonderful opportunity to bring our talented alumni back to Canberra to make this work.

Many Quantum Leapers continue to pursue dance careers by undertaking tertiary dance training. This year one has started at VCA, and one at NAISDA. Our QL2 alumni continue to forge careers in dance in Australia and overseas. Where possible we look for opportunities to commission them to work with our newest groups.

It is an honour to direct this wonderful organisation and I must sincerely thank the staff, board, teachers, visiting artists, volunteers, sponsors and donors for their expertise, commitment and support. I am grateful for the opportunity to work with the incredible young dancers who motivate me to achieve more. None of this would be possible without the skill and dedication of our General Manager, Gary Barnes.

Ruth Osborne, Artistic Director 26 April 2016

REPORT FROM THE ARTISTIC DIRECTOR

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ARTISTIC PROGRAM

Our programs work together to deliver longitudinal development for young people, while providing multiple entry points and multiple pathways. This map reveals some of the intersections of age, stage, selection, and program.

ARTISTIC PROGRAM MAP FOR 2016–20 Longitudinal development — engagement for young people, building Australia’s future dance professionals Entry level

Chaos A 3 month project, building confidence and skills by creating a dance work with professional choreographers Training programs Weekly training for younger dancers, with emphasis on integrated creative work Licence to Move Outreach & classes, encouraging boys into expressive dance Regional Outreach Draw in regional young people by supporting artists & organisations Giant Steps Younger dancers develop & present short works.

Core development level (Quantum Leap)

Quantum Leap major project A 5 month+ project, developing a full-length contemporary dance work with professional choreographers Visiting dancer program Dancers from interstate or overseas work in a Quantum Leap project for several weeks Training Program Weekly training (Contemporary & classical technique, strength & conditioning, improvisation, yoga)

Master Classes & workshops Intensive workshops with interstate artists Still Moves Dance photography: as subject and photographer Interstate exchange & touring Selected dancers attend interstate exchanges

Leadership Development Ongoing mentoring for selected Quantum Leapers: leadership, with special emphasis on gender issues Hot to Trot Quantum Leapers develop short works for a performance season, with ongoing mentoring

Tertiary students

On Course A 2-week choreographic program for tertiary dance students, with a short performance season at the Centre

Tertiary graduates (first 2 years out)

Curated Residencies A Young artists get supported studio space for early development: experiment, test, develop, present.

Professional dancers & choreographers

Curated Residencies B Professionals dance artists develop and present new works, with process & workshops for local young dancers

Secondments Students in tertiary study work within QL2 for several weeks

Pre-Tertiary Training Program, includes targeted tertiary audition preparation Visiting dancer program including classical for Students in tertiary study contemporary dancers. including NAISDA work in a Quantum Leap project for Still Moves dance several weeks photography for dancers

Interstate & International exchange & touring Selected Australian young people work with peers and choreographers in process-based exchanges

Mentoring & guidance Ongoing advice, mentoring and support as dance careers develop Associate Artists Local dance artists work with QL2 over a year or more Teaching Local, interstate & overseas dance artists teach classes, workshops & master classes

Commissions Choreographers work in a collaborative team to develop young artists by co-creating new works The Long Arc Youth dance practitioners are supported to develop and learn

Vocational guidance Ongoing advice and mentoring to young people and their families on dance careers and training options

Ages 8–16

Ages 14 – 25

From ACT & region

From ACT & region + visiting dancers from interstate & overseas

Open access or aptitude selection

Project selection by audition for aptitude, skills, creative capacity, attitudes. Open access for classes.

Ages 18–25

Ages 21–26 Australia-wide

Selection by application

Ages 21 + From Australia & overseas

Highly selective, by application

Highly selective, by invitation

2015: the year’s program The major parts of our artistic program were: • • • • • • •

Quantum Leap major project Reckless Valour Junior “Chaos” project All the Things Hot to Trot: Quantum Leap choreographic project On Course: Tertiary dance students choreographic project Curated Residencies, Grants of Space and other projects ACT Arts Education project Training Program: classes & workshops

Quantum Leap Quantum Leap is our auditioned, elite youth dance ensemble for ages 14+. Perhaps the most visible local brand among our activities, Quantum Leap develops physical and creative skills within a company structure over several years, provides professional and community networks for young people, and supports and develops their vocational aspirations. It achieves many goals:

ARTISTIC PROGRAM

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QL2 Dance Inc • Annual Report 2015

The Big Picture

QL2 Dance Inc • Annual Report 2015

• Develop young people: as good citizens—imaginative, engaged, receptive, thoughtful, active, individual; as dance artists—by developing technical facility and creative capacity; who will understand, value and contribute to the arts — and dance in particular — as audiences, active participants, and supporters.

• Develop choreographers: in large cast work; and in working with young people across various levels of technical facility.

• Develop audiences: for dance in general, exposing new people to contemporary dance; and for youth dance, including converting adult dance audiences.

• Develop the practice of youth dance by developing choreographers • Address gender issues in dance: by encouraging girls to see themselves as creators and leaders, not just dancers; and by encouraging boys into dance, addressing their different bodies and minds • Develop our reputation and support through participants; the stories choreographers take from their experiences; through audiences, including schools; and through interstate viewers via DVD sales, online viewing and reviews.

Quantum Leap major project: “Reckless Valour” RECKLESS VALOUR WAS FIRST CREATED with Quantum Leap in 2005, as “a moving tribute to young Australians in war.” Ten years on, we looked again at the courage of ordinary people in extraordinary circumstances, contemplated what war means now to young Australians, and celebrated their power to shape the future. The Australian War Memorial was the emotional and intellectual heart of Act One: the source of influence and inspiration for the choreographic ideas. Act Two looked to the present and the future. It grappled with the consequences of war for soldiers and civilians, and how war affects refugees, migrants and cultural identity.

2005—the year that Reckless Valour was created— commemorated the 90th anniversary of the ANZAC landings on Gallipoli and the 60th anniversary of the end of the Second World War. In 2015 we re-visioned the work to not only commemorate the Anzac Centenary, but to give our new Quantum Leap ensemble the opportunity to engage in the complex issues surrounding war.

The original choreographers returned to recreate four of the sections: Fiona Malone, Natalie Cursio, Jodie Farrugia and Rowan Marchingo. They are all ten years on in their careers as experienced artists, choreo– graphers and teachers; and committed to working with young people to make original dance work with strong thematic content.

Natalie was assisted by Alice Dixon and Jodie Farrugia was assisted by Jamie Winbank. We also invited James Batchelor to create a new section. James was one of the youngest dancers in the original work, and his return brought a depth of understanding to the new dancers. I worked collaboratively with the whole ensemble through all the Sunday rehearsals to create sections of the work. This project also brought back some of the composers from Canberra, Melbourne, Sydney and Brisbane to re-work the scores —Warwick Lynch, Mark Webber, Luke Tierney, Nicholas Ng and Morgan Hickinbotham. They collaborated with the choreographers to create inspiring original music for each section. Dramaturg Paschal Daantos Berry helped re-imagine the structure.

This year’s Quantum Leap ensemble was made up of 32 young men and women aged

ARTISTIC PROGRAM

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Visiting dancers from Bangkok, the Philippines and Perth joined us for the last month of the project. Our Visiting Dancer Program has been operating over 12 years and gives our Canberra dancers an opportunity to broaden their view of dance and dancers and build networks, and enables QL2 to forge national and international partnerships.

All the dancers collaborated in the creative process: contributing ideas, movement and personal stories based on their research at the AWM and with staff from the Department of Veterans Affairs.

They came together as an enthusiastic and hard working team.

The introductory film was part of the original work. Through our longstanding partnership with WildBear Entertainment (formerly Bearcage Productions), ten dancers were part of the making of this professional dance film, on location at the Memorial. It acknowledged the creative contribution of the original Reckless Valour ensemble to this project.

Through funding from a special Anzac Centenary Local Grant, we were able to produce an excellent education resource to accompany our two schools matinees. One of these matinees was sold out. This gave the dancers great encouragement with their peer group and progressed our positive association with schools.

Reckless Valour was a very successful collaboration between choreographers, composers, film-makers, dancers, dramaturg and the production team.

Ruth Osborne, Artistic Director Choreographer Jodie Farrugia “I enjoyed the collaboration with Ruth as the Artistic Director on a different level to what I experienced 10 years ago. I have moved on in my creative practice over the past 10 years as all artists do. I have fond memories of working with Ruth and the company at the emerging part of my pathway as a choreographer, it was wonderful to now return to QL2 as an Artistic Director of another Australian youth performance company, to have time to reflect on my early stage of my practice and continue to be mentored and learn from Ruth in her position at Ql2.

It was wonderful to collaborate with Jamie Winbank as the rehearsal director of the work, he did a great job to bring the work back to life in my absence, he did this so respectfully of the original vision and was responsive to the new ideas for the work.

The new ensemble was a pleasure to work with: although they had varied skill level, they all embraced what is complex and mature content in this work. It was also so refreshing to work with an ensemble of young people brave to tackle such emotional and conceptual ideas.

I believe works like Reckless Valour are so important for young people to be involved in, working with a professional team tackling content that is meaningful and as relevant now as it was ten years ago. It is a sign that creative practice of any kind is an accessible an important tool for young people in our society to be part of, not just to evolve the next generation of dance artists but developing a generation of audience for contemporary performance. …It was a reflective experience for me walking back into the studio and theatre at Ql2 that was a starting point of my career, it felt like coming back to a kind of creative home that was equally confronting and comforting at the same time, 10 years later.”

ARTISTIC PROGRAM

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QL2 Dance Inc • Annual Report 2015

from 14 to 22: a similar age to most soldiers in the First World War. They came from varied backgrounds, around Canberra and from regional areas.

QL2 Dance Inc • Annual Report 2015

Choreographer Natalie Cursio assisted by Alice Dixon Natalie: “The performers in this version of ‘Lest We Forget’ were highly motivated and worked hard. They also supported each other and communicated well as a team. I generally find the dancers in Quantum Leap to be quite easy to work with as they all have a strong sense of purpose and dedication, respecting each other’s individual skills and learning styles.

I … very much appreciated QL2’s openness to allowing me to have Alice Dixon as an assistant. This not only provided some continuity for the dancers when I left but also gave me a rehearsal director - assisting me greatly in the speed of re-choreographing and tightening the work and acting as an important sounding board so that decisions could be made quickly.

I generally found the logistics of the project very clear and well organised. It was strange for me to re-mount a piece created 10 years ago as I feel I work very differently now and am interested in different ideas, but on the other hand it was quite satisfying to be able to (I believe) make ‘Lest We Forget’ stronger and more succinct.”

Alice: “all dancers were enthusiastic and responded well to the particular tasks we set them. Some dancers were more technically capable and sophisticated in their approach to choreography than others however this did not diminish the work. As an ensemble they worked extremely well together. It was a wonderful experience for me to work with a group of young people who were so passionate about dance and choreography and I would relish the opportunity to work with the company again. …

As a dance artist who creates either solo work or work on a small number of dancers, my experience with QL2 extended my practice in that I was able to look at the construction of movement on a larger ensemble of performers.”

