2018 Impact Report

2018 Impact Report Our Stories

Our vision sees Sydney Dance Company cement its position as one of the world’s leading contemporary dance companies, expanding our reach and inspiring Australians’ love of dance. We will commission and create more new work. We will enhance our development program for young choreographers. We will deepen our engagement in communities across Australia. We will reach more young people and nurture the talent of the future. We will train more extraordinary dancers and we will be a national and global home for contemporary dance.

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Impact Report 2018

Contents

2018 at a glance

6

Reports

Chair’s Report Executive Director’s Report Artistic Director’s Report

10 11 12

Our Company

A Dancer’s Life Our Dancers

15 16

2018 Repertoire

Our Reach

ab [intra] 19 Frame of Mind 2 0 Forever & Ever 21 Lux Tenebris 2 2 Full Moon 2 3 Wildebeest 2 4 New Breed 2 5 PPY18 Revealed 28

Education

Schools 4 0 Advanced Training 42 Pre-Professional Year Graduate Case Studies 43 Our Classes 44 School Holiday Workshops and Youth Courses 45 Make Your Move 46

Community & Outreach

Impact of Support Take a Step Campaign, Corporate Supporters, & Dance Noir

International 3 0 National 3 6

50 51

Sydney Dance Company Donors

54

Sydney Dance Company Sponsors

56

Financial and Operational Performance

58

Key Performance Indicators

60

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Impact Report 2018

2018 at a glance

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Impact Report 2018

Our works 14 works, 81 performances, and 49,458 total attendances

International tour 3 continents, 7 countries

National tour 6 Australian states and territories, 14 Australian towns and cities

International cities 5 European cities, 1 Asian city, 2 South American cities

International festivals 3 International festivals, 2 International season openings

School matinees 4 School Matinees with 3,176 attendances

School & youth workshops 295 school and youth workshops with 7,102 participants

School holiday workshops 65 school holiday workshops with 1,371 participants

In 2018 we held a total of 3,936 adult classes, with a total of 78,918 dance class attendees. The total face to face engagement was 141,242 people.

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Impact Report 2018

99,453km by land, sea and air

2,433 hotel and apartment nights

798 airline tickets

45 coaches and hire cars

391 taxis

103 nights away

Our audience

49,458 11,958  1,305 20,851

Total audience members Young people engaged in our education workshops and programs Young people living in Western Sydney participating

Total audiences in NSW

Our online community Instagram, Facebook, YouTube, Weibo, WeChat, LinkedIn

Website page views

174,357

1,661,589

Youtube views

Net Promoter Score

457,400

85

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Impact Report 2018

Our Pre-Professional Year students

26 total students were in this Pre-Professional Year.

39 Australian guest artists and 9 International guest artists were given the opportunity to work with them.

Schools education

1,371  295 7,102

Total students engaged in school holiday workshops in metropolitan Sydney Primary and secondary school workshops delivered Students engaged in workshops

3,176 306 77

School students & teachers attended a matinee performance Educators engaged across the year Schools and dance studios in Regional Australia

Latin Funk Workout Seniors 55+ Tap/Jazz

Jazz

Ballet

Contemporary

Theatre Jazz

Yoga

Stretch

Hip Hop

Class attendees

Lyrical

JFH

Total number of adult dance classes delivered

Total number of dance class attenders

3,936

78,918

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Impact Report 2018

Chair’s Report

2018 was a year that saw Sydney Dance Company literally on the move; not only did we undertake three International tours but we also temporarily relocated from our home in the Walsh Bay Arts Precinct (the Wharf) to accommodations in Ultimo. Throughout the year we worked closely with the NSW Government to progress arrangements for the redevelopment of the Walsh Bay Arts Precinct.

The year began with a tour to Chile and Colombia with invitations to perform at the prestigious Santiago Festival Amil and a return visit to Bogota. We were pleased to perform on Australia Day and to work closely with the newly opened Department of Foreign Affairs and Trade consulate post to celebrate.

April saw the Company again on International tour, this time to Europe and I was pleased to be able to join the Company for performances in Paris at the National Théâtre De Chaillot. Standing ovations and sold out performances followed the Company at each stop on the European tour including a return to the Movimentos Festival in Germany.

Upon returning to Sydney, the ensemble re-entered the studios in preparation for the world premiere of Rafael Bonachela’s incredible ab [intra], which premiered in Sydney in May before making its way around much of Australia on a national tour.

Season 2 in Sydney saw a welcome return of the Helpmann award winning Frame of Mind, enriched by a collaboration with the Australian String Quartet performing the score live each night. Partnering Frame of Mind on the double bill was Antony Hamilton’s extraordinary Forever & Ever.

Sydney Dance Company’s support of emerging and independent artists continued with the fifth edition of New Breed, supported by The Balnaves Foundation, which in 2018 featured choreographic works by four women.

A final International tour for the year took Sydney Dance Company to Taiwan as part of the opening season for the new National Performing Arts Centre in Kaohsiung Weiwuying. The extensive International and National Touring footprint of Sydney Dance Company across 2018 re-affirms the Company’s commitment to extending its reach and sharing the artistry of our incredible dancers on the world stage.

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The Company’s extensive education and training programs furthered this outcome with workshops and activities delivered across the country by our teaching artists. Our advanced training activities, delivered in our rehearsal studios, alongside the professional company continue to deliver exceptional experiences for aspiring young dancers from across Australia.

Our open classes continue to deliver fun and fitness through dance to over 78,000 participants, and in 2018 we were gratified that so many of our regular students chose to come with us as we moved location to Ultimo.

Alongside the Company’s busy performance schedule and education programs, plans were activated for the relocation from the Wharf. The Company has met the logistical challenges inherent on a project of this scale, whilst still focusing on the future and the need to continue to raise funds to support the capital program.

It has been a great pleasure to complete my second year as Chair of the Board and it has been a further pleasure to work with the leadership team of Artistic Director Rafael Bonachela and Executive Director Anne Dunn. I thank them and all the staff for their dedication and support. I would also like to acknowledge and thank my fellow Board members and the many ex-officio committee members who have worked tirelessly on the Dance Noir and Capital Campaign Committees. And thank you to our extraordinary ensemble of dancers who delight and inspire us both on and off the stage.

I would like to thank the Australian Government for their support through the Australia Council for the Arts.

I would also like to thank the NSW Minister for the Arts and the NSW Government for their continued support – particularly in relation to the Walsh Bay Arts Precinct redevelopment.

Finally our thanks to the audiences and everyone who has attended a Sydney Dance Company Class or workshop in 2018, especially those that have made the move with us to our temporary studios. Your support means the world to us.

Karen Moses

Impact Report 2018

Executive Director’s Report

Artistically, 2018 has been a stand-out year for the Company and operationally, the exciting first stages of the Wharf redevelopment project began. It was a busy and transformative year as Sydney Dance Company delivered 81 performances across 4 continents and also packed up our home of 32 years and moved to temporary accommodations in Ultimo.

The Company continued its extraordinary record of new commissions with 9 new choreographic commissions, partnered with 9 music commissions. Delivered across 81 performances and alongside existing repertoire, these new commissions are an important part of Sydney Dance Company’s commitment to new Australian works and to providing opportunities to our colleagues in the independent and small to medium sectors of our industry.

Our education activities continued to expand across 2018 with schools specific matinee performances or workshops delivered across all of our performance locations nationally and reaching 11,958 participants.

The delivery of these workshops is aimed at providing a window into the artform and introducing young people to the Company and the creative expression that sits at the heart of contemporary dance. Sydney Dance Company also occupies a training role for aspirational and elite young dancers and our training pathways are an important part of our community. We were pleased to see a course completion rate of 88% from our accredited Pre-Professional Year, with both diplomas and advanced diplomas being awarded. The year was rounded out for them with a 3 performance sell-out season at Carriageworks and 1 student being offered a full-time trainee year within the professional ensemble.

The maintenance of our studio-based activities was a significant focus for the planning and execution of the move off the Wharf. In addition to ensuring no disruption to the artistic processes, we were able to maintain around 80% of our weekly open classes.

We also explored opportunities for off-site delivery of school holiday workshops and youth programs.

On the cusp of our 2019 50th Anniversary we were pleased to work with our major partner MAUD on a significant rebrand for Sydney Dance Company. This was a process which allowed for a crystallization of not only our visual identity but our whole brand strategy.

This work flowed into the preparation of our 5-year 11

strategic plan and drove thinking for the preparation for impending anniversary celebrations as well as the design brief for the interior spaces of our home at the Wharf.

The year closed with a combined surplus result of $253,260 with a small year-on-year growth. It should be noted that the results for this year are skewed by the impacts of the decant to our temporary locations and the capital fundraising the company is continuing to undertake. The financial results highlight that operationally Sydney Dance Company is in a vulnerable position as we manage disruption and continue to work with the NSW Government on securing our future. We look forward to a renewed precinct and home when we return to the Wharf in 2020.

Our activities across 2018 were the combined result of the support provided to Sydney Dance Company by the Australian Government through the Australia Council for the Arts and the NSW Government through Create NSW. We also thank the Department of Foreign Affairs and Trade, the City of Sydney and our corporate partners and supporters.

