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Sydney Dance Company

Annual Report 2015


Contents

Chair’s Report

3

Executive Director’s Report

4

Artistic Director’s Report

6

2015 Repertoire

8

Performance Schedule

32

2015 Reach

34

Global Footprint

36

Education & Outreach

40

The Company

46

Sydney Dance Company Partners

50

Sydney Dance Company Sponsors

53

Performance Against Goals

54

Key Performance Indicators

64

Corporate Governance

70

Annual Financial Report

74


14 new works, 8 new music commissions, 22 works in repertoire

I am delighted to present the annual report for Sydney Dance Company’s operations across 2015. The year was a busy and successful one. Our education program continued to grow, we undertook two successful international tours and an extensive national and regional tour. The Company performed in 14 Australian towns and cities and presented 98 performances and 142 education activities that included workshops, master classes and matinees.

2—3

Chair’s Report

Rafael Bonachela’s success in securing the rights for the Company to perform William Forsythe’s Quintett, the invitation for Sydney Dance Company to open the prestigious Movimentos Festival in Germany and the rapturous reception of the festival audiences all speak to the outstanding success the Company enjoys on the world stage. We were delighted to once again partner with the Balnaves Foundation and Carriageworks to present New Breed, a showcase of some of the brightest up and coming Australian choreographic talent. Another highlight of the year was the opportunity to again collaborate with the Australian Chamber Orchestra for a special one off performance at the State Theatre in Melbourne ahead of our first joint international appearance which took place with two performances in Hong Kong in November. Sydney Dance Company is again finishing the year with a surplus and is continuing to build financial resilience through increased reserves. I would like to thank the staff and management for their efforts throughout the year. It is gratifying to see each year’s successes consolidated and that comes from passion and hard work from all levels of the organisation. I would also like to thank the entire Board of Directors for their work and commitment over 2015, and whose contribution to the Company’s success is considerable. Sydney Dance Company is the largest contemporary dance company in Australia and as a not-for-profit company it is sustained through the generous support of government, corporate and private partners as well as through its own self-generated revenues. I would like to take this opportunity to thank those supporters and to acknowledge the Commonwealth Government support provided through the Australia Council for the Arts as well as the support of the NSW State Government through Arts NSW. A particular thank you goes to the many people who support Sydney Dance Company with private and foundation giving. The support you provide allows the Company to reach out to young people around the country, to commission artists to create new works and to support the dancers that are at the very heart of the Company.

Annual Report 2015

Andrew Messenger Chair


Executive Director’s Report 28% growth in school audiences, 26% growth in total audiences, 16% growth in turnover

2015 was a year of interesting partnerships, a packed performance schedule and extensive touring. It was also a year in which our education program reached new heights and we achieved good results across all our key performance indicators. Notably, the Company achieved great results across the year, including an increase of 26% in audiences year on year and a 16% growth in overall turnover. The year included a significant national touring program and was the first of our three years of National Touring Status – a multi-year Australia Council-funded touring support program designed to deliver high-quality performing arts experiences to regional audiences. Sydney Dance Company is one of only four performing arts companies to hold this status and we were pleased to be able to complement our performances with an extensive education program which reached 1,936 young people and their teachers in regional Australia. The audience response to our regional touring program is exceptional and we value the opportunity to perform for those Australians that do not always have ready access to exceptional dance performance. Two international tours undertaken by the Company were very well received and continued the development of the Company’s European and Asian touring markets. We were very pleased to be invited back to the prestigious Movimentos Festival, this time to open it and to be a significant part of the Australian Dance Platform that was held in Ludwigshafen, Germany. There, we were delighted to work with players from the German State Philharmonic of Rhineland-Palatinate for performances of Triptych and to present the world premiere of New Breed. Across the year, there has been significant investment in the creation of new Australian works for the stage, allowing us to commission 14 choreographies and eight music scores. This would not have been possible without the support of the individuals and foundations who have given to Sydney Dance Company’s Commissioning Fund. Their faith in the Company’s artistic process and their support is invaluable and we thank them for it.