Choreographer Rowan Marchingo “…I enjoyed working with the dancers very much. I found them to be a spirited bunch, each with their own particular talent and presence. There is something wonderful watching a young body dance – young bodies are so raw and the idiosyncrasies of the dancers personality shines through particularly strong. I found that my challenge with the dancers for this particular remount was more about harnessing these idiosyncrasies, helping them to embody the movement and find the best way for them to inhabit it. We achieved this in varying degrees of success. Particularly with the new section the work demanded a strong ability to perform, to no only execute the movement but also carry the sentiment.

I feel immensely proud of everything I’ve done at QL2 over the years, and it fills me with joy to see so many of the dancers I interacted with go on to success careers. QL2 is an invaluable institution and an asset to the Australian dance landscape.

Thanks for inviting me back again.”

Choreographer Fiona Malone “I felt privileged to have an opportunity to not only work with QL2 again but to also re-work my small section ‘The Roll of Honour’. It is rare that an artist has the chance to review the work they created 10 years earlier and re-work it.

This bunch of young, creative, talented and dedicated dancers was an inspiration to work with. They were

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These are a special bunch of dancers who are being exposed to many different creative processes which gives them a great openness to explore in whichever way they are guided.

They are all being encouraged to be `thinkers’ as well as dancers and performers, they are open to each other’s differences.

Many thanks to Ruth, Gary and all the team for inviting me, assisting me and making me feel supported as I redeveloped the work.”

Choreographer James Batchelor “I was a performer in the original Reckless Valour in 2005 and so this was a particularly special opportunity to revisit the work as a choreographer and make a new contribution to the program. For younger and less experienced dancers I focused on providing tools to increase their confidence in improvisation and awareness of the infinite possibilities in their movement. With more experienced dancers, I worked on developing greater complexity and specificity as well as giving them opportunities to guide their peers in small and focused groups.

Complimenting this individual material, we also developed ensemble skills with unison phrases and complex rhythmic work. It was interesting to note that some dancers were more comfortable performing this type of material while others excelled in improvisation.

However, by the end of the process I was extremely impressed by the significant improvement of the dancers across the board I had the pleasure of joining the team for production week at the Playhouse. This enabled me to assist the dancers specifically in developing their performance skills and how they could continue to explore and progress their roles over the length of the season. We also had an opportunity to discuss career pathways and options in dance, which a number of the dancers have expressed an interest in.

Thankyou for the opportunity to create ‘Road to Nowhere’; it allowed me as a choreographer to refine and communicate my creative process and help develop the next generation of intelligent and talented contemporary dancers.”

Participants “…QL2 Reckless valour is an eye opening, thought provoking and inspirational piece that I am proud to a part of.” “… an amazing experience … I had never done contemporary dance but QL2 has given me amazing opportunities and I love being part of the community.” “…it has been a very different and wonderful experience. I loved creating work with other

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young artists that are so passionate and dedicated.” “has given me new insights into the creative process of dance and how choreographers and dancers work together to create a piece. It feels good to create a piece that is our own and that explores an important part of our history.”

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QL2 Dance Inc • Annual Report 2015

highly disciplined and dedicated to the work. They communicated well with each other and worked as a team. It was wonderful to see such a young group with these qualities. They really put all their energy into the work. I got a real sense they wanted to honour the work.

And they did! They shone! The entire experience was a great one. I was deeply touched by the dedication of the dancers, the opportunity to re-work one of my old pieces, and to reconnect with the staff , Canberra and QL2 after so many years.

QL2 Dance Inc • Annual Report 2015

“This is the second time I have been involved with QL2 — the first was when QL2 came to work in Thailand. This project helped me to grow up and understand more. I am very grateful to have the opportunity to come to work here.”

“Being able to use physical theatre and contemporary dance combined with my footy

training has helped create powerful choreography with the boys.”

“It has helped me form my own opinions about war and broadened my mind. All choreographers and dancers involved have brought so much emotion and dedication to every rehearsal and performance that it’s been incredible.”

Reviews We attracted reviews and commentary on-line, on radio and in print media, from various points of view and with various degrees of depth. A selection follows. “…Reckless Valour remains a tribute to the men and women who have served in war zones, and who have suffered as a result of that service, and throughout the performance there are many reasons to reflect on the effects of war. … Jodie Farrugia 's segment ‘Pool of Reflection’ stood out for its fluidity, some strong moments of unison work, and some exceptionally acrobatic moves. … The dancers all performed with their usual passion and commitment.”

Michelle Potter, Sydney Morning Herald “…tight in execution… energy, strength, and grace surprising in dancers so young.”

John P. Harvey, Stage Whispers “…a thoughtful, affecting and, at times, deeply moving dance theatre work … an eloquent exploration of our attitudes to war and a compelling example of the use of dance to illuminate difficult themes. It is also a shining example of what can be achieved through youth dance and why QL2 Dance is regarded as a leader in this field, not only in Australia but internationally.”

Bill Stephens, CityNews “moving and engaging. It impressed with its high production values, innovative choreography, and versatile and athletic dancing! …”

Zoe Pleasants , BMA Magazine Soft Landing Soft Landing has been a professional development program for recent dance graduates, addressing gaps and attitudes which inhibit these emerging young dance artists from achieving their potential in dance. They are challenged to consider how they will make their way in a dance ecology where full-time paid work is scarce, and an increasing number of dancers and choreographers are building a creative life from self-initiated projects.

In 2015, we had to reschedule around the availability of the project leaders, Amelia McQueen and Natalie Abbot. Despite many expressions of interest, and a lot of positive talk, we did not receive enough excellent applications: somewhat reluctantly, we decided not to go ahead with Soft Landing in this form for 2015. We are committed to continuing to support recent graduates in their transition from tertiary student to emerging artist as part of the bigger picture in our programs.

We are continuing our dialogue with organisers of the tertiary dance courses as well as organisations that are keen to offer us performing opportunities within the program.

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Have everything!

Do everything!

Be everything!

But what do

I really want ???

ALL THE THINGS

Presented by QL2 Dance 16 & 17 October Theatre 3, Acton QL2.org.au

The annual “Chaos” project for ages 8–17 is an important entry point into QL2 programs. We work at the juncture of community arts and professional dance practice in this age group: facilitating participation and access, while also developing artistic rigour and a skill base. We regard young people, even at this age, as individual nascent or developing artists, capable of excellence in creation and performance. In the project, they form a cohesive group, a temporary community with lasting benefits.

The 44 dancers worked with choreographers Joshua Lowe, Alison Plevey, Jamie Winbank and Artistic Director Ruth Osborne. Joshua is new to QL2 projects but is very involved in youth dance companies in Hobart and Melbourne. His experience and obvious love for young people was clear in the excellent sections he created with them.

The project was successful on many levels. With the expansion of QL2’s training program, many more of the Chaos dancers were in the training program. This assisted a generally higher skill standard within the project. The dancers were exemplary in their behaviour, commitment and performance level. They bonded beautifully, and there was a positive and creative energy throughout the project. The large and appreciative audiences were very impressed with the standard and maturity of the dancers. Attendances were at 88% of capacity across the three shows, with the last show full. This is four percentage points better than the similar project in 2014.

Choreographer Alison Plevey “[it can be challenging] creating a full work in such a short time frame, with many participants of many abilities. But this in a sense is also its strength, with astounding physical, social and emotional benefits for the individual participants from many backgrounds and geographies, which has flow on effects to the wider communities.

The role modelling aspect here is also incredibly valuable and makes the project extend beyond what would ordinarily be possible working with a particular age or ability. It encourages all involved to value difference and inclusivity and that everyone has something interesting to bring to the table.

I was very satisfied with the final outcome of the performance. It spoke to important ideas and the young dancers shone with professionalism and collaborative spirit. Audience were abuzz in watching this work, a subject we can all connect with that had many layers and dimensions. ‘All the things’ was an incredibly fun, energised and creatively challenging process for the choreographic team and for the young participants.

The theme 'things', how much, what things, wants and needs was such a brilliant way to engage young people in ideas and issues of social, moral, environmental, economical challenges we face today. They all engaged with the subject with such maturity. The educational value achieved here, alongside creative and collaborative growth is what makes the Chaos project invaluable.

I thank QL2 for again having me on board for this fantastic project, that kick goals and lights up faces on so many levels.”

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QL2 Dance Inc • Annual Report 2015

Chaos project: “All the things”

QL2 Dance Inc • Annual Report 2015

Choreographer Jamie Winbank “As my second experience of choreographing for this age group, I felt a sense of more responsibility towards creating a safe environment for the young participants, allowing free speech and exploration throughout the rehearsal period. With guidance from Ruth, and the other choreographers I aimed to create a space where young people became young artists, where their ideas, thoughts and suggestions were heard and appreciated. I love working on the chaos project, it nourishes my creative soul working with these amazing young artists. . . I did however, aim to challenge the notion of what the junior piece could be – I tried to push the choreographic boundaries and expectations of the group, as they were an advanced younger group. I’m not sure that this proved successful from an outcome basis of performance, but from the young artists’ eyes they experienced a different form of working and choreographic tasks.

Working alongside with Alison Plevey and Josh Lowe was refreshing, particularly working with Josh… Alison’s high artistic expectations and work ethic proved in the outcome of her pieces, the intermediates particularly developing one of the strongest pieces of the work.”

Reviews “The dancers did not appear to be graded by age, and several of the works featured younger dancers sharing the stage comfortably with their more senior colleagues.

Particularly impressive, considering the relatively short rehearsal period, was the polish and precision achieved in various sections as well as the enthusiasm and confidence with which the young dancers took to the stage, managing to maintain clean lines and spacings while performing often complex choreographic manoeuvres. … a dance program which was entirely engrossing from beginning to end..”

Bill Stephens, Canberra Critics Circle “perhaps the most interesting moments [came from Alison Plevey’s] ‘girly’ piece about shopping, ‘Material Matters’, and Joshua Lowe’s male-oriented ‘INeed’ about ‘needing’ technological devices in one’s life. … But the great thing about this annual event is the experience it gives these young dancers. James Batchelor (independent), Daniel Riley (Bangarra Dance Theatre) and Sam Young-Wright (Sydney Dance Company) are just three current professionals who had early dance experiences with Quantum Leap.”

Michelle Potter, michellepotter.org “the kind of chaos that is inspirational and exciting as well as a display of the enthusiasm Artistic Director Ruth Osborne engenders … They are fit, young and disciplined with a view to the future whether in the acclaimed Quantum Leap dance ensemble or extending their opportunities nationally and internationally … their influence demonstrated forward thinking in their art and ability. Who’d have thought … that social issues could be dealt with so well by these young performers.”

Lyn Mills, Social Capital

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The show gave a rather sobering view of the stress we’ve placed on ourselves and the mind-numbing acceptance of marketing. It seems an overwhelming future for, in particular, young children and teens growing up in this environment. But that said, the production of “All The Things” was presented in an uplifting, entertaining and professional production, thoroughly enjoyed by the cast and audience.

Samara Purnell, CityNews “Giant Steps” — choreographic project for young dancers Our activities include those where the individual creative voice of each young person is paramount. This starts in their earliest classes, which include structured improvisation and creative work. We then have a choreographic project for young dancers: Giant Steps. In this, dancers make a proposal for a very short piece, and receive guidance in developing and structuring it. The emphasis is on development of ideas, rather than ‘steps to music’. This gives the younger dancers in our Intermediate Program a creative and performative opportunity in the first half of the year. These pieces were then shown to friends and family, in a casual environment. The dancers (and parents) were very keen and enthusiastically embraced the opportunity.