A huge debt of gratitude goes to our many philanthropic supporters who not only support the artistic vision and delivery but whose meaningful gifts to our Capital Campaign are enabling us to invest in the renewal of our home at the Wharf.

My thanks to the Chair of the Board, Karen Moses and to each of the Board members, who give so generously of their time and expertise as well as their financial support. I also acknowledge and thank Rafael Bonachela – our inexhaustible Artistic Director who continues to push, question and inspire.

I would also like to thank the many people who give their time and expertise to assisting Sydney Dance Company; the tireless commitment of our Dance Noir Committee co-chaired by Peter Reeve and Pam Bartlett, our education advisory group and our teacher reference group.

Finally I want to acknowledge the team at Sydney Dance Company who I am privileged to lead alongside Rafael Bonachela. Their passion and commitment are second to none and they continue to motivate and inspire me as they rise to each challenge with good grace and grit.

Anne Dunn Impact Report 2018

Artistic Director’s Report

I was so happy to work with an incredible range of artists in 2018 and to bring a hugely diverse range of dance works to our audiences both here in Sydney and across the globe.

Our repertoire for the year included 9 commissioned new works ranging from the extraordinary Antony Hamilton’s Forever & Ever to the mesmerizing Full Moon from Cheng Tsung Lung and traversing a diversity of voices across our exciting New Breed program. I was able to explore my own choreographic range further with ab [intra], my first full-length piece in 5 years. It was an absolute pleasure to bring the Helpmann award winning Frame of Mind back to the stage, but this time with the incredible Bryce Dessner score played live by the Australian String Quartet in a first time collaboration with the Adelaide-based ensemble.

January began with an international tour of a double bill of my works, Frame of Mind and Lux Tenebris. It was our first time performing in Chile’s famed Santiago Festival Amil, although not our first time in Santiago, and it was gratifying to see the responses from audiences to our work. The tour continued to Bogotá and a return to the impressive stage of the Teatro Mayor Julio Mario Santo Domingo. It is always a physical challenge for the dancers working at that elevation above sea levels as Bogotá is one of the highest capital cities in the world and visitors are prone to altitude sickness. You know things are different when there are large oxygen tanks side of stage as a part of the standard backstage setup.

The dancers still delivered blistering performances and it was great to connect with the Australian expat community, as well as locals, with our performance on Australia Day. Upon our return to Sydney we were busy in the studio, both with creative development for my new work but also with preparation for our upcoming European tour. We were pleased to tour a Triple Bill, of Gabrielle Nankivell’s Wildebeest, Cheng Tsung Lung’s Full Moon and my own Lux Tenebris. That tour was a watershed moment for the Company with standing ovations and sold out performances across the tour including a third visit to the extraordinary Movimentos Festival, a Parisian premiere and first-time performances in Serbia and Slovenia.

It was unusual to have so much of the early part of the year spent overseas and by April we were hungry to 12

perform for our audiences at home. ab [Intra] premiered in Sydney on May 15th before touring nationally over June, July and August.

A welcome return to Sydney and the rehearsal studio in September meant time to create and I was so pleased to be able to invite Antony Hamilton to work with the Company and create Forever & Ever. I have admired him as an artist for a long time and it is a work which challenged the dancers with a different choreographic language – driven in part by the electronic score by Julian Hamilton.

It was a real pleasure to see Antony’s work partnered with a return of Frame of Mind and hear the incredible score brought to life by the musicianship of the Australian String Quartet, led by Dale Barltrop.

November saw the Company undertake a short tour to Taiwan to perform in the opening season of the National Performing Arts Centre Kaosiung Weiwuying, the world’s largest performing arts centre under one roof as well as Taiwan’s most significant cultural investment in a generation. It was a genuine pleasure to perform the work of Cheng Tsung Lung in Taiwan along with my work Lux Tenebris.

With the year drawing to a close it was time for our annual presentation of New Breed. The 2018 edition featured the work of 4 women and had a sold out season at Carriageworks.

Each time we tour and perform, the dancers grow and learn, and the experience of performing on the important stages of the world can’t be underestimated in its impact on a dancer and the Company. The dancers work so hard – each and every day and I thank them and applaud them.

I would like to thank Executive Director Anne Dunn, and all my colleagues at Sydney Dance Company for the passion and drive they bring to work every day as well as Karen Moses and the entire Board of Sydney Dance Company for their support and leadership.

Last but not least I want to thank our audiences, they are the reason we get nervous excitement each time the curtain goes up and constantly push ourselves to create.

Rafael Bonachela Impact Report 2018

Our Company

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Impact Report 2018

Our Company

Sydney Dance Company is Australia’s leading contemporary dance company, presenting new works in Sydney, around Australia and internationally, under the Artistic Direction of Rafael Bonachela.

Over the last five decades, Sydney Dance Company has forged a unique path in Australian dance. Hundreds of thousands of people across the country and around the world have experienced the joy of watching exceptional dancers perform.

Choreographers from across the world have made works on Sydney Dance Company, and Rafael Bonachela and Graeme Murphy AO have built a rich repertoire of outstanding dance. The Company has performed on five continents and in some of the worlds most respected theatres.

Our vision is to make Australia dance. We see the profound and transformative effect of dance every day.

From new commissions to school performances, open classes and student workshops, dance enriches life.

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Our dancers push their physical boundaries every time they are on stage. We take on a cultural diplomacy role when on international tour and that of mentor when working with young people in regional Australia. And we get people moving in ways they thought might never be possible.

Nearly two million people have participated in dance classes in the Company’s studios, from beginners’ ballet to hip-hop and jazz to advanced contemporary. Over five decades, Sydney Dance Company has provided a home to nurture the creativity, health and wellbeing of Australians, both young and old.

Founded in 1969 by dancer Suzanne Musitz, the Company has been a resident of the purpose-built studios at The Wharf in Sydney’s Walsh Bay since 1986. In 2018, the Company temporarily relocated to Ultimo while vital renovations take place on The Wharf. A legendary force in contemporary dance in Australia, Sydney Dance Company will celebrate its 50th year in 2019.

Impact Report 2018

A Dancer’s Life

A Company dancer’s life is a busy one. From rehearsing new repertoire, local performances, to touring around Australia and internationally, there is never a dull moment!

there. Audiences in China are a lot more lively during a performance which I found strange at first. Shanghai is always a blast and it’s a very interesting city which is constantly changing from visit to visit.

Bernhard Knauer, who has been dancing and touring with the Company since 2010, and Emily Seymour, who joined the company in 2018, share what life on the road with Sydney Dance Company is like.

Do you have a pre-performance tour ritual?

B: My pre-show routine is pretty boring and I try keeping it the same whether I am on tour or not. I always try fitting in a nap before the show as show days on tour can be gruelling. It helps being organised! However I do like having a quiet moment on stage before the curtain goes up.

How many Sydney Dance Company tours have you been on, in Australia and internationally?

E: Since joining the company in mid-February 2018, I have been to Serbia, Slovenia, Paris and Wolfsburg (Germany) and nationally to Melbourne, Darwin, Mandurah, Bunbury, Perth, Rockhampton, Gladstone, Gold Coast, Bathurst, Orange, Newcastle and finally Canberra. All up I have been to 16 different places on tour with Sydney Dance Company.

B: To be honest it’s been so many that I have stopped counting but I would say at least 9 National Tours that usually run between 5-9 weeks and maybe double the amount of international tours including Europe, Asia, North and South America.

What is your favourite thing about touring?

E: My favourite thing about touring is getting to travel around the world and being able to perform for such a wide variety of audiences. Also, being able to catch up with friends in different countries and cities.

What do you like to do during your free time when you’re not rehearsing on tour?

B: I love exploring and sometimes simply getting lost in a new city. Wandering the streets of New York or Hong Kong without a plan is one of my favourite things.

Often, I try to avoid any tourist attractions and rather find some backstreet cafe or restaurant and take in the atmosphere.

Is there anything you find challenging about being away for long periods of time?

E: I have found as I’m getting older, being away from my loved ones is getting harder. Especially if I know I’m missing out on family occasions. Missing my friends at times also is a little challenging.

What is the strangest or most interesting place you have visited?

E: I think the strangest place I have been to was Serbia but after spending a day exploring the city, getting to know the heritage of Serbia and seeing all the ruins, it was very interesting.

Can you tell us your favourite tour story?

E: I feel like I have a lot of favourite stories. Maybe one of my funniest ones was in Slovenia when I had my eyes set on a menu board outside a cafe and within a breath, a bicycle hit me like a lightning strike. Thankfully I wasn’t hurt but that sure taught me to look in every direction while in Europe, bikes are everywhere!

B: Often we meet locals who are very keen and proud to show us around. We jokingly call them “John” like “Santiago John”, “Bogota John”, “Orange County John” etc. We were travelling from Irvine to San Diego and decided we wanted to see what was on the way so “Orange County John” put together a care package including a frisbee, towel, snacks and a map that had all his favourite places along the coast. The best beaches, cafes and sights were included. So, we rented a convertible and went for it. Best day ever.

Is there a particular item or accessory that you always travel with?

B: Noise cancelling headphones are a must!

Do you have any advice for those about to go on tour for the first time?

E: Make the most of the time you have on tour and if you haven’t been to a city before, go and explore!