Photo: Ben Symons


The partnership with Carriageworks and the Balnaves Foundation to create and present New Breed 2015 followed on from the success of the 2014 edition. Its world premiere in Germany was followed by a sold-out season in Sydney, calling attention to the breadth of talent and choreographic voices that are being produced in Australia. Education programs continued to grow and flourish in 2015. The education advisory group was once more instrumental in setting the course for the activities for the year; my thanks to them for their assistance and guidance. The second year of the accredited Pre-Professional Year program provided 25 exceptional young dancers with the opportunity to work with a huge range of artists and alongside the professional company, developing their artistry and getting them prepared for lives as professional dancers. The schools outreach program reached a record number of young people right across the country, introducing many of them to contemporary dance for the very first time. The reach of that program was greatly extended by foundation support that enabled us to employ teaching artists to travel ahead of the regional tour and initiate workshops in towns and cities where the Company would perform. 2015 saw us extend our school matinee performance program with specially devised programs delivered in four cities for both primary and high school students. In addition, our school holiday programs continue every holiday period to teach young dancers from the ages of 8 to 18 a range of dance styles.

Ranging from absolute beginner ballet through to hip hop and seniors tap and jazz, the open class program is an important touchstone for Sydney Dance Company and one that has taught hundreds of thousands of people to dance over the years.

4—5

Sydney Dance Company was delighted to partner with the Australian Chamber Orchestra across a number of programs in 2015. The Sydney season of Triptych and the Melbourne and Hong Kong seasons of Illuminated provided fertile ground to further explore the possibilities of audience cross-pollination and artistic excellence. We were also delighted to work with guest artists Katie Noonan and Taryn Fiebig on those projects and to have Katie join us on stage in Germany in November.

Each year, Sydney Dance Company is thankful for the assistance it is given in securing the needed funds to continue to deliver our commitments to commissioning, touring and education. A large part of that assistance comes from the organising committee and sponsors who help Sydney Dance Company stage its annual event, Dance Noir. Dance Noir is a fabulous evening of friends fundraising for the Company. The highpoints of the evening are performances created by the dancers of the Company to entertain the 450 guests. The activities of the Company across 2015 were delivered by a dedicated team of artists, arts managers and administrators, supported and lead by the Board of Sydney Dance Company. My particular thanks goes to the Board for that leadership and support. It is a real pleasure to work alongside a group of dedicated and passionate directors. My thanks also to the team at Sydney Dance Company who impress me consistently and make me proud of all we achieve together as a team.

Anne Dunn Executive Director

Our open class program continues to be hugely popular generating over 68,000 visits to our Walsh Bay studios.

“The schools outreach program reached a record number of young people right across the country, introducing many of them to contemporary dance for the very first time.� Annual Report 2015


Artistic Director’s Report

Looking back on 2015, I am reminded by how hardworking, passionate and gifted each member of Sydney Dance Company truly is. It was a year we undertook 98 performances, a significant step up from 2014’s 87 – and 2015 was simply one of our biggest years yet, filled with a rich array of artistic highlights, large-scale national and international touring and impressive growth in our education and development departments.

“I can’t thank our loyal donors and sponsors enough; your generous support and loyalty is invaluable.”

The year began with a collaboration between Sydney Dance Company and artist Mira Calix as part of an installation shown at Carriageworks during Sydney Festival. Inside There Falls invited audiences to explore and seek out the secrets of a shimmering labyrinth of music, voice and dance. We were thrilled to work with Mira Calix on this project, with graduates of the Company’s Pre-Professional Year participating in this visually and aurally immersive experience. It was a great start to the year. Our first season of 2015 was Frame of Mind, a double-bill that premiered in March at Roslyn Packer Theatre Walsh Bay. This was particularly exciting as the Company brought the poignant masterpiece, Quintett, by revered international choreographer William Forsythe to be performed for the first time ever in the Southern Hemisphere. To say this was a privilege and an honour is an understatement. We matched Quintett with the premiere of my own work, Frame of Mind; both were well received by audiences and critics alike. After its Sydney premiere, the program travelled to Canberra and then to Melbourne’s Southbank Theatre, home of Melbourne Theatre Company. But before this, the Company managed to miraculously find time to travel to Ludwigshafen, Germany with the repertoire work 2 One Another, and open the internationally renowned Movimentos Festival in April. It was a short trip but more than worth it; each of our European performances were sold out before we’d even arrived in Germany. From there, we did a short run of performances with the Sydney Symphony Orchestra, where members of Sydney Dance Company and select graduates from our 2014 Pre-Professional Year joined the musicians on stage at the Sydney Opera House for a Latin-inspired physical realisation of Piazzolla’s Le Grand Tango. It was a true joy to share the stage with this inimitable troupe of talented musicians.