Giant Steps was very successful, with 12 dancers aged 10–15 presenting their own works. Alison Plevey assisted Ruth in mentoring the dancers. The showing was well attended by families and guests. This provided a very useful marker of their progress in class, and we believe it will lead to more confident auditions for the Chaos project.

It was a great introduction to choreography, encouraging the younger and less experienced dancers confidence to take the role of choreographer, and it should lead to a smooth transition into the more complex Hot to Trot project.

“Hot To Trot” – Quantum Leapers as choreographers The next step is Hot to Trot, for dancers aged 15–18 who have experienced choreographic collaboration with professionals in our Quantum Leap projects. Selection was based on quality of proposals they make, and we organised dancers to work with them over 18 hours of development, with mentoring and guidance from the AD. It builds their skills, while they experience the responsibility of being the choreographer of a group, in a mentored environment. It gives those headed to university an added advantage when commencing composition studies.

Important developmental outcomes include: §

Identifying and elucidating concept, production ideas, scheduling;

§

Group leadership;

§

Writing program notes and biographies;

§

Exploring, problem-solving, decision-making, refining and analysing;

§

Introducing their work to an audience, speaking in a forum.

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QL2 Dance Inc • Annual Report 2015

“What was uplifting about the production was the obvious energy, enthusiasm and dedication of the dancers and the passion of the choreographers. …Plevey’s “Material Girl” inspired piece was upbeat, visually well-organised, subtly ironic and kept the serious messages portrayed in a light-hearted manner. The dancers’ expressiveness was impressive throughout the performance and the girls did a lovely job with Plevey’s choreography.…

QL2 Dance Inc • Annual Report 2015

This year’s project had nine choreographers and 20 dancers participating. One dance film was also screened. The project started with a Choreographic Development workshop to give the choreographers and dancers some creative tools. This year we invited a Laban trained choreologist and independent artist, Debora Di Centa to take the workshop. Melbourne independent dance artist and QL2 alumnus, Ashlee Bye assisted Ruth with mentorship of the groups.

There is a growing interest and enthusiasm from Quantum Leapers wanting to expand their choreographic experience. Only one of the choreographers had previous choreographic experience but the works produced were of a very good standard.

The feedback from audience members expressed surprise at the depth of thematic content and maturity of performance. The two performances were both well attended, averaging 99% of capacity; the Sunday was sold out and we had to turn away a number of people. 90% of the audience stayed for the post-show Q&A. Reviews “…Although a polished product is expected, and the choreographic choices and execution is limited by the ability and experience of the young participants, it’s the process that is important, and the results are often startling in their originality and sophistication.

This year the choreographers were inspired by some unlikely topics like atomic forces, fractals, meditation and the refraction of light. How well their works realised these inspirations provided a fascinating program of 10 original dance works. … given the limited time available to each choreographer to prepare and rehearse their piece, the standard reached in the execution of the works was impressive..”

Bill Stephens, CityNews “The imagination displayed by these young people and their ability to realize it in terms of dance is quite exhilarating. Every item in the program was enjoyable and well done.

The outstanding item … was ‘Ember’, co-choreographed and performed by Ruby Ballantyne and Milly Vanzwol. It looked at different ways light can refract, reflect and absorb and how that corresponds with human relations. Dreamlike in its execution, the two dancers worked very well together in this imaginative piece.…a very entertaining evening of dance.”

Len Power, Artsound FM “On Course” — tertiary students present short works On Course is for young artists in tertiary dance study, to build and display the choreographic and performative skills they are developing. It is similar in structure to Hot to Trot, but took place over an intensive two weeks at the end of the year. Again selected based on artistic proposals, the artists created new work or revisited pieces created at uni.

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This is a non-competitive, non-assessing environment. It keeps Quantum Leapers connected to QL2 and to Canberra throughout their training and entry into the profession, and helps all participants to have a broad perspective of the national dance landscape.

The project continues to evolve each year — in 2015 we added a choreographers’ midproject catch up and a debrief on the last day.

On Course 2015 started with an orientation meeting and a choreographic development workshop with Adelina Larsson. Adelina, returning from Perth, was also the main mentor. 13 choreographers from seven national and international institutions presented works: Victorian College of the Arts (VCA), Western Australian Academy of Performing Arts (WAAPA), Adelaide College of the Arts (AC Arts), Queensland University of Technology (QUT), New Zealand School of Dance (NZSD), National Institute of Circus Arts (NICA) and University of NSW. They were made up of six returning Quantum Leapers, one returning On Course choreographer from last year, and six new to On Course. One returning Quantum Leaper and one returning On Course dancer participated as dancers only. We also had 13 current Quantum Leap dancers work in two pieces each, which gave them a wonderful opportunity to see close range the technical and intellectual level required to take on a full time course.

The choreographers created a varied and strong program. Audiences were very appreciative, and we achieved 90% capacity.

Reviews ‘… an eclectic mix of creativity in contemporary dance … what a formidable range of talent they presented as choreographers and dancers bringing unique opportunities to the current family of Quantum Leapers who worked with and must have learned so much from this extended family of talent. … what they did was extraordinary, thoughtful and entertaining. …This company is a Canberra treasure, training and supporting so many young dancers with the passion and enthusiasm to make the many aspects of dance their career. … another memorable showcase among the many in the QL2 Dance repertoire.

Lyn Mills, Social Capital “Jordan Bretherton’s ‘Defining Water’ was stunningly clear in intent from the very beginning. A physical piece relating emotions to the ebb and flow of water, it was nicely realized and beautifully danced as well. Amanda Lee’s solo dance, ‘You don’t have to pretend; You don’t need to pretend’, showcased her excellent gymnastic skills as well as her strong dance skills. … A delightfully witty work, ‘All The Authors of Meaning’, by Maddy Towler-Lovell, explored the difficulty in understanding what an artist means. It was funny, very precise in its movement and timing and very well danced.

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QL2 Dance Inc • Annual Report 2015

Each choreographer worked with dancers from other courses and other cities; and presented in a paid public season.

Ryan Douglas Stone showed especially strong skills in creating atmosphere … A sense of danger and the threat of violence pervaded this work and there was excellent use of lighting and sound to complement the action.

QL2 Dance Inc • Annual Report 2015

This was a particularly strong program of imaginative, skilful and entertaining dance works.”

Len Power, ArtsSoundFM “Perhaps the most ambitious work of the evening was by another former Quantum Leaper, now studying at the Victorian College of the Arts, Oonagh Slater. For her work, ‘Petal by Petal; They Would Open Up Unfolding’, Slater created the setting, costumes and soundscape, and made imaginative use of the studio windows, spoken word and bird sounds, to create a moody, abstract work for four dancers exploring vulnerability. …the choreographers and dancers all assembled and participated in an enlightening Q&A, during which audience members enthusiastically questioned the participants about their creations, and the process.”

Bill Stephens, Canberra Critics Circle Training program Dancers need to develop and maintain dance skills alongside creative development.

Our weekly classes for ages 8+ build dance technique, strength, alignment, fitness, choreographic awareness, creative capacity, confidence and stylistic variety. Where possible, we work with students of commercial dance schools, to enable them to stay with their school but also receive additional training in other areas.

Kylie Hunter worked extensively with Ruth Osborne to develop a new and extended training program for 2015 to increase the number of classes, and connect content between levels. We redesigned our classes offerings as ‘programs’ of classes targeted at each age and stage, rather than offering single classes for people to mix and match. Each program is made up of 1–6 weekly classes, chosen from five levels of contemporary, four levels of classical for contemporary dancers, two levels of stretch and conditioning, yoga for dancers, plus an introductory boys class. This also means our dancers don’t have to access classical classes in outside dance studios, which has become increasingly difficult.

Pre-Tertiary Senior program 6 classes/week (ages 15–20). A challenging and complete program, for dancers wanting to audition for university dance courses.

Senior program 4 or 5 classes/week (ages 14–20). An exciting and challenging program for

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more advanced dancers who aim to be in our Quantum Leap projects.

Intermediate program 3 classes/week (ages 11-16). For dancers with some contemporary dance experience, or excellence in other forms. Builds skills, strength, fitness and choreographic awareness.

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2 classes/week (ages 8–16. For committed dancers who want to audition for our junior project.

Stand-alone junior classes For those who could only do one class, we also offered stand-alone classes.

Licence to Move: an outreach program for younger boys in a masculine dance environment that emphasises creativity over competition. Beginners contemporary: emphasising movement and fun, for a gentle contemporary introduction.

The new classes programs were very successful in developing skills and a sense of progress in each dancer; we also increased total numbers of participants, hours of classes per participant, and net income from classes.

Our teachers are practicing dance artists and trained educators, plus visiting guest teachers when visiting companies and independents are in town.

‘Inspiring Dance’ Tanja Liedtke Foundation workshop For a second year, the Tanja Liedtke Foundation invited QL2 to host a workshop in their ‘Inspiring Dance’ model supported financially by a donation from the Tanja Liedtke Endowment. Presented by Kristina Chan and Amelia McQueen, this workshop was another wonderful opportunity for the 20 QL2 dancers who participated. It was such a luxury to have the time to be immersed in a creative practice that doesn’t need to produce a product. The dancers threw themselves into each task with trust and maturity. As in previous years, Kristina and Amelia were very impressed with the Quantum Leapers' commitment. The documentary ‘Life in Movement’ was screened during an extended lunch break on the 2nd day. This gave relevance to the workshop demonstrating Tanja’s passion, drive and creative genius.

Caroline de Wan: “It was a truly incredible experience … After the three days I was left with a sense of fulfilment and renewed vigour to experiment and create.”

Nasim Patel: “What we have learnt in a very short 3 days is certainly applicable to many aspects of life, as well as just dance. I now look towards future opportunities with a sense of eager anticipation.”

Bangarra workshop — alumni return Whilst in Canberra for their annual season at Canberra Theatre, Bangarra Dance Theatre offered QL2 a workshop with four of their dancers — the only workshop offered in Canberra. Thirty of our dancers participated and had a wonderful time. Luke Currie-Richardson was one of the teachers, and he gave a well timed speech about how he started his journey in contemporary dance with Quantum Leap. We took a group of almost 50 to their performance, and the Bangarra dancers met the Quantum Leapers after the show. The cast included Kyle Shilling and Rika Hamaguchi, who were visiting dancers from NAISDA in our 2013 production Hit the floor together.

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QL2 Dance Inc • Annual Report 2015

Junior program

QL2 Dance Inc • Annual Report 2015

Sydney Dance Company workshops — alumni return QL2 alum Sam Young-Wright was a full-time member of Sydney Dance Company in 2015, with a strong leading role.

Nine QL2 dancers along with 11 other Canberra dancers attended an advanced technical masterclass on stage with Rehearsal Director Chris Aubrey, who did a secondment with us many years ago.

SDC also gave a special workshop only for boys at QL2, taught by Thomas Bradley. 12 boys attended, and gained enormously from this role modelling and detailed training.

Curated Residencies and Grants of Space We have an extensive residency program, made possible by our management of the studio and theatre spaces at Gorman Arts Centre and our long history and deep understanding of independent dance practice. This reinforces our role as a dance hub for Canberra, and maximises interaction among age cohorts. Residencies mostly utilise times that are otherwise unused — particularly low-demand times early in the day on weekdays, and late at night. This has enabled us to make maximum use of the spaces for dance across all our target groups.