For myself, I’m a very social person but tour definitely teaches you a lot about yourself and alone time is always good, don’t forget that! If you’re one to struggle with leaving your family and friends behind, know that they will always be there for you no matter what and tour is only temporary. Don’t dwell on the past, be in the present and look forward to the future!

B: Find the balance between the excitement of being in a new place and being fit and rested for the shows.

Travelling and dancing can be exhausting but hugely rewarding.

B: Some places in South America can be pretty confronting and unsafe at times but on the other hand I have met the warmest and friendliest people 15

Impact Report 2018

Dancers

“The most rewarding part [of being a Company dancer] is going on stage every night. Sydney Dance Company gives you a lot of room to experiment and to make the movement a bit more interesting for yourself.”

– Victor Zarallo There are 16 full time dancers and 1 trainee in Sydney Dance Company’s ensemble. The dancers rehearse five days a week beginning each day with a ballet or contemporary technique class at 9.30am and then rehearsals until 6pm. Rehearsals range from run through of repertoire pieces for upcoming tours to creative development of new work for upcoming seasons. The dancers are looked after with regular physiotherapy sessions and tailored “pre-hab” programs to strengthen and recover.

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Impact Report 2018

From left to right, top to bottom:

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Impact Report 2018

Juliette Barton (maternity leave) Izzac Carroll Ariella Casu Davide Di Giovanni Todd Sutherland Petros Treklis Josephine Weise Charmene Yap

Holly Doyle Janessa Dufty Nelson Earl Jacopo Grabar Chloe Young (trainee) Victor Zarallo Bernard Knauer Chloe Leong Jesse Scales Emily Seymour

2018 Repertoire

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Impact Report 2018

ab [intra] Choreography

Rafael Bonachela

Composition

Nick Wales*

Lighting Design

Damien Cooper

Costume & Set Design

David Fleischer

40 Performances

ab [intra], meaning ‘from within’ in Latin is ‘an exploration of our primal instincts, our impulses and our visceral responses’. From tenderness to turmoil, ab [intra] is a journey of intense human existence that commands attention. The music fuses lush cello concerto with ambient electronica and the dancers occupy a visually arresting ethereal world. A ferociously physical and heartfelt piece that has stayed with audiences long after they have left the theatre. *Original compositions for ab [intra] by Nick Wales.

Additional Music from Klatbune by Peteris Vasks, with permission of Hal Leonard Australia Pty Ltd, exclusive agents for Schott Music Ltd of Mainz. “ab [intra] ‘has to be seen to be believed’. Don’t miss this electrifying journey showcasing Australia’s best contemporary dancers” – SMH () “

A beautiful display of interconnected athleticism…

It’s a captivating journey” – Daily Review

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Impact Report 2018

Frame of Mind Choreography

Rafael Bonachela

Costume & Set Design

Ralph Myers

Costume Design & Realisation

Aleisa Jelbart

Lighting Design

Benjamin Cisterne

Composition

Bryce Dessner

Live Score Performed by Australian String Quartet Dramaturgical Consultancy Samuel Webster

22 Performances

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Frame of Mind is a deeply personal piece by Bonachela and is born from his “experience of wanting to be in two places at once.” The work engages with our innate desire to be understood without the need for words: the need to be supported, held, and guided by those close to us.

Since its world premiere in 2015, the work has been seen on stages around Australia and across the world in America, Germany, Chile and Columbia. Presented as part of a double bill in 2018, the audience experienced the Australian String Quartet performing Frame of Mind’s exquisite classical-contemporary score live on stage. “…Bonachela’s Frame of Mind delivers an emotionally engaging and overarching choreographic mastery…electric” – Daily Review “Frame of Mind drills a hole into your heart and brain and makes you leak emotion in that sneaky, visceral way only dance can do.” – Concrete Playground Sydney

Impact Report 2018

Forever & Ever Choreography

Antony Hamilton

Composition

Julian Hamilton

Costume Design

Paula Levis

Lighting Design

Benjamin Cisterne

13 Performances

Forever & Ever was a brand new work by internationally acclaimed choreographer Antony Hamilton. Fusing together a killer mix of dance, techno, high fashion and vivid lighting to hypnotic effect. Exploring ideas of order, chaos, popular culture and human behaviour, this boundary-pushing work is a bold and thrilling theatrical experience. Hamilton engages with ideas of duplication, unison and modification in movement, drawing direct inspiration from a minimal electronic score composed by his brother, The Presets’ Julian Hamilton.

“Forever & Ever lays siege to the senses with a mighty display of shock and awe. It’s immediate, visceral stuff... the roars of approval went on and on” – The Australian “1/2 Immersive thrill...It’s strange, unsettling, flashy, trippy and witty” – Limelight

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Impact Report 2018

Lux Tenebris Choreography

Rafael Bonachela

Composition

Nick Wales

Lighting Design

Benjamin Cisterne

Costume design

Aleisa Jelbart

17 Performances

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First performed in 2016, Rafael Bonachela’s Lux Tenebris explores light and darkness with fiercely physical movement and deep, electronic beats by composer Nick Wales. ‘½ A winning combination that, on the one hand provokes and entertains, and on the other confronts and moves its audience in a dazzling evening of dance.’ – Limelight Magazine ‘Utterly mesmerising’ – The Guardian

Impact Report 2018

Full Moon Choreography

Cheng Tsung-lung

Composition

Lim Giong

Lighting Design

Damien Cooper

Costume Design

Fan Huaichih

8 Performances

A striking piece by the Artistic Director of Taiwan’s phenomenal Cloud Gate 2, Full Moon explores the power of the moon and the mythology, fable and poetry of mankind to thrill the audience.

“Living in our modern world, the vibrant city lights have endlessly fascinated me and occupied the interspaces of my sight and feelings at night. On the contrary, the moon, nature’s symbolic beauty of night, shines light into my eyes and helps me uncover the mysteries of the unconscious world which I do not know, yet I feel exist.”

– Cheng Tsung-lung ‘World class and deserves a place in permanent repertoire . . . an experience as enjoyable and enigmatic as the full moon.’ – Daily Telegraph ‘In Cheng Tsung-lung’s luminous Full Moon there is a profound sense of eternal motion, and not only because Cheng’s piece has thrilling eruptions of speed and full-bodied swirls. There is vivid life even in moments of what appears to be complete stillness.’ – The Australian

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Impact Report 2018

Wildebeest Choreography

Gabrielle Nankivell

Composition

Luke Smiles, motion laboratories

Lighting Design

Benjamin Cisterne

Costume Design

Fiona Holley

10 Performances

Created as part of the New Breed program in 2014, Wildebeest showcases the power of dancers as individuals and strength en masse. With the head of an ox, the hindquarters of an antelope and the mane and tail of a horse, the wildebeest as image morphs easily between living animal and fanciful creature. Storms and predators gather as instinct stirs the herd and migration whirrs into action like an ancient machine. Wildebeest is an assemblage of the dancers’ fascination for physicality – their power as individuals and strength en masse – their wildebeests within.

‘Nankivell sees beauty and wonder in the primitive, animalistic self, even with danger as a constant companion. Every molecule of the body is vibrantly alert, a state brilliantly captured by Bernhard Knauer at the beginning of Wildebeest and Janessa Dufty at the end’ – The Australian ‘ Every time you might think the Sydney Dance Company performers have reached their peak, they push their abilities up another notch’ – Sydney Morning Herald

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Impact Report 2018

2018 New Breed

2018 saw the fifth iteration of New Breed. A unique initiative that since its inception has showcased the next generation of Australian contemporary choreographers.

Co-presented by Carriageworks and Sydney Dance Company, New Breed supports emerging and independent Australian choreographic talent through the annual commissioning and presentation of new dance work.

New Breed is made possible through the generous support of the Balnaves Foundation whose continued commitment to the program is vital to the future of Australian contemporary dance.

“Always worth seeing, this year is filled with surprises…a world of the imagination.” – The Sydney Morning Herald “Always a highlight of the city’s art calendar for a few reasons: you get to see the company’s astonishing dancers stretched in new and unexpected directions under choreographers who are often at the start of their creative journeys and willing to take an experimental leap.”

– Time Out Sydney

10 Performances

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Impact Report 2018

Towards Innumerable Futures Choreography

Prue Lang

Original Composition

Chiara Kickdrum

Lighting Design

Alexander Berlage

Costume Design & Realisation

Aleisa Jelbart

Mother’s Cry Choreography Katina Olsen in collaboration with the cast and 2018 Pre-Professional Year dancers Original Composition

Cameron Bruce

Lighting Design

Alexander Berlage

Costume Design & Realisation

Aleisa Jelbart

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Impact Report 2018

Telopea Choreography

Janessa Dufty

Original Composition Performed Live

Tobias Merz

Lighting Design

Alexander Berlage

Costume Design

Aleisa Jelbart

Out, Damned Spot!

Choreography

Holly Doyle

Original Composition

Dane Yates

Lighting Design

Alexander Berlage

Costume Design & Realisation

Aleisa Jelbart

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Impact Report 2018

PPY18 Revealed

The Company’s Pre-Professional Year dancers completed their year of training with their December season, PPY18 Revealed.