Photo: Peter Greig

So much happened in the first half of 2015, and proved to set the mark for us as a company. Our Frame of Mind season resulted in us winning all four Helpmann Awards in the Dance Category. It was an incredible highlight of the year and something of which the entire Company should feel very proud. In continuing to engage and broaden our audience base across Australia, we took part in an extensive regional tour in the middle of the year. De Novo was performed at 11 venues across the Northern Territory, South Australia, regional Victoria and Tasmania. This triple-bill, originally performed by the Company in 2013, featured works by myself, renowned Swedish choreographer Alexander Ekman, and Adelaide-born Larissa McGowan. It was a program of three distinct and contrasting works that delighted our regional audiences; they continued to send us positive feedback long after our return to Sydney.


The second half of the year was one of the busiest times ever for the Company. After returning from the regional tour, the Company began work on Triptych, a triple-bill featuring musicians of the ACO2 and legendary songstress, Katie Noonan. The program comprised three works (Les Illuminations, Simple Symphony and my own never-before-seen work, Variation 10), and showcased beautifully designed costumes by Toni Maticevski. Triptych highlighted the unique and often deeply captivating connection between movement and music, and was a striking contrast to 2015’s other featured programs. Triptych was reshaped into the touring triple-bill, Illuminated, which we took to Melbourne in October with musicians of the Australian Chamber Orchestra, led by Richard Tognetti. This gave our Melbourne audiences another opportunity to engage with us, and the Victorian capital still remains a key focal city for the Company. In addition to these main-stage engagements, Sydney Dance Company also commenced collaboration with the Australian Centre for the Moving Image (ACMI), international choreographer Gideon Obarzanek, and production companies Closer Productions and Jump Gate. Together, we developed Stuck in the Middle with You – a 360-degree, virtual-reality film that features excerpts from Obarzanek’s work, L’Chaim with the dancers of Sydney Dance Company. The film was launched at ACMI on 5 March 2016, and will be shown at festivals around the world. In November, the Company embarked on another international tour to Hong Kong and Germany, performing Illuminated to sell-out audiences at the Kwai Tsing Theatre in Hong Kong, joined by Katie Noonan and musicians of the ACO. It was wonderful to establish the foundation for building better relationships with our Asia-Pacific counterparts.

joint effort to support these choreographers with the resources they needed during the creative process to facilitate their leap into the realm of choreography.

6—7

A huge thanks to the Australia Council for the Arts for enabling us to participate in this in-depth tour of Australia’s regional cities and towns – it was wonderful to bring what we stage in our major capital cities to audiences from Whyalla to Port Pirie and beyond!

In early December, our second intake of students in the Pre-Professional Year performed their end-of-year showcase at Carriageworks with works by Lisa Griffiths, Sara Black, Iratxe Ansa and Ian RT Colless, and my own work, 2 One Another. It was an opportunity to witness the next generation of contemporary dance artists who had obviously flourished during the year, under the guidance of course director, Linda Gamblin. The Pre-Professional Year course continues to be shaped into a truly world-class program that offers a unique setting for young dancers to make the transition into the professional industry. My huge thank you to the Board of Sydney Dance Company for their guidance, support and commitment. I also can’t thank our donors and sponsors enough; your generous support and loyalty is invaluable. To the team I am surrounded by each day, from production to administration and everyone in between: I am so grateful to work with such an incredibly dedicated and passionate group of individuals. To my dancers: I am inspired daily by your hard work and the uplifting performances you consistently deliver. 2015 was a fantastic year for Sydney Dance Company; it’s promised to be matched by all we have in store for 2016. To you, our loyal patrons, I look forward to sharing with you the best that contemporary dance has to offer in Australia.

Rafael Bonachela Artistic Director

Our first stop in Germany was Fürth where we performed a double-bill featuring 2 One Another and Variation 10 at the Stadtheater Fürth, before travelling on to Ludwigshafen with Triptych. While in Ludwigshafen, the Company premiered its New Breed season to European audiences, ahead of its Sydney premiere in December. New Breed is one of our annual program highlights, providing young, emerging choreographers the opportunity to create new works with the dancers of Sydney Dance Company and see them performed in front of an audience. This was its second year of presentation, in close partnership with the Balnaves Foundation and Carriageworks.