Characterised as either “Curated Residency” or “Grant of Space”, they support independent dance artists and independent projects of our participants. We recognise that a “residency” consisting of just a key to the door, while useful, is just the start of what we can and should do. Without specific funding, we are unable to offer direct financial support. But, without charge, we provide studio and theatre space, mentorship and professional advice, referrals, administration support, administration and meting space, internet and printing, technical equipment and support, a welcoming and supportive atmosphere, and a willing ear. Curated Residencies are subject to a low-bureaucracy application process, and are selected and overseen by our Artistic Director. Some very short requests, or additional space for previous Residency projects or recipients, are treated as simply “Grants of Space”.

Both Curated Residencies and Grants of Space enable other QL2 participants to benefit from emerging, mid-career and mature local and visiting dance professionals; and also provide younger artists — including those in our entry-level programs — to be supported in their individual creative endeavours.

Our first priority is for dance or theatre projects that will directly benefit young people.

Associate Artists of QL2 receive support to pursue their own work as part of their engagement.

Our selection criteria in 2015 were for projects: 1.

2.

3.

4.

5.

Which directly involve young people in their process Which develop youth dance practice From alumni: Quantum Leapers, participants in On Course and Soft Landing From Associate Artists Which involve mentoring or guidance by QL2 staff or Associate Artists

We received many applications for support within these guidelines, and were able to assist most. Other projects some positive contribution towards our goals were considered for a partial subsidy of hire costs. We were particularly pleased to support Associate Artist and alum Alison Plevey in a number of projects across the year.

Reports on a selection of the Curated Residencies and Grants of Space in 2015 follow.

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Courtney Scheu (Brisbane based) and Ashlee (Melbourne based) are both QL2 alumni. They received a Curated Residency to re-develop and rehearse the work Far Flung for the 2015 You Are Here festival, engaging local dancers as co-creators and performers.

The work was about long-distance communication as helped and hindered by technology, and was an experimental blend of dance and live-video installation.

They worked with four dancers from QL2’s Quantum Leap ensemble—Maddy Towler-Lovell, Nasim Patel, Jason Pearce and Ursula Taylor—in what was a very swift creative development and rehearsal process. Due to injury, Courtney was not able to come to Canberra for this period, although she did phone-in to rehearsals.

Ashlee Bye: “The odds seemed stacked against us as we endeavoured to produce a dance work that involves 3 (simultaneous) performance venues, 10 different electronic devices equipped for video communication, 4 tin cans and 2 pieces of string.

I take my figurative hat off to the Quantum Leapers who threw themselves into this challenging project and its crazy rehearsal process. In a very short space of time they grasped the concept of the project and created new sections that are entirely based on their personal experiences of long distance and digital communication. It is always a privilege to be welcomed back to QL2 for opportunities to continue my dance practice and to rehearse for performances. The generosity and support of QL2 has been a major contributing factor when it comes to bringing my projects such as Far Flung to fruition, and I look forward to future opportunities to work at or collaborate with QL2.”

Curated Residency—Alison Plevey: ‘Work It’ Associate Artist Alison Plevey was granted a three week Curated Residency to work with Lingua Franca Dance Theatre and collaborators Caitlin Welch and Yohan Strauss, to develop a new multimedia and site specific dance work entitled Work it. “…a project combining all that inspires me and motivates me to make and perform work. What is the business that we do and why do we do it? The project, supported by artACT project funding, QL2 Dance and the two presenting festivals involved a collaboration with a new combination of incredible artists, including Cinematographer/video mixer Caitlin Welch, Audio Design/sound mix Yohan Iddawela, and Dramaturgy by my Lingua Franca Co Director Adam Deusien.

Residency at QL2 Dance enabled a valuable home base for the project to flourish, where activities beyond dance, such as film editing and collaborative discussion could take place across a three week period. Ruth Osborne stepped in on creative development rehearsals in the final stages, providing valuable feedback.

Performances at the Art Not Apart and You Are Here festivals proved very successful and accessible for general audiences and demonstrated the value of dedicated development time to make quality cross disciplinary work in these environments.”

Curated Residency—Alison Plevey: ‘Awakening the Dance’ Alison was commissioned by the Canberra Centre to create new work in response to The Dance by Ben Shine. In addition to paid use of space for the project, she received

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QL2 Dance Inc • Annual Report 2015

Curated Residency—Courtney Scheu & Ashlee Bye: “Far Flung”

QL2 Dance Inc • Annual Report 2015

a three day Grant of Space from QL2 to allow further development of the ideas. Alison worked with WAAPA graduate Jessica Ausserlechner in this process. “…a valued space from which to test and develop content and ideas, rehearse and refine the performance, developed my own skills to craft and create a commissioned work— one that I would not usually make or seek to make, but which enabled valued employment for artists. It also enabled me to grow an important collaborative relationship with Jessica.”

Curated Residency—Alison Plevey & Melinda Smith In preparation for a performance at The Front Gallery and Café, Alison used a short Grant of Space for creative development with award winning poet, Melinda Smith.

“We developed a 30 minute set of dance and poetry integrated performance from new and pre-existing works. This has ignited a beautiful and strong collaboration across art forms, one which has sparked an ongoing friendship and creative involvement. Space at QL2 enabled dedicated time to invest in this relationship, take time to test and experiment, and lay a foundation for solid cross disciplinary practice.”

Curated Residency—Alison Plevey: Dancing with Drones In preparation for performance of Dancing with Drones at Liveworks Carriageworks, Alison used a Grant of Space to rehearse solo, with a projector, this piece involving video artists Starrs and Cmielewski.

“QL2 enabled adequate preparation time to re-rehearse and develop the work, in sync with projection images in focussed space. I shared the developing piece with QL2 dancers (senior class) from which we discussed their responses. This process vastly increased my confidence going into this performance.”

Curated Residency—Adelina Larsson, Jamie Winbank, Alison Plevey: Strange Attractor Supported by QL2, these three local independent artists were the driving force and coordinators of the first Strange Attractor in 2013: a choreographic development platform for professional independent dance artists and performance makers based in or connected to Canberra and the ACT. In 2014 they received a Curated Residency from QL2 for Strange Attractor 2014 across the full eight days of the project; as well as mentoring, office support, technical support, and advice.

In 2015 the project ‘Strange Attractor: the space in the middle’ was a partnership between the Strange Attractor team, QL2 Dance, Ainslie and Gorman Arts Centres, and ACT; run as a project of Ausdance, who received ACT Government funding earmarked for the project.

The Strange Attractor team received a Curated Residency from QL2 for the project.

The project ran 21-28 June, engaging artists Alison Plevey, Amelia McQueen, Janine Proost, Olivia Fyfe and Laura Boynes; guided, poked and provoked by Margie Medlin, former Critical Path Director.

As a provocateur, mentor and workshop leader she provided a critical eye for the participants in the studio and open sharing sessions which concluded the week long residency.

The project was one that involved rigorous development of creative process, honing the individual artistic voice and an exploration of new and experimental ideas. This time proved vital for artists to push their interests and the form, develop collaborative connections and expose audiences to their practice.

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Two public showings were held, enabling direct dialogue and feedback fuelling ongoing developments whilst generating audience appreciation and understanding of contemporary dance processes. Artists struck up or continued to develop strong ties and collaborative relationships, as well as providing a recurring link to Canberra, evolving a practice here.

Alison Plevey: “The project was successful because of the generous support and allocation of resources from QL2, and may not have run otherwise. QL2 staff were supportive and flexible allowing us the separation to focus on the project. Staff and venues provided a great environment for the artists to work, in a space that is active with youth dance activity and choreographic history. The flexibility in access to studio and theatre spaces in creative development, audience feedback processed was invaluable. The QL2 theatre, studio and foyer spaces were utilised throughout the project. These spaces enabled meeting points and research areas as well as 'dance' spaces, with wifi access for all artists supplied by QL2.”

Alison Plevey: “Strange Attractor promotes a rigour around how and why we make art and in particular the use of our material to do so — the body. The space in the middle, at times was a challenging space, an inspired space, a busy space, a stuck space, a collective space, but always an excited and motivating space. I am ever curious about the making, how I enter this process and learning from others around me over the week was enriching to my work. The process enabled incredible research and testing time.”

Curated Residency—Paul Jackson: ‘World of Payne’ Paul was given a Curated Residency at QL2 to work on ‘World of Payne,’ a solo dance performance for the You Are Here festival. Paul is an ex-Quantum Leaper, and On Course participant.

“During my Residency I transformed an idea in its infancy into a 15 minute solo dance work that was performance ready. While there I also received mentoring and advice from Ruth Osborne, and the opportunity to teach one of the QL2 dance classes for a little extra money and experience. Typically, rehearsal space— especially of good quality and of a good price—is hard to come by.

The residency was invaluable in the creation of this significant project, and a new leap for my contemporary dance practice. It allowed me to push my dance practice to new areas and challenge myself.”

Curated Residency—Imogen Cranna: WiTNESS Multi-disciplinary artist Imogen Cranna was given a Curated Residency to investigate an interactive system to aid in the performance of authentic movement using a topographic camera.

We assisted her in recruiting several Quantum Leapers.

“I am fascinated by the organic way in which movement is generated when someone is dancing in an authentic state with their eyes closed. I

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QL2 Dance Inc • Annual Report 2015

In April, applicants from Canberra or with strong connection to Canberra were encouraged to apply. The selected artists undertook discussion, dialogue, critical feedback, dance classes, choreographic development, showing, documentation of process, public showing and performance, audience engagement and feedback, artistic debrief and project evaluation.

QL2 Dance Inc • Annual Report 2015

have wondered whether it is possible to enable an authentic movement session to become more than a warmup, creative task or therapeutic exercise. I came up with the concept of using a topographic camera that would constantly monitor the space, and then create a barrier of sound. From that arises an important question; if the computer is in control of the allotted dance space, will it remain ambivalent or turn into a manipulative, micromanaging witness?

It was such a pleasure to have the opportunity to work with Quantum Leaper Caroline De Wan during this residency. Caroline was extremely patient as I tapped away at the computer, trying to get the program to behave in the way I wanted it to, and I would never have got as far as I did without her help. The fact that Caroline felt as if she could be more true to her dance in connection with Isadora than with a human witness, (as the human witness felt more like an audience to her), was fantastic feedback. I would also like to thank Quantum Leapers Luke, Nasim and Caspar for exploring WiTNESS in the final hours of the residency, as the feedback I received confirmed and built on my own experience in the system.

This has been an incredible week of testing, creating and movement. A huge thankyou to everyone at QL2 for your generosity and support in making this happen!”

Curated Residency—Eliza Sanders: Pedal.Peddle.

Quantum Leaper and now graduate of New Zealand School of Dance, Eliza Sanders used a Curated Residency to remount Pedal.Peddle, a full length work she made and first performed in Wellington NZ. She also ran a full day specialised workshop for Quantum Leap dancers, exploring “how topics that have been abstracted to become absurd can generate material with a sense of clarity in ambiguity.”