The Pre-Professional Year provides a unique opportunity for aspiring professional dancers aged 18 – 24 years to experience full-time training alongside the Company.

Lead by Head of Training Linda Gamblin, the dancers have the opportunity to be guided in a professional environment on a daily basis, enabling them to cultivate an inquisitive mind and sophisticated movement.

With the support of the Hephzibah Tintner Artist Development Program, the students are also exposed to the experience of having new works choreographed on them by a range of independent artists.

“With sophisticated technique, authentic movement and a strong sense of the artist within, Pre-Professional Year graduates are brave and generous when working within the contemporary dance industry.”

– Rafael Bonachela, Artistic Director “Seeing this group of accomplished dancers as they step out into the world is incredibly reassuring: the art form will surely flourish.”

– The Sydney Morning Herald

3 Performances

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Impact Report 2018

Not a party too soon Choreography

Ashley Wright

Composition

Fiona Hill and Alexis Weaver

Lighting Design

Alex Berlage

Costume Design

Fiona Holley

Narrabeen Director

Sue Healy

Choreography Sue Healy in collaboration with Omer Backley-Astrachan and dancers.

Composer

Ben Walsh

Akimbo Choreography

Cass Mortimer-Eipper

Music

rother & Sister, Colin Stetson, At Risk, Trent Reznor & Atticus Ross from B Gone Girl (Soundtrack from the Motion Picture), Sugar Town Written by: L .

Hazelwood Rondor Music Australia Pty. Ltd, Administered by Universal Music Publishing Pty Ltd

Lighting Design

Alex Berlage

Costume Design

Fiona Holley

Viral Choreography

Victoria Chiu

Composer

Roland Cox

Mixing/Mastering

Thom Mitchell

Lighting Design

Alex Berlage

Costume Design

Fiona Holley

Scattered Rhymes Choreography

Rafael Bonachela

Music Louder Than Words Written by Tarik O’Regan, Francesco Petrarch and Nic Wales Published: Novello & Co Ltd By kind permission of the Music Sales Group, Original commission: Nick Wales/Tarik O’Regan Costume Design

Rafael Bonachela

Costume Realisation

Fiona Holley

Lighting Design

Benjamin Cisterne

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Impact Report 2018

Our Reach

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As a truly international company, touring is an integral element of our year at Sydney Dance Company.

International touring not only provides valuable professional development for our dancers, but also facilitates rich cultural exchange and cultural diplomacy opportunities. Touring within Australia and engaging with local audiences is equally critical. We are constantly striving to broaden our reach to ensure that all Australians, regardless of their location, have access to the highest quality performance experiences.

Impact Report 2018

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Impact Report 2018

International Reach

France

Colombia

Chile

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Impact Report 2018

Germany Slovenia Serbia Taiwan

Australia

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Impact Report 2018

Performance Schedule

International Frame of Mind and Lux Tenebris Festival Internacional Santiago a Mil, Cultural Center CA660 Teatro Mayor Julio Mario Santo Domingo

Santiago, Chile Bogota, Colombia

19 – 21 January 26 – 27 January

Lux Tenebris, Full Moon and Wildebeest 15th Belgrade Dance Festival, Servian National Theatre 15th Belgrade Dance Festival, Sava Centre Gallus Hall, Cultural and Congress Centre Théâtre National de Chaillot

Novisad, Serbia Belgrade, Serbia Ljubljana, Slovenia Paris, France

3 April 4 April 7 April 11 – 13 April

Lux Tenebris, Frame of Mind and Wildebeest Movimentos Festival, Kraftwerk, Autostadt

Wolfsburg, Germany

19 – 22 April

Lux Tenebris and Full Moon National Kaohsiung Center for the Arts

Weiwuying, Taiwan

3 – 4 November

ab [intra] Roslyn Packer Theatre Arts Centre Melbourne Darwin Entertainment Centre Bunbury Regional Entertainment Centre Mandurah Performing Arts Centre His Majesty’s Theatre Empire Theatre Pilbeam Theatre Gladstone Entertainment Centre HOTA, Home of the Arts Bathurst Memorial Entertainment Centre Orange Civic Theatre Civic Theatre Canberra Theatre Centre

Sydney, NSW Melbourne, VIC Darwin, NT Bunbury, WA Mandura, WA Perth, WA Toowoomba, QLD Rockhampton, QLD Gladstone, QLD Gold Coast, QLD Bathurst, NSW Orange, NSW Newcastle, NSW Canberra, ACT

14 – 26 May 30 May – 2 June 15 June 20 June 23 – 24 June 28 – 30 June 12 July 18 July 21 July 25 – 26 July 1 Aug 4 Aug 10 – 11 Aug 30 Aug – 1 Sept

Forever & Ever Roslyn Packer Theatre

Sydney, NSW

16–27 Oct

New Breed Carriageworks

Sydney, NSW

29 Nov–8 Dec

PPY Revealed Carriageworks

Sydney, NSW

12–14 Dec

National

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Industry Recognition

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Impact Report 2018

Dance Australia’s Critics’ Choice Survey 2018

1. Lee Christofis (Australian Book Review)

5. Valerie Lawson (dancelines.com.au; dancetabs.com)

Best new work “Antony Hamilton’s Forever & Ever for Sydney Dance Company – a wild ride from pure postmodern intellectualism to surrealism, hip-hop, and absurd theatrics, with a brilliantly clever score by Julian Hamilton, multiple costume designs by Paula Levis and wild, gorgeous lighting by Benjamin Cisterne”

Highlight of the year “In 2018 female choreographers were given more opportunities to shine… Sydney Dance Company chose only female choreographers for the company’s annual New Breed season”

2. Stephanie Glickman (Herald Sun) Most significant dance event “ab [intra] focused on the large ensemble dynamic, rather than particular dancers. Seeing the full companies… all on stage for such long durations and so brilliant at working en masse resonated as dance in its most core and primal form” 3. Lesley Graham (The Mercury) Most outstanding dancer “Izzac Carroll and Jesse Scales – ab [intra]; Sydney Dance Company – each so strong” 4. Geraldine Higginson (Dance Australia)

Most interesting Australian independent group or artist “Gabrielle Nankivell, dancer, choreographer, teacher”

Dancer to watch “Davide Di Giovanni, Sydney Dance Company” 6. Jill Sykes (Sydney Morning Herald) Best new work “Rafael Bonachela’s ab [intra] for Sydney Dance Company”

Most outstanding dancer “The inseparable partnership of Charmene Yap and Davide Di Giovanni in ab [intra] for Sydney Dance Company”

Dancer to watch “Jesse Scales in Antony Hamilton’s Forever & Ever, Sydney Dance Company”

Most significant dance event “Ten years since Rafael Bonachela choreographed 7. Maggie Tonkin (Dance Australia) his first new work on Sydney Dance Company (360° in 2008). As artistic director his style has come to shape and define the company itself in recent years.” Most interesting Australian independent group or artist Gabrielle Nankivell Best new work “A tie between Rafael Bonachela’s ab [intra] (SDC) and Janessa Dufty’s Telopea (SDC’s New Breed program)” Most outstanding dancer “Ariella Casu (SDC) has been a standout across a range of works this year” Encore please!

“Congratulations to SDC’s New Breed program, now in its fifth year, which gives company dancers and emerging choreographers the chance to create short new works”

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Impact Report 2018

Education

Sydney Dance Company is passionate about delivering a wide and far-reaching program of activities to engage and inspire Australian’s in dance. From creating and empowering the next generation of dancers and dancemakers through the Pre-Professional Year, to providing access to workshops for schools in regional areas, Sydney Dance Company continues to grow and reach more people each year.

“Dance allows individuals and communities to shape their cultural identity and express their deepest feelings. These experiences continue to resonate throughout our lives, transforming our minds, bodies and souls.”

– Rafael Bonachela, Artistic Director

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Impact Report 2018

Schools

We are passionate about creating inspiring and exciting connections of the highest quality through contemporary dance.

Our National Schools Program supports dance education for all ages through curriculum relevant programs for primary and secondary students. The program connects schools, teachers and students to leading professionals in the dance industry, providing invaluable insight, opportunities and role models. In 2018 we engaged with students across Australia and whilst on international tour.

Reaching 11,958 young people through our workshops and matinees our education programs achieve excellent satisfaction levels in teacher feedback reviews, with 94% reporting that Sydney Dance Company’s creative workshops facilitated creative and critical thinking skills in students.

In 2018 workshops were delivered in NSW, ACT, QLD, VIC, NT and WA. The support of the Thyne Reid foundation allowed us to deliver our regional workshops in all towns and cities that the Company toured to.

Local Engagement Epping West Public School Program 16 workshops 4 weeks 100 students Years 2 – 5 Sydney Dance Company educators worked with Epping West Public school to deliver a unit of dance over a four week period to increase students understanding of contemporary dance while developing their literacy.

Students were given a literary text to explore – either a Western picture story book, The Rainbow Fish, or the Chinese folktale, The Rabbit in the Moon. These texts were a stimulus to create a short dance work which explored the characters and themes presented in the narratives.

Working across mediums of literacy, students deconstructed these texts represented through language and text. They then reconstructed the texts meaning and added their own personal interpretation through movement. Students also learnt how to express themselves through movement while developing their creativity and problem solving capacities.