Carriageworks and Sydney Dance Company collaborated during the Sydney season in a particularly successful

Annual Report 2015

Our choreographers for 2015 were independent artists Kristina Chan and Daniel Riley, and Company dancers Bernhard Knauer and Fiona Jopp. They did an exceptional job creating, rehearsing and staging their works for both the European premiere and the Sydney season.


2015 Performance Repertoire


8—9

Photo: Peter Greig

Annual Report 2015


Inside There Falls Sydney Festival

Choreography Rafael Bonachela Artist Mira Calix Narrator Hayley Atwell Original Text Brett Clegg Dancers Sydney Dance Company & Associate Artists

Photo: Peter Greig


Choreography Rafael Bonachela with the Dancers Production & Costume Design Tony Assness Lighting Design Benjamin Cisterne Text Samuel Webster Screen Content Design & Production Iloura

Music Original Music by Nick Wales

10—11

2 One Another

Dancers Sydney Dance Company Musicians Veronique Serret (Violin), Nick Wales (Viola, Violin, Keyboards & Electronics), Bree van Reyk (Percussion, Marimba), Jared Underwood (Drum Kit, Percussion), Evan Manell (Drum Kit), Julian Thompson (Cello), Sydney Dance Company Dancers (Voices), Jared Underwood (Justin Shoulder and Jeff Duff Additional Recording)

‘The kind of musical, dynamically diverse and physically challenging work dancers long to perform… this show is not to be missed.’ — The Age Photo: Peter Greig Annual Report 2015


Libertango Le Grand Tango

Choreography Rafael Bonachela Conductor Daniel Carter Costume Design Aleisa Jelbart, Hephzibah Tintner Fellowship Lighting Design Matthew Marshall Dancers Sydney Dance Company Musicians Sydney Symphony Orchestra

Photo: Ken Butti


Choreography Cass Mortimer Eipper

12—13

Le Grand Tango Le Grand Tango

Conductor Daniel Carter Costume Design Aleisa Jelbart, Hephzibah Tintner Fellowship Lighting Design Matthew Marshall Dancers Sydney Dance Company Musicians Sydney Symphony Orchestra

Photo: Peter Greig Annual Report 2015


Four Seasons of Buenos Aires Le Grand Tango

Choreography Lucas Jervies Conductor Daniel Carter Costume Design Aleisa Jelbart, Hephzibah Tintner Fellowship Lighting Design Matthew Marshall Dancers Associate Artists Musicians Sydney Symphony Orchestra

Photo: Ken Butti


Premiere 9 October, 1993, Ballett Frankfurt, Städtische Bühnen Frankfurt, Frankfurt, Germany Choreography William Forsythe, Dana Caspersen, Stephen Galloway, Jacopo Godani, Thomas McManus & Jone San Martin Costume Design Stephen Galloway Stage & Lighting Design William Forsythe

Stagers Ana Catalina Roman Horcajo & Thomas McManus

14—15

Quintett Frame of Mind

Technical Staging Tanja Rühl Music Gavin Bryars Jesus’ Blood Never Failed Me Yet Dancers Sydney Dance Company

‘           ... Quintett radiates the sheer joy of movement but is also tender, angry and sad. It’s sublime.’ — Sunday Telegraph  

Photo: Peter Greig Annual Report 2015


Frame of Mind Frame of Mind

Choreography Rafael Bonachela Design Ralph Myers Costume Design Realisation Aleisa Jelbart Lighting Design Benjamin Cisterne

Music Original Music by Bryce Dessner in a recording by Kronos Quartet Dramaturgical Consultant Samuel Webster Dancers Sydney Dance Company

‘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

Photo: Peter Greig


Choreography Rafael Bonachela

16—17

Emergence De Novo

Music Nick Wales & Sarah Blasko Costume Design Dion Lee Lighting Design Benjamin Cisterne Dancers Sydney Dance Company

Photo: Peter Greig Annual Report 2015


Fanatic De Novo

Choreography Larissa McGowan

Sound Construction Steve Mayhew

Concept Larissa McGowan, Sam Haren & Steve Mayhew

Lighting Design Benjamin Cisterne

Dramaturg Sam Haren

Dancers Sydney Dance Company

‘Infectious playful energy and absolutely incisive wit’ — The Australian

Photo: Peter Greig


Choreography Alexander Ekman

Lighting Design Thomas Visser

Costume design Alexander Ekman

Lyrics Spenser Theberge

Stage Design Alexander Ekman & Thomas Visse

Dancers Sydney Dance Company

18—19

Cacti De Novo

‘This company of stunning movers continues to captivate audiences.’ — Dance Australia