Eliza Sanders: “I was ecstatic to have four wonderful dancers rock up to take a class with me … they did more than take my mind off my stress in producing Pedal.Peddle, they restored my faith in the show. Their enthusiasm reminded me why I love moving and telling stories and reminded me of all the hard work and thought I had put into the show before the Wellington season. … I hope they learned half as much as I did. I left the studio … with a renewed energy and belief in the work I was going to share. When it came to the crunch I was incredibly lucky to have Ruth, Gary and Phuong to gently guide me over the speed bumps I had unintentionally laid out for myself. … people see things in my work that I cannot see on my own. It has encouraged me to keep investigating ideas I have for future works and to discover what these ideas may mean to another person.”

There were two performances, which were well attended. “…she combines contemporary dance, cabaret and absurdist theatre forms… The effect is mesmerising as the audience is drawn into an ever more surreal and funny world. …the journey was infinitely fascinating, absorbing, compelling, hugely entertaining and beautifully executed” Bill Stephens, CityNews “I am moved. I am involved. I am provoked to think and to feel and to wrap my own impressions about her art, as her body speaks the language of movement. It is all surprise. I did not expect the witty snatches of dialogue. I did not expect the purity and seduction of her song … I did not expect the sudden touches of comedy as she transformed into a chicken… I left with a deeper appreciation of the power of the dancer to persuade and surprise. She emerges as a refreshing new talent in contemporary Australian dance.”

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Peter Wilkins, Canberra Critics Circle

Ex Quantum Leaper Jake Kuzma used a space grant at QL2’s studio to work on a solo for Belconnen Arts Centre’s Dance on the Edge.

“My own living room gives me carpet burns when I dance on it. I also have to move furniture, play music through a quiet speaker and also explain what it is that I am doing to my five housemates … their feedback on my dancing is amusing and creative but overall it is an unproductive work environment. The “housemates” at QL2 will come in when invited, require little explanation of what I am doing and give helpful worthy feedback.

The dance had me falling and jumping off the chairs. QL2’s sprung floor and crash mats meant I could investigate these falls and jumps safely. Within a few hours, I had produced 3 minutes of movement for a 5 minute solo, a draft of what music tracks I would like to use, a draft for the set, a draft lighting plan and more confidence in myself as an artist.”

Other projects ACT Arts Education project — ‘Make a Move’ Over 2012–2014, we ran a pilot project, funded by the ACT Education and Training Directorate to build the capacity of selected ACT teachers and schools to deliver arts education outcomes in dance, and to continue their own development outside the program, while providing quality dance education experiences to student groups at those schools.

Participants in the program broadened their horizons to include and value dance as part of school life and beyond. Teachers were empowered to not be afraid of delivering successful and ideas driven dance lessons and raising the expectations and opportunities for students to have a creative and physical voice.

In 2015, we engaged Alison Plevey to design a strategy for ongoing development and funding of a program based on the successes of the pilot project. The ACT education department had displayed interest and enthusiasm for an ongoing program.

In consultation with department staff, we decided to develop a model that could be financially sustained without government support, after initial seed funding for start up costs. This ‘Make a Move’ program would then be sold to schools and teachers, to be paid for from the schools’ devolved Professional Learning budgets. Our formal proposal along these lines was eventually approved for three year seed funding, to develop and market in late 2016, and deliver in 2017 and 2018.

‘Site Effects’ at Art not Apart Site Effects, involving fourteen Quantum Leap dancers featured at Art Not Apart. It was an event-­‐specific piece, reactive to the site, activities and essence of place.

Ruth Osborne and Alison Plevey worked with the dancers in the studio and on site at NewActon to develop a promenade improvisation score to illuminate, surprise and enliven the festival day with movement.

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QL2 Dance Inc • Annual Report 2015

Curated Residency—Jake Kuzma: Dance on the Edge

QL2 Dance Inc • Annual Report 2015

The dancers, some new to improvisation and particularly site work tackled it with enthusiasm and energy.

Participant Natsuko Yonezawa: “I was afraid at first to do an improvisation work which lasted an hour and a half in a location I was not so familiar with. … it allowed us to create and explore … I was amazed at how different the other group’s performance was, to the same score. I learned so much by being part of this event and thank you to QL2 for giving me great opportunities like this.”

‘Walking and Falling’ at the National Portrait Gallery The National Portrait Gallery approached Ruth to commission a performance to accompany their exhibition “All that fall: Sacrifice, life & loss in the First World War”. For QL2, this fee for service project presented an opportunity for us to engage young dancers in a paid professional production and consolidate our ongoing partnership with the NPG, while earning a small surplus towards other projects.

This required professional dancers, and as all the Canberra independent artists were unavailable we invited three of our alumni back to Canberra. Dean Cross, Caitlin McKenzie and Gemma Dawkins collaborated with Ruth to create a 20 minute work that was performed over the last week of the exhibition. The performances were extremely well received with many commenting on how moving the work was.

Making this work with such experienced and creative artists who have a long history with us was a fulfilling experience for Ruth, and touching base with QL2 again was very rewarding for the artists.

Ruth received a Canberra Critics Circle Award for choreography.

Reviews “…Walking and Falling is a tiny pearl of a dance … in just 15 economical minutes… it achieves its huge emotional impact without any fuss or unnecessary razzamatazz. It moves smoothly from segment to segment and demands our attention from opening minute to its closing scene.

All three dancers convey their thoughts and hopes strongly through movement, gesture, and eye contact with each other, or lack of it at the end as they struggle to cope with what has happened. As the work closes, we are left with an aching heart for the man, for the women in his life, and for their indescribable loss.”

Michelle Potter, On Dancing Imaginarium We partnered with Canberra Youth Theatre and ACT Writers Centre in the CYTC Imaginarium project — “a festival designed as a crash course of bite sized experiences for young artists of primary school age”. CYT initially had a disappointing number of bookings from schools, so the event was reimagined to occur on one day rather than two, with individual bookings as well as school groups. The day went exceptionally well. Over ninety young people rotated through five different workshops in dance, puppeteering, zine making, writing and storytelling. It was a day of great energy and enthusiasm and we were delighted to hear so many people commenting “why can’t we have Imaginarium at school every day?” The event was an excellent model of arts education, and has built our connections with CYTC.

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Quantum Leapers in outside projects

Research collaboration: Dr Kate Stevens In late 2014, we worked with Dr Catherine (Kate) Stevens on a major application to the Australian Research Council “Linkage Grants” program with QL2 as major industry partner and Ruth Osborne as a ‘Principal Investigator.’ The three year project was: How Collaborative Arts Practice Impacts Thinking and Wellbeing in the Young “Learning in the arts enables young people to solve problems, link thought and action, and understand the dynamics of individuals and groups. …A longitudinal design will examine social and cognitive abilities before and after involvement in a group dance, choir program or no-program control. New implicit methods will illuminate program-related changes in youth esteem, creativity, and leadership.

In dance and song, the body is the instrument. Collaborative, challenging, and supportive youth arts programs such as QL2 Dance and Sydney Children’s Choirs can attract disinterested students, including both at risk and gifted. This project will … map associations between their features and adolescent and adult creativity, leadership, and wellbeing.”

While the project rated well, it did not succeed in attracting research funding. We continue discussions with Kate about possible future research directions.

Hosting non-dance projects The annual Precipice Improvisation Festival has continued as a self-funded activity, drawing participants from around Australia. We supported the project with non-profit hire rates; and some QL2 dancers attended the public presentations and discussion.

We also hired the QL2 theatre to small theatre, circus and music productions.

ARTFORM DEVELOPMENT Leadership Program As well as dancing and creative skills, we develop leadership skills among potential dance leaders of the future: identifying and supporting individual young people in leadership roles such as choreographers, producers and teachers through various short projects and grant applications. We particularly focus on young women to help them see themselves as leaders, and to develop skills and attitudes to emerge as leaders. In 2015, this was focussed on individual mentorship across all age groups.

Careers and mentoring As part of our role in developing aspirations with realism, Ruth Osborne conducted many private consultations for dancers considering a career in dance, and mentored many past and present Quantum Leapers in relation to their dance work and lives as artists. She also conducted many meetings and phone discussions with people who were starting new youth dance programs wound Australia. Ruth’s mentorship has led to Yellow Wheel in Melbourne, United Fusion in Cowra, Catapult Dance in Newcastle, and Lingua Franca’s youth programs in Bathurst.

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QL2 Dance Inc • Annual Report 2015

Quantum Leap and younger dancers from QL2 were engaged in several projects by independent dance artists, supported by our staff.

QL2 Dance Inc • Annual Report 2015

QL2 Alumni Our alumni demonstrate our success, in dance and beyond. We have alumni who are excelling as independent artists; in national and international companies and major independent projects; working as teachers and education officers for major dance companies; and extending into cross-artform work. Many have returned to QL2 for commissions and residencies. Below is a sample of where they have taken dance, with an indication of their pathway at QL2.

(CP=Chaos Project; QL=Quantum Leap; OC=On Course; SL=Soft Landing).

Alexandra Barry Knox: (QL, OC, SL) toured with Ballet Lab, ATYP with Meryl Tankard.

Independent artist in SA. Alison Tandy: (QL) BSc/BA at ANU and Københavns Universitet. Ambassador Teach For Australia.

Angela Goh: (QL, OC, SL) QUT graduate, independent artist in Qld, NSW, ACT. Anthony DiPlacido: (QL) trained at the Actors Centre, Sydney; now working as a professional actor (Rake, Underbelly).

Ashlee Bye: (CP, QL, OC, SL) VCA graduate; now independent choreographer and Menagerie collective Melbourne.

Belinda Lee: (QL, OC) WAAPA graduate, fashion and costume designer.

Bhen (Bhenji Ra) Radburn: (QL, OC) WAAPA graduate; independent choreographer, teacher, eclectic dance and installation artist.

Caitlin Mackenzie: (QL, OC, SL) QUT graduate, co-founder of Makeshift Dance Collective: performance, installation and choreography; Asialink recipient.

Caroline Spry: (QL) runs ‘Fresh Funk’ Dance Program at Tuggeranong Arts Centre.

Chafia Brooks: (QL, OC, SL) QUT graduate, performer, choreographer and teacher in projects and dance videos in Brisbane, Melbourne and Singapore.

Chatchanok (Much) Hemachandra: (QL, OC) VCA graduate, Masters in London, independent artist in Thailand.

ARTFORM DEVELOPMENT

Chloe Chignell: (CP, QL, OC) VCA dance graduate, choreographic intern at Dancehouse, DanceWEB Scholarship, Kier Scholarship nominee.

Chrissie Norford: (QL, OC, SL) involved over 6 years. Graduate of QUT, working with Australian Theatre for Young People Courteney Lee: (QL, OC) AC Arts graduate.

Daniel Riley McKinley: (QL, OC) involved for 6 years, graduate QUT, dancer and choreographer with Bangarra Dance Theatre, choreographer for QL2.

Dean Cross: (CP, QL, OC, SL) QUT graduate, performer with Legs on the Wall Physical Theatre, Shaun Parker’s independent projects, Lucy Guerin Inc, Tasdance and choreographed for QL2.

Deborah Robertson (QL, OC) graduate WAAPA, Education Officer for the West Australian Ballet, independent choreographer and dance film-maker.

Dominique Woodward: (CP, QL, OC) WAAPA graduate.

Eliza Sanders: (QL) graduated from NZSD, independent choreographer NZ and Aust.

Georgia McGeechan: (QL, OC) Graduated from VCA. Harry Morrissey: (CP, QL, OC) involved for 10 years, graduated from WAAPA, independent artist in Sydney.