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International Engagement Dancepointe Singapore 10 workshops 5 days 24 students Ages 13 – 22 Sydney Dance Company designed and delivered a tailored five-day training Summer Camp for dance school, Dancepointe Singapore. Students were divided into two groups, 24 students aged 13-15 and 11 students aged 16-22. Each student participated in ten, 90-minute dance classes in the genres of contemporary, ballet, theatre jazz and lyrical.

In each dance class, students were guided through a technique warm up and learnt a fun, genre-specific routine which was designed to develop the dancers’ technical skills and artistry. Sydney Dance Company’s Summer Camp classes were delivered by four current industry professionals at the forefront of the industry.

“I learnt to move in different ways and I was able to open up. It made me realise I am willing to try new styles and would like to do more of this.”

Coastal Dance Student “Observing the lesson was equally valuable for our dance staff.”

Hunter School of the Performing Arts Teacher “This is a fantastic program that enables all student from diverse backgrounds to work with a professional dance company. It provides students with an insight into the real world of a contemporary dance.”

Kurri Kurri High School Teacher “It showed me that contemporary dance can be very different and interpretive. I felt free and able to move how I wanted to.”

Dance Theatre Orange Student

Impact Report 2018

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Impact Report 2018

Advanced Training

Pre-Professional Year Sydney Dance Company’s Pre-Professional Year provides a unique opportunity for aspiring professional dancers aged 18 – 24 years to experience full-time training with the Company.

Dancers in the Pre-Professional Year have the option to complete either a Diploma of Dance (Elite Performance) (CUA50113) or an Advanced Diploma of Dance (Elite Performance) (CUA60113) through an auspice arrangement with Australian Teachers of Dancing Limited (RTO 31624).

Being deeply immersed in the professional company environment on a daily basis enables young dancers to interrogate their artistic voices whilst developing the highest standard of movement technique.

Secondments Sydney Dance Company offers a limited number of secondment placements to elite tertiary students studying dance in Australia. The week long secondment gives students the opportunity to work with the professional ensemble and experience life as a professional dancer.

11 Secondments 1 Professional Intensive for 30 tertiary and early career artists 26 Pre-Professional Year dancers 4 Pre-Professional Year scholarships 39 Australian guest artists worked with our PreProfessional Year dancers 9 International guest artists 4 new works created for PPY18 Revealed

Professional Intensive Developed for tertiary dance students, graduates and professional dancers, our professional intensive provides a valuable opportunity for aspiring professional dancers to be challenged creatively and physically through warm up classes, creative tasks and learning company repertoire, during a week-long workshop led by Company teachers and associates.

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Impact Report 2018

Pre-Professional Year Graduate Case Studies

Chloe Young, 2018 Company Trainee Chloe graduated from Sydney Dance Company’s PreProfessional Year in 2017 and joined the Company as Trainee in 2018. Chloe’s first onstage performance with the Company was in Rafael Bonachela’s award-winning works Frame of Mind and Lux Tenebris during the Company’s South America Tour to Chile and Colombia in 2018.

Chloe graduated from Queensland National Ballet’s Advanced Diploma in Elite Performance in 2016 and appeared as special guest artist at the Alana Haines Australian Awards (2017) and the Press Freedom Dinner (2017), with Queensland National Ballet as Alice in Alice in Wonderland, as a soloist in Mulan, and Phyrgia in Spartacus. She has performed with Queensland Symphonic Orchestra in Firebird, Spartacus and Danzon.

Cooper Terry Company Teaching Artist PPY 2016 Student, outlining his pathway from school workshop participant to Pre-Professional Year Diploma Student, to Sydney Dance Company Teaching Artist and Associate Artist in 2018.

“I was in my final year of high school in the town of Mount Gambier, South Australia, and contemplating moving to the city to further my dance training after finishing school. Sydney Dance Company visited Mount Gambier and performed De Novo as part of their National tour.

Alongside the tour, due to the support of the Thyne Reid Foundation, the company ran educational workshops, providing a rare opportunity for young dancers to learn and experience dance from professional teaching artists.

Experiencing the passion and drive that comes with dancing repertoire by Rafael Bonachela at the tender age of 17 was a magical experience and then being able to feel it from the dancers whilst sitting in the audience, was a very special moment and one that truly shaped the path I would soon step towards.

As it does each year, the auditions for Sydney Dance were fast approaching Charmene and Dan encouraged me to apply for the Company’s Pre-Professional Year audition. To say I was overwhelmed would be an understatement. Opportunities such as this are very limited in regional towns and I was dizzied with excitement as for the first time I realised that experiencing life at Sydney Dance Company and training alongside Australia’s finest dancers was an attainable goal for my future.

I successfully moved through the selection process and then found myself in Sydney in 2016, undertaking my PreProfessional Year training. I have since travelled back to my hometown of Mount Gambier during the Company’s national tour of Frame of Mind. I was able to attend the education workshop and stand alongside Richard Cilli and Cloudia Elder and share my own story with the young aspiring dancers.

In 2018, I now find myself as a full-time teaching artist with Sydney Dance Company studio classes and performing as an Associate Artist – all because of a remarkable opportunity that has led to a magical career and life experience. I have experienced first-hand the positive impacts what a little bit of inspiration and encouragement can have on an eager young heart with a willingness to learn.”

I participated in a contemporary technique class and learnt a section of repertoire from De Novo from company dancers, Charmene Yap and Daniel Roberts.

This workshop was a life changing experience and one where I was able to learn material that I would later witness the Company dancers perform on stage that night.

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Impact Report 2018

Our Classes

3,936 total number of adult dance classes delivered 78,918 total number of dance class attendances 69 Dance teachers Established in 1976, Sydney Dance Company continues to offer a large variety of dance classes to the community. We offer over 65 dance and movement classes each week for participants from 16 years. In 2018, our studios moved from the Wharf to Ultimo and we successfully maintained engagement with our community and reached new participants during this transition period.

Our attendees love to dance, with some participants dancing with us since the 1990s. Our studio has a strong, supportive community feel and our teachers are passionate about keeping people moving and experiencing dance in a positive way.

“I just have to dance….Dance lets me express myself with my body.”

Candide McDonald Dance class attendee since 1996

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Dance is my life!

Ramon Doringo – Sydney Dance Company teacher for 30 years and Dance Classes Manager for 17 years.

“I love sharing my passion with people and having the opportunity to be creative every day. To see people enjoying themselves is wonderful but being able to educate them about dance and then seeing them improve, that’s fantastic. Dance is my life!

Dance makes people feel happy, it gives them a joyful adrenaline hit. I think it makes them feel they can achieve things no matter how old they are or how much dance experience they have. It’s also a great way to meet new people and become a part of a community.

I love that dancing increases general fitness and toning of the body. Dance also gives you better posture and coordination, and it challenges your brain to remember sequences of movement. I think dance is the best way to have a healthy and creative life within a fantastic and inclusive community.”

Impact Report 2018

School Holiday Workshops and Youth Courses

1,371 school holiday workshop participants 16,452 school holiday workshop contact hours 141 youth course participants 2206 youth course contact hours Sydney Dance Company school holiday workshops and Youth Courses provide a focused environment for young people to improve their dance technique and learn new routines under the direction of professional teachers and choreographers.

“I loved that it was challenging but flexible in that you were able to work to your own level with freedom of movement.

It was a very encouraging and friendly atmosphere.”

15-year-old participant “My favourite part of the workshop was learning new steps and making new friends.’’

10-year-old participant

Workshops for both beginner and experienced dancers were held over the school holidays at venues and schools across Sydney: Bondi, Gordon, Parramatta, Pennant Hills, Penrith, Ultimo and Walsh Bay. Our workshops create potential career pathways for aspiring young dance artists. Our Pre-Professional Year applicants often come to us as a result of participating in Sydney Dance Company school holiday workshops and youth courses.

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Impact Report 2018

Make Your Move

“The most enjoyable aspect about teaching this program is seeing the joy it brings and the way people value it for the way it makes them feel – happy! This work is truly rewarding. It puts us in touch with something that we can all celebrate – the chance to express ourselves openly and freely through dance.”

Shane Carroll Teaching Artist, Make Your Move 5 locations 40 classes 52 individual participants 235 attendances

“For me, the best part of the program was that the program wasn’t focused on anyone’s disability in particular and that it was actually focused on the dance….it gives you the chance to be yourself and make your own language with your own body.

Over the 8 weeks, I learnt to trust myself again.”

Tom, Make Your Move participant “I enjoyed the collaboration. Everyone contributes, and everyone is valued. We all learn and do each other’s choreography, which helps you learn about and appreciate other people’s mobility challenges.”

Make Your Move participant

Run as a pilot program in 2018, with support from the Jibb Foundation, Make Your Move is an exciting program “I love dancing but recently have been limited by physical health limitations. This course has enabled me to particifor adults over the age of 18 with mobility restrictions pate in dancing again. It has stretched me physically and who want to dance. emotionally, something I just thought I would not be able Our goal is to ensure that everyone, regardless of ability, to experience again.”

Make Your Move participant geographical location or socioeconomic status, can have the chance to discover the joy of movement. An advisory group of health professionals, researchers and individuals living and working with mobility restrictions was established to design the program. The guiding principles for the program are inclusivity, responsibility and creativity.