Photo: Peter Greig Annual Report 2015


Simple Symphony Triptych

Choreography Rafael Bonachela

Set & Lighting Design Benjamin Cisterne

Composer Benjamin Britten, Simple Symphony

Dancers Sydney Dance Company

Guest Director & Violin Thomas Gould

Musicians ACO2

Costume Design Toni Maticevski ‘           ... A strong and entertaining program’ — Sydney Morning Herald  

Photo: Peter Greig


Choreography Rafael Bonachela

Conductor Nabil Shehata (Germany)

Composer Benjamin Britten, Les Illuminations

Costume Design Toni Maticevski

Soprano Katie Noonan (Sydney, Hong Kong, Germany), Taryn Fiebig (Melbourne)

Set & Lighting Design Benjamin Cisterne

Leader Richard Tognetti (Hong Kong & Melbourne) Guest Director & Violin Thomas Gould (Sydney)

20—21

Les Illuminations Triptych & Illuminated

Dancers Sydney Dance Company Musicians ACO (Hong Kong & Melbourne), ACO2 (Sydney), German State Philharmonic Orchestra Rhineland-Palatinate (Germany)

‘From the moment dancers Charmene Yap and Juliette Barton circle at arm’s length, eyeing each other before entangling in a flurry of parallel moves, it is electrifying.’ — The Guardian Photo: Peter Greig Annual Report 2015


Variation 10 Triptych & Illuminated

Choreography Rafael Bonachela

Costume Design Toni Maticevski

Composer Benjamin Britten, Variations on a Theme of Frank Bridge

Set & Lighting Design Benjamin Cisterne

Leader Richard Tognetti (Hong Kong & Melbourne) Guest Director & Violin Thomas Gould (Sydney) Conductor Nabil Shehata (Germany)

Dancers Sydney Dance Company Musicians ACO (Hong Kong & Melbourne), ACO2 (Sydney), German State Philharmonic Orchestra Rhineland-Palatinate (Germany)

‘Everywhere you looked there were dancers giving individual shading and detail to Bonachela’s high-octane choreography.’ — The Australian

Photo: Peter Greig


Choreography Rafael Bonachela

Set & Lighting Design Benjamin Cisterne

Composers Jean-Philippe Rameau, Vivaldi, JS Bach (selections)

Dancers Sydney Dance Company

Leader Richard Tognetti

22—23

Project Rameau Illuminated

Musicians ACO

Costume Design Rafael Bonachela & Fiona Holley

Photo: Peter Greig Annual Report 2015


Derived New Breed

Choreography Bernhard Knauer

Lighting Design Matthew Marshall

Composer Jürgen Knauer

Dancers Sydney Dance Company

Costume Design Alana Sargent

Musicians Friedwart Dittmann & Martin Knauer

‘Both flow with intense, rippling phrases that involve the viewer/listener.’ — Sydney Morning Herald

Photo: Peter Greig


Choreography Kristina Chan

Lighting Design Matthew Marshall

Composer James Brown

Dancers Sydney Dance Company

24—25

Conform New Breed

Costume Design Aleisa Jelbart ‘Conform is one of the most powerful dance works of the year.’ — Dancelines

Photo: Peter Greig Annual Report 2015


Reign New Breed

Choreography Daniel Riley

Lighting Design Matthew Marshall

Composer Nick Thayer

Dancers Sydney Dance Company

Costume Design Aleisa Jelbart ‘Ferocious energy’ — The Australian

Photo: Peter Greig


Choreography Fiona Jopp

Costume Realisation Fiona Holley

Composers Alicia Merz & Tobias Merz

Lighting Design Matthew Marshall

Costume Design Alana Sargent

Dancers Sydney Dance Company

26—27

so much, doesn’t matter New Breed

‘Extraordinary, emotionally moving artistry of the highest order.’ — Arts Hub

Photo: Peter Greig Annual Report 2015


Lost Body PPY15 Revealed

Choreography Iratxe Ansa Composer Cye Wood Costume Realisation Fiona Holley Stage & Lighting Design Alexander Berlage Dancers 2015 Pre-Professional Year students