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Jacqui Cornforth (CP, QL, OC) started with Quantum Leap in 2000, studied dance full time at NAISDA College, QUT graduate, Indigenous leader.

Jake Kuzma: (CP, QL, OC, SL) involved for 10 years, graduated from QUT, freelance contemporary dancer in Melbourne, Canberra and Perth, choreographic commission with QL2, teacher in China James Batchelor: (CP, QL, OC) involved for 13 years. VCA graduate. Danced in major projects including Sue Healey, Chunky Move and Tasdance. Independent choreographer and filmmaker.

James Shannon: (QL, OC) involved for 3 years, graduated from VCA, performing with Tasdance and Chunky Move.

Jamie Winbank: (CP, QL, OC, SL) WAAPA graduate, now independent artist, project manager, and teacher.

Jess Wasikowska: (CP, QL, OC) involved for 4 years, studied at VCA, teaching dance in Canberra.

Jessica Ausserlechner: (QL) involved over 3 years, graduated from WAAPA, danced overseas, teaching in Canberra.

Kath Duhigg (QL, OC) Worked with Siobhan Davies Dance in London, education officer for SDC. Katherine Newnham: (QL, OC) VCA graduate, independent dance artist in Melbourne, plus Strange Fruit, Chunky Move, Circa.

Kathryn May: (QL, OC) involved for 2 years, graduated from Deakin University dance course, now independent dancemaker.

ARTFORM DEVELOPMENT

Laura Boynes: (QL, OC) WAAPA graduate, company dancer with Buzz Dance Theatre, independent artist performing in dance projects in WA, Vic and ACT. Lucy Sedlacek: (QL) WAAPA graduate, high school dance teacher.

Luke Currie-Richardson: (QL, OC) involved with QL2 for two years, studied at NAISDA College, QUT graduate; Bangarra Dance Theatre company dancer.

Melissa Anderson: (QL) involved with QL2 for three years, AC Arts graduate Merci Taylor: (QL), WAAPA graduate.

Mia Wasikowska: (QL) danced with Quantum Leap for 3 years, now an internationally renowned actress: Alice in Wonderland, Jane Eyre, The Kids Are Alright, Michelle Norris (CP, QL): BA International Relations (Mandarin) ANU, QL2 Board Member Miriam Bond: (QL) VCA honours graduate; dance specialist teacher and independent artist in Alice Springs.

Moriya Rosenburg: (CP, QL) involved with QL2 programs for six years, VCA graduate.

Journalist, movement teacher and peace activist in Israel.

Navinda (Lordfai) Vadtanakovint: (QL, OC) VCA graduate.

Independent choreographer, and teacher (Bangkok.)

Nerida Matthaei (QL): QUT graduate, director Phluxus 2 Dance Collective, QUT lecturer.

Paul Jackson: (QL, SL) Studied at VCA, Deakin University graduate; independent creator in Melbourne.

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QL2 Dance Inc • Annual Report 2015

Jack Ziesing: (CP, QL, OC) Graduated from WAAPA, dancer with Expressions Dance Company (Brisbane) for 5 years, independent artist.

QL2 Dance Inc • Annual Report 2015

Paul O’Keeffe (QL 1999-2002) NICA; performer and trainer with Circus Oz; performer with Legs on the Wall, Circa.

Paul Zivkovich: (QL 1999–2001) QUT graduate; Australian Dance Award; Australian Dance Theatre, Rafael Bonachela Dance Company (London); Sydney Dance Company, Akram Khan, Sidi Larbi Cherkaoui, Punchdrunk.

Penny Chivas (QL): WAAPA graduate, VCA Honours. Dance and improvisation, teaching in Canada, UK. Rebecca Frasca: (CP, QL) graduate of WAAPA graduate, Link Dance Company.

Reuben Ingall: (QL) ANU School of Music graduate, professional independent musician and composer.

Sam Young-Wright (CP, QL).

WAAPA graduate, member of Sydney Dance Company.

Samuel Maxted (CH, QL): WAAPA graduate; West Australian Ballet; TanzCompany Innsbruck.

Sara Black (inaugural QL): Australian and international artist, toured extensively with Chunky Move; Punchdrunk.

Helpmann Award.

Sarah Kaur: (CP, QL) Independent producer and video artist.

Stephen Gow: (CP, QL) Danced with Quantum Leap for five years. Hip hop dance group ‘Instant Bun’ and ‘Cypher’.

Yarra Ileto: (QL) an inaugural Quantum Leaper; company dancer with “T.H.E. Dance Company”, Singapore.

A BLAST FROM THE PAST — alumni from 2005 (Above) The 2005 Quantum Leap cast of Reckless Valour included: Alison Tandy, Amy Peacock, Anthony DiPlacido, Caitlin Mackenzie, Caroline (Leena) Wall, Ella Rose-Trew, Emma Batchelor, Geza Santos, Harry Morrissey, Jack Ziesing, Jacqueline Cornforth, Jaffa Mckenzie, James Batchelor, Jamie Winbank, Jarrad Irvine, Jessica Ausserlechner, Jessica Stone, Liz Wensing, May Wareesangtip, Melissa Anderson, Michelle Norris, Oat Preedeesnit, Pak Chidsin, Rachelle Hickson, Samuel Maxted, Simon Read, Sophie Ryan, Steph McKenna, Tae Mongkolsawat, Tyler Ayers.

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“

explore my identity in relation to the world. I was given the tools and guidance to research through my body, and express my findings. In Reckless Valour in 2007, we came together to reflect on the complex notions of war, patriotism, chivalry, life and death, and as a 16 year old who grew up in Israel it was the first time anyone ever asked me to look at those constructs and my relationship with them. The people at QL2 believed in me as a creator who has something to say worth listening to, long before I knew it for myself. It was the beginning of a journey I am still walking today as an artist, writer and educator committed to peace building in the Middle East.

”

Moriya Rosenberg

Activist with Yala Peace Movement, Tel Aviv; journalist; dance artist; movement teacher.

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QL2 Dance Inc • Annual Report 2015

My time with QL2 was formative as a space to

KPIS & OTHER MEASURES

QL2 Dance Inc • Annual Report 2015

Key Performance Indicators THESE GIVE a broad view of whether we are meeting our strategic goals: they can act as warning signs if we are in trouble. We have tabulated here our 2014 results.

GOALS

KPIs 2014–18

1) Have developed the choreographic capacity, dance skills and leadership of young people (8-26) through innovative, challenging, diverse artist development programs with a staged progression over several years of their lives

2015 result

Programs created and delivered (ages Target: 2. Achieved—includes: 8-17): inclusive dance practice with an o All the Things junior development & emphasis on choreographic performance project awareness. o Junior class program with emphasis on creative play alongside technique.

Programs created and delivered (ages 15–26): a youth dance company, targeted pre- & professional development, individual support, residencies.

Target: 4. Achieved—includes: o o o o o o o

2) Have a vibrant Canberra independent dance ecology

Quantum Leap youth dance ensemble; Reckless Valour major development & performance project; Individual mentoring Senior class program with emphasis on creative play alongside technique Hot to Trot mentored performance project On Course mentored performance project Numerous independent projects supported with Grants of Space and Curated Residencies

Programs created and delivered for young tertiary dance graduates and emerging artists nationally: valued professional development, residencies.

Target: 2. Achieved—includes:

Independent artists supported in Canberra through youth dance work, residencies, mentorship

Target: 8. Achieved—includes: Eliza Sanders, Imogen Cranna, Alison Plevey, Liz Lea, Jamie Winbank, Jake Kuzma, James Batchelor, Dean Cross.

o

Numerous independent projects supported with Curated Residencies

3) Have more people Quality performances presented: mainly Target: 4 local seasons, touring each second year. local, some national and international experience and Achieved. Toured in 2014. appreciate quality Target: readership grows 15%. Achieved 16%.

Australian youth dance New and existing national audiences reached through digital publishing: website, Facebook, YouTube, blogs, DVD. 4) Be recognised as a leader in Australian youth dance

5) Be a well resourced and managed organisation

Leadership is recognised by invitations to lead, speak & present work at forums, conferences etc

Target: 6. Achieved: 6.

Youth dance organisations connected with: regional, national and international.

Target: 8. Achieved: 12

Education resources bought by schools

Target: 4. Achieved: 7

Income from diverse streams reduces artsACT income as % of turnover

Target: < 65% . Achieved: 54%

Staffing levels are matched to program

Target: Acceptable workloads.

Achieved: Some excessive workloads at end of year.

6) Have effective feedback, review and program development processes

Revise and implement planning, feedback and longitudinal evaluation processes, to ensure continuous improvement and excellence.

KPIS & OTHER MEASURES

Target: At conclusion of each significant project Achieved for three 2015 projects, and Soft Landing.

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MARKETING & AUDIENCE DEVELOPMENT

“QL2 Dance is Australian youth dance at its best. Participants join a diverse group where they develop a deep understanding of dance making and performance in handson projects over several years. Tertiary dance students and graduates return to Canberra to develop and present. The local professional dance ecology is enhanced.

We give audiences thoughtful, exciting, challenging dance works. We are a nationally and internationally recognised flagship youth arts organisation with proven quality results”.

Visual Identity: QL2 Dance We increasingly emphasise our online identity, and visual and text resources to support it. We give high priority to social media, especially Facebook and Twitter, for news and networkbuilding. We also used online advertising through Google, Facebook, Twitter and site-targeted direct advertising. We transitioned from having a corporate website and separate blog, to a single site combining the two. Across 2015 (after filtering to remove spammers, attacks and repeats using Google Analytics) they had 12,000 ‘sessions’ (visits); and 2,840 unique visitors.

We have a Facebook Page with 2363 fans, up 23%; and 512 Twitter followers. These have proven highly successful for maintaining contact with alumni, seeding viral campaigns, social network marketing, and messaging participants.

We send email newsletters through our opt-in list, made affordable through a grant of resources from email distribution company VerticalResponse. We keep statistics from emailouts of opens and clickthroughs.

Typical emailouts go to 1200 active subsribers, and achieve ‘open’ rates around 26%. Our projects also appeared in the e-newsletters and websites of other organisations, including the revamped Ainslie & Gorman Arts Centres ones, Ausdance ACT newsletters, and others.

However, printed objects are still important to many in our target markets; especially to assist word of mouth and personal promotion. We produced printed promotional fliers and posters for each production, and many short-run in-house fliers for participation in events. We also advertised in print publications including BMA, CityNews, Canberra Weekly, and The Canberra Times.

Box office analysis Total attendances in 2015 were lower than 2014 which included touring performances in the Australian Youth Dance festival in Renmark, the Commonwealth Youth Dance Festival in Glasgow; and independent performances in Bangkok with our partner Bangkok Dance. For our major Quantum Leap project at Canberra Playhouse, we held at approximately the same takings and attendances as 2014. Attendance numbers in other projects were generally slightly better than 2014 on a project-for-project basis.

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QL2 Dance Inc • Annual Report 2015

Brand Statement

QL2 Dance Inc • Annual Report 2015

DVD Sales We again sold a small number of educational DVDs of Quantum Leap performances, with education resources and education licences —primarily to schools in Western Australia, where the school dance curriculum requires study of youth dance companies.