Designed as a series of creative workshops to get people moving, making and participating in contemporary dance, participants develop skills and confidence in movement and explore some of the ideas that inspire Sydney Dance Company’s productions. Sessions include a gentle warm up and a range of creative dance activities in a safe and fun environment.

The Make Your Move program aims to shift perceptions that dance is only for the physically fit and able. Dance is a primal part of human experience across all cultures that unites us all no matter what our age or ability.

Something magical happens when a person dances: they grow in confidence and strength, body awareness, balance and coordination. They can find an outlet for emotional release which, when living with severe disability or conditions such as Parkinson’s disease, Multiple Sclerosis and chronic pain can be not only life affirming, but life changing.

We see how much pleasure the program gives to participants, and at the same time we can work on things like coordination, memory, balance, focus, posture and a whole range of other health considerations including mental health.

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Impact Report 2018

Community & Outreach

“Our donors are so crucial to what we do. They are our family. Dance is a collaboration, which involves a lot of trust, empathy and generosity. When trust and support are nurtured, creativity can begin.”

– Rafael Bonachela, Artistic Director Sydney Dance Company is proud to have a family of supporters – donors, trusts and foundations and corporate partners – all of whom play an integral role in enabling us to be one of the world’s leading contemporary dance companies.

This private support comprises a significant proportion of our annual income, and thus it is no exaggeration to say that we rely on that investment to enable us to continue our mission of bringing dance to as many people as possible across Australia and the world, to audiences of all ages, backgrounds and geographic locations.

2018 has been no exception. From our Commissioning, Touring and Education funds through to the Take A Step capital campaign, the generosity of our family of supporters continues to underpin all we do.

We thank you all.

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Impact Report 2018

Ian Galloway Duet Level Partner since 2014

My introduction to Sydney Dance Company came by chance in the early 1980s. I saw Graeme Murphy in his production of Poppy at the old Regent Theatre. It blew me away. I was hooked, and I have attended every new production over the ensuing years.

Sydney Dance Company has to me, over that part of its 50 years that I have witnessed, exemplified dance in its purist form. There is a freedom and willingness within the Company to explore new ideas and expression through dance in an uninhibited and, in many times, unexpected way. This tradition has continued to flourish under Rafael Bonachela.

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The dedication and commitment of the dancers of Sydney Dance Company is by far one of the most impressive aspects of the Company. The physical and mentally challenging demands placed upon them are difficult if not impossible to describe. As a supporter, I receive a glimpse of those demands via behind the scene rehearsals and functions. I am constantly amazed at their dedication.

I will proudly continue to support Sydney Dance Company and would recommend that anyone who is passionate about dance to also support such a fabulous group of young performers.

Impact Report 2018

Impact of Support

Commissioning Fund 9 new commissioned dance works created in 2018 9 new commissioned music scores 14 works in repertoire 4 costume designers 3 lighting designers As Australia’s leading contemporary dance company, we have a responsibility to create opportunities for new, emerging and established artists, as well as continuing to explore and push our artistic boundaries to challenge ourselves, the dancers and our audiences. We are committed to supporting the creation of work that pushes boundaries and interrogates what it is to be alive in Australia today.

We are passionate about creating opportunities for emerging Australian artists to make work on our Company, ensuring that the future of contemporary dance is secure.

“The most enjoyable aspect of creating a new work is freefalling. Not really knowing where you are going to land. That’s the thing I like about it the most.

The dangers.”

Antony Hamilton on the creation of Forever & Ever, 2018 Touring Fund 23 cities and towns 8 countries (7 overseas, 1 Australia) 5 works in repertoire for International touring 6 Australian states and territories 14 Australian towns and cities 60 donors joined us on tour to Europe in 2018 As an arts company with a national and international presence, every year we are proud to perform in Australian capital cities, regional centres and internationally, in line with our goal to share our work as widely as possible. In 2018, 54% of our performances took place outside Sydney.

As global cultural ambassadors, we take our role within the arts ecology very seriously as we endeavour to not only showcase the best of our artform but ensure that audiences – wherever they are – can experience our work. We also seek to inspire young people in remote locations to consider how the transformative power of the arts, and contemporary dance, can impact their lives.

to students across Australia, supporting health, wellbeing and creative development of students of all ages, as well as nurturing the next generation of young dancers through masterclasses (both national and international).

Education Fund 4 Pre-Professional Year scholarships 295 workshops delivered 3,176 school students and teachers attended a matinee program 7,102 students engaged in a workshop The nurturing and development of young talent is crucial to the long-term evolution of all artforms, and contemporary dance is no exception. It is our goal that as many young people as possible have the opportunity to experience the joy of movement and dance, either by participating in a workshop to build confidence and explore creativity, or by watching a dedicated schools’ matinee and, through pre-show talks and post-show Q&As, develop a greater understanding of the choreographic process and the dancers’ roles within that process.

We are committed to educating and inspiring future generations of dancers and audiences. Our education program is entirely funded by philanthropic support, which enables us to: – Deliver schools matinees to primary and secondary pupils across the country at highly subsidised rates – Supply free tickets to young people located in lower socio-economic areas – Allow students to participate in workshops – Provide Regional students with behind-the-scenes experiences – Offer training to talented tertiary students alongside our professional dancers – Provide teachers with resource packs, allowing them to develop their professional skills “This year has enabled me to grow through determination and patience. With time I’ve noticed technique is an inner strength and outer softness. I now see dance from a new perspective, allowing me to grow as a performer and taking me on a personal journey.”

Alex Borg, Pre-Professional Year scholarship recipient 2018

With that in mind, our national tour is created in such a way that we deliver education and outreach programs 50

Impact Report 2018

Take a Step Campaign, Corporate Support & Dance Noir

Take A Step Campaign As we look to our 50th year anniversary in 2019, 2018 saw a continuation of our capital campaign – Take A Step – launched in 2016 to secure the future of the Company. Thanks to the incredible generosity and leadership of key donors and Board Directors, this campaign will enable the transformation of our physical space at Wharf 4/5, Walsh Bay and will underpin our creativity for decades to come.

Sydney Dance Company relocated to its temporary, purpose-built studios and offices in Ultimo in August 2018 to allow work at the Wharf to commence.

The transformation of our home will enable us to: – Create a new, unique, purpose-built, multi-function studio space overlooking Sydney Harbour to be used for rehearsal and performance, education programs and public dance classes Studio 5. The Neilson Studio, with thanks to the Neilson Foundation – Rehearse and create new work in four upgraded, existing studios, with one studio completely dedicated to our Pre-Professional Year students – Studio 1 The Clifford Studio, with thanks to Andrew and Jane Clifford – Studio 2 The Joan Barrie Studio – a gift from Catriona Mordant AM and Simon Mordant AM – Studio 3 The Zampatti Studio, with thanks to Carla Zampatti AC – Studio 4 The Wales Family Studio, with thanks to the Wales Family Foundation – Allow audiences across the world to access and experience dance through new digital technologies across all five studios – Provide an enhanced visitor experience through new café, foyer and public facilities spaces – Support the wellbeing of our dancers with enhanced gym and physiotherapy facilities – Improved production facilities to support the presentation of our work.

– Refurbishment of the administration offices

Trusts and Foundations Trusts and Foundations play an integral role in helping us to achieve the community, education and creative works we undertake each year. We are so grateful for the current partnerships we have forged with our existing Trust and Foundation supporters, without whom much of our work would simply not be possible.

The Balnaves Foundation Crown Resorts and Packer Family Foundations Hephzibah Tinter Foundation The Jibb Foundation Naomi Milgrom Foundation The Neilson Foundation Nelson Meers Foundation Thyne Reid Foundation The Wales Family Foundation Dance Noir 2018: Earth, Wind and Fire Dance Noir, Sydney Dance Company’s annual fundraiser, took place at the White Bay Cruise terminal, Rozelle on Saturday 8 September 2018. The night was an extraordinary celebration of dance and public demonstration of support for the Company’s work and was once again helmed by a Committee of wonderful volunteers, led by Co-Chairs Pam Bartlett (Board Director) and Peter Reeve, all of whom worked tirelessly to ensure that every element of the night was delivered seamlessly.

Funds raised at Dance Noir enable the Company to deliver education programs throughout Australia, commission new work, tour Australia and the world, share dance through outreach into the communities in which we perform, and ensure our dancers receive the support needed to maintain their ability to dance at the highest level.

We thank the Committee members, major prize donors and key suppliers in supporting us to achieve a successful fundraising event.

Corporate Support We remain committed to the development of collaborative partnerships, and this was once again demonstrated through the support of our corporate partners in 2018. More than simply exposure to something beautiful, or physical fitness, or engaging with culture – our corporate partnerships extend and enhance the work of both the Company and our partner organisations.