Photo: Gez Xavier Mansfield


Choreography Ian RT Colless

28—29

From the Feet Up PPY15 Revealed

Composer Harry Stafylakis (In Flames) Costume Realisation Fiona Holley Stage & Lighting Design Alexander Berlage Dancers 2015 Pre-Professional Year students

Photo: Gez Xavier Mansfield Annual Report 2015


First Form PPY15 Revealed

Choreography Lisa Griffiths Composer Adam Synnott (Composition includes Clock by Thom Yorke) Costume Realisation Fiona Holley Stage & Lighting Design Alexander Berlage Dancers 2015 Pre-Professional Year students

Photo: Gez Xavier Mansfield


Choreography Sara Black & dancers

30—31

Taction PPY15 Revealed

Composer Alisdair Macindoe Costume Realisation Fiona Holley Stage & Lighting Design Alexander Berlage Dancers 2015 Pre-Professional Year students

Photo: Gez Xavier Mansfield Annual Report 2015


2015 Performance Schedule

8–17 January Carriageworks, Sydney NSW 10 performances, Inside There Falls 6–21 March Roslyn Packer Theatre Walsh Bay, Sydney NSW 16 performances, Frame of Mind 10–12 April Movimentos Festival, Kraftswerk Autostadt GmbH, Stadtbrücks Wolfsburg, Germany 4 performances, 2 One Another 17–18 April Concert Hall, Sydney Opera House, Sydney NSW 2 performances, Sydney Symphony Orchestra in collaboration with Sydney Dance Company, Le Grand Tango 30 April–2 May Canberra Theatre Centre, Canberra ACT 4 performances, Frame of Mind 6 –16 May Southbank Theatre, Melbourne VIC 10 performances, Frame of Mind 15 July Darwin Entertainment Centre, Darwin NT 1 performance, De Novo 18 July Araluen Arts Centre, Alice Springs NT 1 performance, De Novo 22 July Middleback Theatre, Whyalla SA 1 performance, De Novo 25 July Northern Festival Centre, Port Pirie SA 1 performance, De Novo 29 July Chaffey Theatre, Renmark SA 1 performance, De Novo 1 August Sir Robert Helpmann Theatre, Mt Gambier SA 1 performance, De Novo 6– 8 August Her Majesty’s Theatre, Adelaide SA 4 performances, De Novo 12 August Ulumbarra Theatre, Bendigo VIC 1 performance, De Novo

15 August Frankston Arts Centre, Frankston VIC 1 performance, De Novo 20–22 August Theatre Royal, Hobart TAS 3 performances, De Novo 27 August Princess Theatre, Launceston TAS 1 performance, De Novo 25 September –10 October Roslyn Packer Theatre Walsh Bay, Sydney NSW 14 performances, Triptych 25 October State Theatre, Arts Centre Melbourne, Melbourne VIC 1 performance, Illuminated 13 –14 November Kwai Tsing Theatre, Hong Kong 2 performances, Illuminated 18–22 November Stadtheatre Fürth, Germany 5 performances, 2 One Another, Variation 10 26 November Theatre im Pfalzbau, Festpiele Ludwigshafen, Germany 1 performance, New Breed 28–29 November Theatre Im Pfalzbau, Festpiele Ludwigshafen, Germany 2 performances, Triptych 3–5 December Carriageworks, Sydney NSW 3 performances, PPY15 Revealed 8–13 December Carriageworks, Sydney NSW 7 performances, New Breed


32—33

‘Most Interesting Australian Group or Artist: Sydney Dance Company, for its energetic progress under Rafael Bonachela, pushing boundaries and delighting audiences.’ — Dance Australia

Photo: Peter Greig Annual Report 2015


2015 Reach


34—35

Photo: Peter Greig

Annual Report 2015


Global Footprint

Germany 8 performances 8 works


36—37

Hong Kong 2 performances 3 works

Sydney 52 performances 17 works

Northern Territory 2 performances 3 works

South Australia 8 performances 3 works

Victoria 11 performances 5 works

Canberra 4 performances 3 works

Annual Report 2015

Tasmania

4 performances 2 works


2015 figures

15+85+z 48+31+138z 98 performances

14 Australian towns and cities visited

14 international performances

Can

Melb

Syd

Other

99% of first time audiences say they’ll return

4   Helpmann Awards won


Social media

School workshops & matinees attendees

Twitter followers

8,458

12,200

Audience members

Instagram followers

62,975

25,000

Dance class attendees

Facebook likes

68,453

61,339

Live Sydney Dance Company related activities

You Tube views

144,357

38—39

Attendance

146,132 Website views Annual Report 2015

482,339


Education & Outreach


40—41

In 2015 the development of education and outreach activities continued through the DancED program for school groups and young people, the Pre-Professional year course for young dancers and Studio open classes for the general public.