ACCESS & EQUITY, SAFE DANCE, HEALTH PROMOTION A health-promoting organisation We continue to demonstrate healthy dance practices, and build young people’s capacity to manage their own health. We aim to make “health” — in its broadest meaning — a crucial part of everything we do, through healthy role models and specific health messages. Some health issues are especially relevant to dancers: • • • • •

a physically and psychologically safe dance environment good nutrition hydration healthy body image acceptance of physical diversity

Bursaries & Scholarships QL2 maintains two distinct methods of financial support for participants.

1.

Scholarships are offered in exceptional circumstances on the basis of merit.

They reduce the costs of participation to allow particular young people to benefit from unusual opportunities, such as touring.

2.

Bursaries are offered on the basis of financial need. They reduce the costs of participation for young people in financial distress.

Scholarships and bursaries are assessed by the Artistic Director and the Chair; scholarships are submitted for approval by the Board. In 2015, we gave a total of nine full and partial Bursaries for participation in training programs, Quantum Leap projects, and the Chaos project.

ORGANISATION & MANAGEMENT REPORT Staffing We continue with stable staffing in the two senior positions.

Artistic Director: Ruth Osborne (100% FTE) Responsibilities: strategic and artistic direction, program and project planning, relationships and liaison, representation. Reports to the Board.

As Artistic Director, Ruth is the artistic leader of the organisation. In some programs the AD is director, mentor, and producer; in others, she also choreographs.

General Manager: Gary Barnes, (100% FTE) Responsibilities: facilities management, budget/finance, marketing, reporting. Reports to the Board.

Administration & Liaison (70% FTE) Responsibilities: administration, contracts, reporting, bookkeeping. Reports to GM &

ACCESS & EQUITY, SAFE DANCE, HEALTH PROMOTION PAGE 40

AD. Phuong Dang delivered excellent results in the position. Due to extended sick leave, we engaged a number of casuals. Later in the year, we appointed Lucy Caldwell.

We choose choreographers and project managers for their capacity to work both collaboratively and hierarchically. Their ability to engage, challenge, inspire, motivate and educate young people is of equal value to their personal creativity and choreographic originality. We engage QL2 alumni where possible. By bringing them back, we bring fresh ideas to the processes, gain valuable long-term critique of our practices, and build the ACT dance ecology.

Key partnerships We have a mutually beneficial relationship with Canberra Youth Theatre, sharing space and technical resources. We worked with CYT in delivering the Imaginarium project.

We benefited from very extensive inkind sponsorship by WildBear Entertainment (previously Bearcage Productions) who worked with us as creative partners in Reckless Valour to re-create the introductory film from the 2005 production, build on-stage videographics, and create the promotional video.

Photographer Lorna Sim was extremely generous, providing pro-bono photography for all our staged events as well as inprogress work, photoshoots for signature imagery, work for many of our Curated Residencies, and for Associate Artists.

Funding ACT Government: artsACT 2015 was the second year of a five-year funding agreement with the ACT Government through artsACT, in the 'multi-year' category. After a small inflation-based increase, we received $311,344 for the year.

Late in the year, ACT Education and Training Directorate approved funding to us of $26,400 over 2016-18 to develop our in-schools teacher development program.

National funding In 2015, we received two grants totalling $20,524 from the Australian Government through the Anzac Centenary Local Grants program, to support production and education resources for Reckless Valour.

We applied to the Australia Council in a project round, to support our planned 2016 exchange project with YDance (UK) and associated regional youth dance companies festival. The application rated well, but was unsuccessful.

After the radical reduction in budget for the Australia Council, we reconsidered our intention to apply in the revised 4-year Key Organisations category. Ultimately, we decided to invest in an application to this process, despite the relatively small chance of success. This involved a root and branch review of our operating 2014â&#x20AC;&#x201C;18 Business Plan, to produce a 2016-20 Strategic Plan for the application, which was submitted in December.

Private Donors In 2015 our donors formed an essential part of our income: supporting bursaries, scholarships, and special projects. Members of our Board are all active donors. Our

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QL2 Dance Inc â&#x20AC;˘ Annual Report 2015

We engaged a range of expert artistic staff as choreographers, composers, and teachers in specific programs, as well as for some project-specific administration.

QL2 Dance Inc • Annual Report 2015

donations campaign retained significant donors from previous years and attracted some new supporters. The bulk of our donations income is still from a small number of relatively large donors.

We received a significant donation from the Tanja Liedtke Endowment to support the ‘Inspiring Dance’ 3-day workshop in her name. For their generous donations, we would also like to publicly thank Michael Adena and Joanne Daly, Lorna Sim and Abell Ong, Jenny and Mike Norris, David and Margaret Williams, Catherine Stevens, Mike and Dianne Cross, Brian O’Keeffe, Greg and Jeannette Stone, Robert and Sonia Holgate, Barbara Hambley, Chris Bourke and Sir William Deane.

Capital Arts Patrons Organisation We were awarded CAPO’s “The Urban Pantry Manuka Award ($1000)” to support 2016 projects.

Physical Resources, venues Our ‘black box’ workshop and theatre and space at Gorman Arts Centre, “The QL2 Theatre”, is a 92-seat venue, with adjacent foyer/meeting room/rehearsal space, dressing rooms, and offices. The QL2 Studio is 50 metres from the offices.

We sought commercial and semi-commercial arts hirers to maximise use of the resources when they are unused, and cross-subsidise our programs. However, the additional layer of bureaucracy introduced by ACT Government lease requirements continued a drop-off in commercial hires, and consequent reduced utilisation of our spaces and income from this source.

We were disappointed that improvements to Gorman Arts Centre which were funded and directed by the ACT Government did not address any of our priorities; and our theatre, studios and offices were untouched. There is an extensive backlog of basic maintenance in each area, as well as a number of areas where relatively small investment would improve useability dramatically. We remain hopeful that continuing investment by ACT Government, and a consultative approach to priorities, will address these in the near future.

Operational challenges Other than those mentioned under specific projects, the only significant operational challenge identified in 2015 was in relation to staffing. Our requirements for staff, especially teaching and creative staff, are quite different to most dance organisations in Canberra. Consequently, we draw on a very small local pool. We have invested considerable effort to attract and train additional staff to address this.

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BIOGRAPHIES: STAFF, AND ADVISORS

RUTH OSBORNE pioneered youth dance practice in Australia: performing, teaching, choreographing, directing and collaborating. She established the Contemporary Dance Centre, taught at WAAPA and was founding AD of Steps Youth Dance Company. She served on boards of Ausdance, WA Ballet, and WAAPA. She has developed unique programs in Canberra at the Australian Choreographic Centre, and now as Artistic Director of QL2 Dance. She established Quantum Leap youth dance ensemble, developing choreographic literacy in young dancers, and has presented youth dance in Australia, Singapore, Thailand, Jamaica, and Scotland. She represented Australian youth dance at daCi (Jamaica), and Youth Dance England’s 2010 conference. At the 2011 Australian Dance Awards, she won the Award for Services to Dance “For her superlative teaching and wide-ranging services to dance for over four decades; for an outstanding contribution to dance education and to the development of youth dance practice in Australia.” Ruth was Director of the 2012 and 2013 Australian Dance Awards. She won the ACT Critic’s Circle award in 2015 for Walking and Falling.

GARY BARNES has 29 years experience in arts management. His background also includes operating a small business, bookkeeping, computer programming, live sound operation and graphic design. He was Operations Manager of Gorman House Arts Centre for five years; and Chair for three years.

Artistic Advisors Our Artistic Advisors are called on individually by the Artistic Director as need arises.

They offer ongoing one-on-one artistic, process, structural, cultural and contextual consultation when requested.

BRIAN LUCAS is a Brisbane-based performer, choreographer, director and writer with a national reputation for creating and performing provocative, powerful and intelligent works that bridge the dance/theatre divide. He has also worked with Chunky Move, La Boite Theatre, Michelle Heaven, Circa, Dance North, Queensland Ballet, QTC and Expressions. Brian is Chair of Ausdance National.

ALICE LEE HOLLAND is a Perth-based independent choreographer, and was AD of STEPS Youth Dance Company. She has made works for Strut Dance, Buzz Dance Theatre, STEPS, Quantum Leap, WAAPA, Tasdance, The Yard in Massachusetts and Labor Force Dance in New York. She is Resident Director of Circa.

JEFF MEINERS has worked widely in dance, teaching extensively in schools, as leader of a dance education team, as a university lecturer and a guest tutor. His work has included projects with NSW Department of Education, NAISDA and Ausdance NSW. Jeff is currently a lecturer at the University of SA, and received an ADA for Services to Dance Education (2009).

LUKE CURRIE-RICHARDSON is a descendant of the Kuku Yalinji and Djabugay peoples, the Munaldjali Clan people of South East Queensland and the Meriam people of the eastern Torres Strait. He was a Quantum Leaper, NAISDA student 20089, QUT graduate, and now dancer with Bangarra Dance Theatre.

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QL2 Dance Inc • Annual Report 2015

Core Staff

QL2 Dance Inc • Annual Report 2015

Other 2016 key artistic staff ADELINA LARSSON is a Swedish-trained freelance dance artist and contemporary dance teacher. She choreographed 'Hipbone Sticking Out' by Big hART presenting at the Melbourne International Arts Festival and the opening ceremony 'MURRU' at Federation Square (2014), 'Ghosts in the Scheme' at Canberra Theatre Centre and is currently developing their latest work SKATE. ALICE DIXON is a graduate of VCA, The University of Melbourne and The National Theatre Ballet School. She has performed in works by Nat Cursio, Stephanie Lake, Balletlab, Rob McCredie, Gabrielle de Vetri and Opera Australia.

ALISON PLEVEY is a dance/theatre artist, choreographer and interdisciplinary performance maker. Her work embodies cross art form collaboration, site specificity and human story. She established Lingua Franca dance and physical theatre, with codirector Adam Deusien. In 2014 she received a Canberra Critic's Circle Award for her performance in Johnnny Castellano is Mine.

ASHLEE BYE is a Melbourne-based dance artist. A VCA graduate, she has worked with Elizabeth Cameron Dalman, Rosalind Crisp and Stephanie Lake. She presented Far Flung at the Crack Theatre Festival.

FIONA MALONE is an award winning choreographer and movement teacher with an international career working across the performance spectrum with dancers, actors and singers. Fiona was awarded by the Adelaide Critic Circle ‘Innovation in the Arts’ for two of her productions. Fiona is also passionate about bringing the ‘joy of moving’ to the broader community through her dance, movement and Pilates teaching.

JAMES BATCHELOR is a performer, choreographer and installation artist. He has developed and presented works in Australia, France, United Kingdom and Thailand including Ersatz, Island, and Escape to the infinite — one of eight commissioned works for the inaugural Keir Choreographic Award. He was the 2014 Dancehouse Housemate Resident. As a performer James has worked with Sue Healey (Inevitable Scenarios), Antony Hamilton (Black Project 2) and Stephanie Lake (Aorta).

JAMIE WINBANK is a musical theatre and contemporary dance artist, choreographer, producer and project coordinator. Jamie was also Assistant to the Artistic Director for the 2013 Australian Dance Awards; Technical Manager for CSIRO’s DANscienCE Festival and is co-conceiver and co-producer for “Strange Attractor”. Jamie is an National Trainer and Presenter for Les Mills SH’BAM. JODIE FARRUGIA is Artistic Director of Flying Fruit Fly Circus. She has directed and choreographed works for Legs on The Wall, Circus Oz, QL2 Dance, Contact Dance Company, Tasdance, Acrobat, NICA, The Australian Choreographic Centre, Circus Monoxide, Deakin University and The Victorian College of the Arts. She won the 2009 Helpmann Award for Best Production for Children.