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Beyond the Stage

Impact Report 2018

Donors

Platinum Partners Robert Albert AO and Elizabeth Albert, The Balnaves Foundation, Crown Resorts Foundation, Julian Knights AO and Lizanne Knights, Jules Maxwell, Andrew Messenger, Naomi Milgrom Foundation, The Neilson Foundation, Judith Neilson AM, Packer Family Foundation, Gretel Packer, Thyne Reid Foundation, The Wales Family Foundation, Carla Zampatti Foundation, Mary Zuber Annual Partner Program Performance Partners $20,000+ Manuela Darling-Gansser and Michael Darling, The John and Frances Ingham Foundation, Sarah and Robby Ingham, Susan Maple-Brown AM and the late Robert Maple-Brown AO, Sandra McCullagh (in tribute to my mum), Nelson Meers Foundation, Karen Moses, Beau Neilson and Jeffrey Simpson, Emma-Jane Newton and Chris Paxton Studio Partners $10,000+ The Agnew Family, Pam and Doug Bartlett, Black Diamondz Property Concierge, Paul Brady and Christine Yip, Jillian Broadbent AC, and Olev Rahn, Peter and Liz Brownie, Janice and Tony Burke, Brett Clegg and Annabel Hepworth, Jane and Andrew Clifford, Jade and Richard Coppleson, Judy Crawford, Cullman Family Fund, Dr Michelle Deaker, Susie Dickson and Martin Dickson AM, David Fite and Danita Lowes, Kiera Grant, Andrew and Emma Gray, Memocorp Australia Pty Ltd, Mr and Mrs McCullagh, Erin Ostadal and the late Billy Ostadal, peckvonhartel architects, John Prescott AC and Jennifer Prescott, Ruth Ritchie Family Fund, Dick and Pip Smith, Alden Toevs and Judi Wolf, Turner, Alastair J M Walton, Yang Yang, Anonymous (5) Duet Partners $5,000+ Aniek Baten, Colin Bell and Donna-May Bolinger, Andrew Cameron AM, Jean-Marc and Kirsten Carriol, Robert Crossman, Mike Dixon and Dee De Bruyn, Suellen and Ron Enestrom, James and Jacqui Erskine, George Frazis, Ian Galloway and Linda Treadwell, Mark Hassell, Rose Herceg, Linda Herd, Fraser Hopkins, Jackson Family and Friends, Tina and Mark Johnson, John Kaldor AO, Macquarie Group Foundation, William Manning, Alexandra Martin in memory of Lloyd Martin AM, Carina Martin, Jane McCallum, Clare Munnelly, Paris Neilson and Todd Buncombe, Roslyn Packer AC, David Park, Rebel Penfold-Russell OAM, Peter Reeve and Jaycen Fletcher, Kellie and Warryn Robertson, Rossi Foundation, Penelope Seidler AM, Peter and Victoria Shorthouse, Bianca Spender, Mark Stanbridge, Leslie Stern, Lorraine Tarabay and Nick Langley, Victoria Taylor, Turnbull Foundation, David Vitek, The late Ian Wallace and Kay Freedman, Barbara Wilby and Christopher Joyce, Ray Wilson OAM, Adam Worling Public Relations, Di Yeldham, Ursula Zaoui, Anonymous (7)

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Beyond the Stage

Dance Partners $2,000+ ADFAS Sydney, Ralph Ashton, Paul Bedbrook, John and Susan Blue, Phillip and Catherine Brenner, Jane Bridge, Lisa Burquest, Liliana Caputo and Jason Pantzer, Peter Chadwick, Paul R. Espie, Annalise Fairfax, Margaret Gibbs, Belinda Gibson, Girgensohn Foundation, Julie Godfrey, Bradford Gorman and Dean Fontana, John Griffiths and Beth Jackson, Gabrielle Iwanow, David Jonas and Desmon Du Plessis, Elias and Jana Juanas, Agata Kenna, Les Kennedy, Marina and Richard Leong, Susie Manfred and Hunter McPherson, Andrew and Del McGuiness, CA Scala and DB Studdy, Ezekiel Solomon AM, Allegra Spender and Mark Capps, Stedmans, Vanape Pty Ltd, Anonymous (7) Rehearsal Partners $1,000+ Janet Abernethy, Lenore Adamson and the late Ross Adamson, Antoinette Albert, Ian Belgiorno-Zegna, Carrie and Steve Bellotti, Benmill Pty Ltd and JB No 3 Pty Ltd, Berg Family Foundation, Natalie Best, Celia and Eckhart Bischoff, Maxine Brenner, Jacqui Burton, John and Libby Clayton, Janine Collins, Rob Coombe, Jennifer Deslandes, Daniel and Lyndell Droga, Carmel Dwyer, Jacqui Galbraith, and Michael Harvey, Amber Gooley, Rosemary Grant, Ben Harlow, John Head, Sue Hoopmann, Charles and Joey Hue-Williams, Sarah Hue-Williams, Michael Ihlein, Allen Iu and Bernadette Walker, Tony Jones, Virginia Judge, Josephine Key and Ian Breden, Joanne Killen, Carol Lewis and Ian Ashby, Christina Ludwigson, Heidi and Jordan Martin, Jacqueline O’Brien, Dr Lisa O’Brien, Tony O’Regan, K Palghat, Marion Pascoe, Greeba Pritchard, Kate Richardson and Chris Marrable, Alida Stanley, Ross Steele AM, Janine Stewart, Howard and Mary Tanner, Stuart Thomas, Mike Thompson, Sylvia Tooth, Yates Family, Anonymous (7) Ensemble Partners $250 – $999 Dr Cynthia à Beckett and Gordon Smith, Annie and Doug Aitken, ArchMove Collective, Diego Balagna, John Barrer, Bill and Marissa Best, Minnie Biggs, Matthew Blampey, Margaret Blok, David Bluff, Bodycentric, Sarah Brasch, Matty Burton, Kerrie Cai, Stephen Chase and Colette Baini, Min Li Chong, Zoë Cobden-Jewitt and Peter Jewitt, Wendy and Steve Cooper, Davidov Partners Architects, Dr Suresh de Silva and Dr Katja Beitat, Tanya Diesel, Robyn and John Fennell, Marilyn Anne Forbes, Helen Forrester, Elizabeth and Ben Gilbert, Domenico Giuliano, Gabrielle Golan, James Gribble, Josie Gurney, Rachael Hagget, Nabeel and Marian Ibrahim, The Teresa Johnson Ballet School, Robert Kidd, Susan Kirby, Andrew and Charlotte Lennox, McKeage Cole Foundation, Simon Oaten, Stephen O’Rourke, Dr Natalie Pelham, Mark Royle, Norman R Scott, Jann Skinner, Emma and Duncan Snodgrass, Jan Sundell OAM, Greta Thomas, Guy Thompson, Natalie Vanstone, John and Gay Woods, Matthew Yovich, Monica Zhao, Anonymous (12) Impact Report 2018

2018 Pre – Professional Year Scholarships Tim Fairfax AC, Doug Hall Foundation, The Wales Family Foundation Scholarship, Mary Zuber Scholarship

Brett Clegg and Annabel Hepworth, Jane and Richard, Freudenstein, Cullman Family Fund, David Mathlin, Sandra McCullagh, Ezekiel Solomon AM

2018 Commissioning Fund Platinum Partners Julian Knights AO and Lizanne Knights, Jules Maxwell, The Neilson Foundation, Carla Zampatti Foundation

Rafael Bonachela and Joe Lawler, Michelle Boyle, Jillian Broadbent AC and Olev Rahn, Janice and Tony Burke, Debbie Coffey, Alexandra Considine, Jade and Richard Coppleson, Anne Dunn and Patricia Buick, Donna and Carl Jackson, Tina and Mark Johnson, Longreach Ownership Trust, Macquarie Group Foundation, Rohan Morris, Lizzi Nicoll, Nick Read, Margaret Payn, Peter Reeve and Jaycen Fletcher, Chrissy Sharp and Michael Lynch, Leslie Stern, Victoria Taylor, Susan Wynne

$20,000+ Manuela Darling-Gansser and Michael Darling $10,000+ The Agnew Family, Pam and Doug Bartlett, Black Diamondz Property Concierge, Paul Brady and Christine Yip, Jillian Broadbent AC and Olev Rahn, The John and Frances Ingham Foundation, Sarah and Robby Ingham, Memocorp Australia Pty Ltd $5,000+ Colin Bell and Donna-May Bolinger, Jane and Andrew Clifford, Judy Crawford, Suellen and Ron Enestrom, George Frazis, Mark Hassell, John Kaldor AO, Mr and Mrs McCullagh, Bianca Spender, Alden Toevs and Judi Wolf, Turner, Yang Yang Up to $5,000 Liliana Caputo and Jason Pantzer, Annalise Fairfax, Ken Howison, Agata Kenna, Erin Ostadal and the late Billy Ostadal, peckvonhartel architects, Ezekiel Solomon AM, Allegra Spender and Mark Capps, Janine Stewart, Vanepe Pty Ltd, Di Yeldham

Bequests The Estate of C.R. Adamson, The Estate of Patricia Cameron-Stewart, The Estate of Janet Fischer, The Estate of Patricia Leehy, The Estate of Peggy Watson (Raczkowska) Dance Noir Sydney Dance Company would like to thank the 2018 Dance Noir Committee.