JOSHUA LOWE is a Tasmanian dancer, choreographer and producer. A graduate of VCA Joshua is regularly engaged as a choreographer for professional, youth and community-based works. He is the founding Artistic Director of youth dance company DRILL in Hobart, Company Manager of Melbourne’s pre-professional dance company, Yellow Wheel and regularly works for Tasdance to deliver their youth and education programs.

KYLIE HUNTER studied dance at the Bryan Lawrence School of Ballet, Canberra and then the Australian Ballet School, Melbourne. Head Dance Coach - Australian Institute

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LAURA PEARCE trained in the UK, and holds a BA(Hons) in Dance Education. She had her own dance school for 20 years teaching and training students in classical ballet, contemporary, tap, jazz and character. She has taught classical ballet at National Capital Ballet School, QL2 and Canberra Dance Theatre.

MICHELLE NORRIS originally trained as a dancer, and now teaches Vinyasa Krama yoga, a traditional flowing yoga practice focusing on alignment and flexibility.

NAT CURSIO is a dance artist who works across performance, choreography and curation. Her artistic work has been presented in Taipei, Seoul, Busan, Tokyo, Hong Kong, Singapore and around Australia.¬Over the last 20 years Nat has created a significant range of challenging and inventive works of varying scale.

OLIVIA FYFE is a teacher and contemporary dancer. A WAAPA graduate, she has worked with Fiona Malone and Cadi McCarthy, performed at Art Not Apart and Dance on the Edge, and recently attended Impulstanz in Vienna.

PASCHAL DAANTOS BERRY (QL2 dramaturg) is an independent Filipino/Australian writer focused on interdisciplinary, cross cultural and collaborative processes. He has had a Royal Court International Residency in London, received Belvoir’s Asian Australian Young Playwrights Award, and an Asialink Residency. He has contributed to works for Urban Theatre Projects, ABC Radio National, Blacktown Arts Centre, Griffin Theatre, Belvoir Asian Theatre Festival, Performance Space, and ATYP. ROWAN MARCHINGO is a director, choreographer and producer who is passionate about bringing big ideas to life. His recent projects have ranged from the creation of large-scale spectaculars, aerial productions, and works of visual and physical theatre, to programming and producing public events and festivals. He was a core member of Australian physical theatre company Legs on the Wall from 1999–2009 where he collaborated on multiple works and toured internationally. Since that time he has continued to hone his craft across multiple artistic disciplines.

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QL2 Dance Inc • Annual Report 2015

of Sport Gymnastics Program 1989-1992. Assistant to Janet Karin OAM - National Capital Ballet School/National Capital Dancers 1988-1995, then Artistic Director 19962011. She has been teaching dance in Canberra for over twenty-five years and was the Owner/Director of her own studio for 15 years.

GOVERNANCE

QL2 Dance Inc • Annual Report 2015

The Association & The Board QL2 Dance is run by an Association: QL2 Dance Inc, which is incorporated in the ACT under the Associations Incorporation Act 1991. Originally registered as “Human Veins Dance Theatre Incorporated” in 1981, after a number of changes of name it was registered as “The Australian Choreographic Centre Incorporated” in 2001, and “QL2 Centre for Youth Dance Incorporated” in 2008. Following a Special General Meeting of the Association in 2011, the ACT Registrar-General accepted our application to change our name to “QL2 Dance Incorporated”.

Membership of the Association is not offered to participants in our programs as a matter of course; currently membership consists of the Board members, past Board members, and a small number of interested members of the public.

The Board is the governing body of the Association, and all Board members must also be Members of the Association. Board members are not paid for their services on the Board. Board members, or associated entities, may be paid the fair value of goods or services provided in the normal course of their business; all such transactions are brought to the attention of the Board and are noted in the Financial Report. Board members are expected to be financial donors to QL2. Newly appointed Board members are given an induction appropriate to their previous experience.

The full Board met nine times in 2015, and has provisions to meet more frequently if needs require. Financial information is reported to the Treasurer by staff. The Treasurer reports in detail three times during the year, as well as consolidated reporting prior to the Annual Report. Staff report budget exceptions monthly, and submit changes to the working budget for approval as necessary.

Authority & delegation The Board is responsible for the overall direction, strategy, performance and management of the Association. It is accountable both legally and to the Association’s members for good governance. Authority for implementing the Board’s policies is delegated to paid and unpaid staff, within limits authorised by the Board. The Board is strongly committed to empowering the staff to do their jobs through broad delegation.

Risk Management The Board sets guidelines for the kind and degree of risk that QL2 may take. It receives reports on key risk areas. The Board reviews the Association’s insurance arrangements annually, including its coverage for the liability of Board members. Detailed review of risk is delegated to staff, and the General Manager is accountable to the Board for the risk management process.

Conflicts of interest Board and staff are required to report potential or apparent conflicts of interest to Board meetings, or to the Executive when timeliness make this necessary. The Board then uses a risk management approach to decide whether any action on the apparent conflict is necessary. Possible actions include: • • •

Recording the conflict in Board minutes Recording the conflict in the Financial Statements Noting the conflict whenever Board discussions on that subject arise

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• •

Absenting the individual from discussions Absenting the individual from decisions on that subject Reporting the conflict, and measures to address it, to other partners such as funding agencies Removing delegation of a particular authority from the individual Requiring the individual to step down from a particular role or position.

During 2015, there were three reported potential conflicts of interest. The Board assessed each, and determined that none require further action beyond recording in Board minutes, annual Financial Statements, and this report.

1.

Board member Harriet Pike is an employee of WildBear Entertainment, which is also a collaborating sponsor and supplier.

2.

Board member Kylie Hunter is engaged by QL2 as a casual tutor. The Board has no role in the selection of tutors, and tutors do not report to the Board.

3.

A staff member was the parent of a dancer in our projects. Neither the Board nor the staff member has any role in the selection process.

Board Membership Board members are elected for a period of one year by the members of the Association from amongst its members, strongly guided by the previous Board. The constitution allows Board membership to fluctuate from seven to 11 members. We expect Board members to bring specific skills and experience to strategic planning and governance; we also highly value the dance background of some members.

We have excellent legal, financial and risk-management expertise from Richard Refshauge, Emily Kerr and Barbara Hambley; and Richard also contributed his long experience as an arts Board member and ex-member of the ACT Cultural Council.

Harriet Pike brings valuable arts business expertise and maintains our connection with WildBear Entertainment (formerly Bearcage). Jane Pamenter’s secondary school experience is invaluable.

Dianne Cross’s experience as a parent of a dancer as a Quantum Leaper, a Soft landing participant, and now a professional dancer, informs her work. Michelle Norris brings the perspective of QL2 alumni and an active participant in Canberra’s amateur theatre scene.

Kylie Hunter brought extensive experience as a dancer, and as a small business operator as Director of National Capital Ballet School; her oversight of and input to our review of training programs was extremely valuable. We were very disappointed that, late in December 2015, artsACT made it a condition of 2016 funding that Kylie Hunter resign from the Board.

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QL2 Dance Inc • Annual Report 2015

• • •

Board members 2015

QL2 Dance Inc â&#x20AC;˘ Annual Report 2015

Qualifications & experience

Years on board 12

Richard Refshauge, Chair & Public Officer

BA, LLb, Judge of the ACT Supreme Court; previously ACT Director of Public Prosecutions ; actively involved in the arts for over 40 years. 11 years as Member and Chair of ACT Cultural Council. Adjunct Professor of Law at ANU; and University of Canberra.

Barbara Hambley, Treasurer

Barbara Hambley, Treasurer B.Commerce (Hons) CA. 21 years experience as a Chartered Accountant. Partner at Hardwickes Chartered Accountants.

9

Jane Pamenter, Deputy Chair

BA; Grad. Dip Ed; Dip. Arts (Dance); Associate, RAD. Assistant Dean of Studies, Marist College Canberra. Dance Panel Chair; past board member Ausdance ACT.

18

Michelle Norris

BA (Dance) QUT (withdrew on injury). BA International Relations (Mandarin) ANU. Six month Beijing residency in the World Link Education TESL Program, 2008. Diploma of Management 2014. Team Leader with Department of Defence.

6

Dianne Cross

Dip Telecoms Intelligence; Ct Vocational Instruction. Previously tutor, ADFA Military Communication program; Facilitator, Equity & Diversity Training; ADFA Foster parent in ADFA Foster Parent Scheme. 12 years in Defence Human Resources.

6

Harriet Pike

Harriet is an experienced television producer and the Head of Production and Development at WildBear Entertainment; BBus from Griffith University and a MLA(VCR) from the Australian National University. Recipient of 2013 Natalie Miller Fellowship awarded for excellence in working in the screen industry.

1

Kylie Hunter

Studied dance at the Bryan Lawrence School of Ballet and then Australian Ballet School in Melbourne. Assistant and co-director to Janet Karin at National Capital Dancers. Head Dance Coach at the Australian Institute of Sport Gymnastics Program 1989-1992.

Artistic Director of the National Capital Ballet School from 19962011.

1

Emily Kerr

LLB (Hons), National Diploma in Dance Performance (NZSD, Contemporary Dance major). Lawyer at the Australian Government Solicitor, past research manager for a nationwide industry lobby group and policy development coordinator.

1

GOVERNANCE

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With the security of a 5-year core funding agreement with artsACT, and relatively secure tenure at Gorman Arts Centre, QL2 Dance has been able to consolidate its position as a leading youth dance organisation in Australia, recognised nationally and internationally, and a dance hub for Canberra. We continue to be courageous, responsive, and risk-taking artistically; while responsible and risk-averse at a management and governance level.

As a lead organisation in youth dance with a strong record of developing young artists, we develop people, ideas, infrastructure, connections, and understanding in youth dance, through our artistic and development programs. We continue to raise the profile of Australian youth dance, and to promote differentiation of youth dance activities with an artist development focus.

Young participants from ages 8 and up are drawn primarily from the ACT and region, and are exposed to and interact with professional choreographers and dancers, both local and interstate. Older participants are drawn from around Australia, positioning the ACT as a place for creation and presentation of new dance.

Strong youth dance practice nurtures the next generation of creators, leaders, thinkers and audiences. We will continue to deliver the best in youth dance for the ACT and Australia.

CONCLUSION

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QL2 Dance Inc â&#x20AC;˘ Annual Report 2015

CONCLUSION

QL2 Dance Inc • Annual Report 2015

QL2 Dance is supported by the ACT Government through artsACT, and is based at Gorman Arts Centre, an ACT Government facility.

The Reckless Valour project and education resource was supported by the Australian Government’s Anzac Centenary Local Grants Program

MAJOR SPONSORS & PARTNERS

Lorna Sim Photography

MAJOR DONORS

Michael Adena & Joanne Daly

Brian O’Keeffe

Lorna Sim & Abell Ong

Greg & Jeannette Stone

Jenny & Mike Norris

Robert & Sonia Holgate

David & Margaret Williams

Sir William Deane

Kate Stevens

Barbara Hambley

Mike & Dianne Cross

Chris Bourke

QL2 Dance Incorporated www.QL2.org.au

CONCLUSION

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