Co-Chairs Pam Bartlett, Peter Reeve Committee Sally Burleigh, Jean-Marc Carriol, Jane Clifford, Debbie Coffey, Vitek Czernuszyn, Georgina Fergusson, Alexa Haslingden, Donna Jackson, Tina Johnson, Terry Kaljo, Jan Logan, Jane McCallum, Christina Voitenko, Judi Wolf

Capital Campaign Sydney Dance Company’s Take A Step Campaign Sydney Dance Company has embarked on an ambitious Capital Campaign that will see the Company cement its position as one of the world’s leading contemporary dance companies. As we approach our 50th anniversary in 2019, we are taking steps to secure the next 50 years through a campaign to both enable the transformation of our physical space and underpin our creativity for decades to come. We would like to acknowledge our leadership and founding supporters of the Take A Step Capital Campaign.

NSW Government The Neilson Foundation, The Wales Family Foundation, Jane and Andrew Clifford, Simon Mordant AM and Catriona Mordant AM, Carla Zampatti AC Julian Knights AO and Lizanne Knights Pam and Doug Bartlett, Kiera Grant and Mark Tallis, Mark Hassell, The Alexandra and Lloyd Martin Family Foundation, Karen Moses, Emma-Jane Newton and Chris Paxton, Mary Zuber, Peter and Liz Brownie, Judi Wolf and Alden Toevs, Paul Brady and Christine Yip, 55

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Sponsors

Government Partners

New Breed Season Supporter

Sydney Dance Company is assisted\ by the Australian Government through the Australian Council, its arts and funding advisory body.

Major Partners

Trusts & Foundations

FOUNDATION

Associate Partners

Governement Supporters

Industry Partner

Supporters Antipodes Water, Committee for Sydney Contemporary Hotels, The Dorchester Collection, ED. Digital, Jan Logan, Pages, Resolution X, Samsonite, Stedmans, Tattersalls Club

The contribution of our sponsors and partners is essential to the operation of Sydney Dance Company and the creation of new works. We offer tailored packages of unique partnership benefits.

For more information, please contact Development Director Zoe Cobden-Jewitt on (02) 9258 4832 or email zoecj@sydneydancecompany.com

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Financial and Operational Performance

Sydney Dance Company performed well against its Key Performance Indicators (KPI’s) for the 2018 operating year, in a year of significant change. Indicators are set in the following areas: Artform Our Artform KPIs reflect a focus on the artistic vibrancy of the work we create and how it is received by our audiences. We achieved a Net Promoter Score of 85 across the year which puts the company in the “excellent” range for this measure, and approval rating of 97% from audience respondents.

Our contribution to the artform via the commissioning of new works is an important indicator for Sydney Dance Company as it reflects a core ethos of the Company’s commissioning program and commitment to providing opportunities for Artist development.

In 2018 we commissioned 9 new works choregraphed works and 9 new music scores which ranged from mainstage works, which will form part of Sydney Dance Company’s touring repertoire, through to short works as part of our Pre-Professional Year graduation season. We offered 4 choreographic commissioning opportunities within our New Breed program Access Our Access KPIs reflect our expectations for ourselves of our audience attendance numbers. We exceeded our audience target and achieved a result of 49,458 attendees. Sydney Dance Company toured extensively in 2018 and 18,600 people of our achieved result saw us perform on an International stage.

Our specialised school matinee performances and workshops are designed to reach the broadest possible audience and we were pleased that 20% of all attendances of our school matinees and workshops were from Western Sydney.

In addition to our International touring which saw the dancers visit 7 countries, the Company’s national touring schedule also delivered performances in 6 states and territories around Australia.

regional touring fell slightly short of its target of 2,953, largely due to our Cairns performances not going ahead as the venue’s renovations were not completed on schedule.

Our open classes and courses reached 78,918 attendees across 3,936 individual classes.

Education and Learning Artform awareness, training opportunities and the chance to participate, all form the bedrock of our education and learning KPIs. The pinnacle of Sydney Dance Company’s training offerings is the accredited Pre-Professional Year which delivers both a diploma and an advanced diploma qualification. The course is a rigorous year of full time study and we were pleased to have achieved an 88% student graduation rate. The course has a total student capacity of 26 students selected via a national call out and audition process.

Exposure to the artform of contemporary dance and a growing understanding of the processes involved in the artform are the basis for our workshop content. Our school matinee programs are structured around the performance delivery of a full work supported by a Q&A session and a technique class demonstration. Together they reached a total of 11,958 young people and their teachers across Australia.

Sector Development The sector development KPIs for Sydney Dance Company reflect the leadership role we play for the dance sector and as a Major Performing Arts Company.

We measure ourselves with our commitment to training the dancers of the future via our Pre-Professional Year students (23 graduating students) and our professional Intensive participants (30 participants) as well as providing opportunities to participate in the work of the company.

Our NSW regional touring performances reached 1,412 people, exceeding its target by 20%. Our National

In 2018 we welcomed 11 secondment students and 2 interns and the company senior management undertook mentoring with 2 professionals from the small to medium sector. We offered paid commissioning or employment opportunities to 31 independent or small

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to medium companies/individuals as well as employing 92 professional independent dance teachers across our programs making Sydney Dance Company arguably the single largest employer of dance teachers in Australia.

We provided free of charge access to our studio spaces for independent artists and small to medium companies for 91 hours utilised by 184 participants.

Additionally, Sydney Dance Company provided secretarial and convening services to the National Dance Managers Group. Senior staff sat on the Performing Arts Touring Alliance refence group, the Cultural and related Industries reference committee for the PWC Skills for Australia National Vocational Education Review. Our Artistic Director is patron of the NSW Department of Education Arts Unit as well as QL2 dance group in Canberra. Senior staff provide judging services for the Brisbane Contemporary Dance Prix.

NSW Specific Indicators As a performing Arts Company based in NSW year we reflect on our reach within our home State. In 2018 we performed 3 seasons with the professional ensemble and 1 season with our Pre-Professional Year student cohort in Sydney, and we delivered performances in Bathurst, Orange and Newcastle.

the Infrastructure Project gross surplus of $1,036,179, leaving an Infrastructure Project net surplus of $237,784.

Government cash grants for core operations made up 24% of our revenue, with specific grants for touring and in-kind accommodation support adding a further 11.5% of the total.

The operating result reflects the challenges the organisation faces as we manoeuvre through relocation and business disruption and the continuing financial impacts of the renewal project. An ongoing focus on fundraising and cash flow management will be a large part of the focus of activities over the coming 24-month period.

The Board of Sydney Dance Company maintains an active sub-committee structure comprised of Audit and Risk, Nominations, and Marketing and Commercial activities. We also have a Capital Campaign Committee and the Dance Noir Committee both of which are comprised of a mix of Board Directors and external experts. The Board met 7 times in 2018.

Our NSW performances attracted audiences of 20,851.

In addition to our performances, we delivered workshop based education activities to 7,981 participants across NSW and were pleased to specifically engage with 1,305 young people from Western Sydney. Our adult open dance classes and courses in Sydney achieved 78,918 attendances. Our total face to face reach in NSW was 107,750 attendances.

Financial and Governance Our Financial and Governance Key Performance Indicators reflect on the overall performance of the business across the year.

The surplus for the year ended 31 December 2018 was $253,260 (2017: $722,946). This annual surplus consists of an operating surplus of $15,476, calculated after funding the $798,395 impact of disruption costs on the base operating deficit result of $782,919 from 59

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Key Performance Indicators

Audiences

2018 2017

Paid Audiences Sydney Sydney Co-Presentations Canberra Melbourne Darwin Hobart Adelaide NSW Regional Australia Regional excl. NSW International Total Paid Audience

15,304 14,040

4,740 1,545 1,922 2,771 2,901 346 888

865

2,097 1,308 1,591 3,528 2,608 18,600 9,802 43,402 41,454

Unpaid Audience Total Unpaid Audience** Total Audience

6,056

8,060

49,458

49,514

Performances Sydney Sydney co-presented performances Canberra Melbourne Other State Capital Cities NSW Regional Australia Regional excl. NSW International

37 36

38 3 4 6 6 6 6 4 6 8 9 17 17

Total Performances

81

122

Number of seasons presented in Sydney Number of new dances commissions Number of new music commissions Number of different works in repertoire during the year

4 9 9 14

5 8 4 14

4 3,176 295 7,102 23 78,918 1,371 141,242

5 3,222 240 10,223* 24 70,118 1,157 130,490

Education & Outreach Number of School Matinees Attendance at School Matinees Number of Workshops, Masterclasses and In-school Performances Attendance at Workshops, Masterclasses and In-school Performances Graduation Pre-Professional Year Students Attendance in Open Dance Classes Attendance at School Holiday Workshops Reach of SDC related live activities INCOME EXPENSES SURPLUS

12,462,133 11,979,076 12,208,873 11,273,818 253,260 705,258

*Nude Live and/or Crazy Times **Includes sponsor and other complimentary tickets 60

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Contact us

To learn more about our Company or to support our work, please contact: ZoĂŤ Cobden-Jewitt Development Director +61 29258 4832 zoecj@sydneydancecompany.com

Photo credits

Pedro Greig Gez Xavier Mansfield Yael Stempler

GPO Box 1598, Sydney NSW 2001 Studios: 385 Wattle St, Ultimo, NSW 2007 Offices: Suite 602, 45 Jones St, Ultimo, NSW 2007

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