Photo: Peter Greig Annual Report 2015


DancED 142 education activities

Six school matinee performances were held in Sydney, Canberra, Melbourne and Adelaide as part of the Frame of Mind, De Novo and Triptych seasons. 2,797 secondary students and 640 primary students attended a matinee in one of these locations, with the matinee in Canberra achieving its highest attendance to date and both Sydney and Melbourne secondary matinees selling out. 2015 saw the final year of a three-year grant from the Ian Potter Foundation in support of DancED activity across the country, including the capital city matinee and workshop program. Through the generous support of the City of Sydney, 176 students from six schools were able to attend the Sydney primary matinee and participate in an in-school workshop. For many, this was the first time they had experienced contemporary dance. Feedback from one teacher included: ‘This is a wonderful experience for a group of students who would otherwise not experience a live dance performance. The follow-up workshop allows the students to experience and feel what it is like to be a dancer and the confidence of many students soared.’ Sydney Dance Company was also able to substantially increase its reach in regional areas in 2015 thanks to the support of the Thyne Reid Foundation. In the first six months of this three-year project, 763 students from 31 school and community groups, in 18 regional locations such as Tumbi Umbi, Oak Flats, Fairy Meadow, Lake Munmorah, Launceston and Belmont engaged in a Sydney Dance Company creative workshop led by two teaching artists. In addition, Company dancers delivered 32 workshops whilst on tour, enabling further connection with communities and school groups in regional areas. In total 110 in-school workshops and masterclasses were delivered in 2015. Twenty-two young adults joined Sydney Dance Company for a three-day Intensive Workshop in June. The workshop provided rigorous training in a professional environment and the opportunity to meet and work with Company dancers. The students also learned repertoire from Rafael Bonachela’s 2 One Another taught by ex-company member Thomas Bradley.

Right & Below – The dancers engage with students at an education matinee

Another highlight of DancED was the delivery of a community-based pilot program of workshops in partnership with the Sudanese Australian Integrated Learning (SAIL) Program in September and October. SAIL is a volunteer-powered, not-for-profit, secular organisation which provides free English language support and community services to the Sudanese Australian community. The workshops were delivered to around 15 primary and secondary school students across five 2 hour sessions at SAIL’s Blacktown campus and provided students with the opportunity to experience and enjoy contemporary dance. Students also attended a live matinee performance of Sydney Dance Company’s Triptych. For most participants, this program was their first experience of contemporary dance tuition and live performance and their introduction to Sydney Dance Company. Areas such as storytelling through dance enabled students to develop their creativity, collaboration and communication. The students particularly enjoyed the opportunity to attend Triptych and meet the creative teams. Being the first of its kind for both organisations, this program has proved a rewarding initiative.


42—43 Photo: Peter Greig

“Rigorous training in a professional environment and the opportunity to meet and work with Company dancers” Annual Report 2015


Pre-Professional Year

2015 saw the second intake of students for the Pre-Professional Year course. Led by Linda Gamblin, Course Director, the course has developed and flourished into an important facet of the education program at Sydney Dance Company. It is a unique opportunity for aspiring professional dancers to attend a full-time training course with Australia’s leading contemporary dance company. The course is nationally accredited through an auspice arrangement with Australian Teachers of Dancing Limited, providing students with a Certificate IV in Dance. In 2015, students worked with over 28 guest teachers and choreographers and a further 15 international guest teachers and Sydney Dance Company choreographers such as Kristina Chan, Gideon Obarzanek, Daniel Riley and Ana Catalina Roman Horcajo.

Left – Dancers perform From the Feet Up, choreographed by Ian RT Colless

With the support of The Doug Hall Foundation, Mary Zuber and Tim Fairfax AC, three full scholarship places were awarded to students who would otherwise not be able to attend the course.


44—45

The year culminated in a season at Carriageworks, where the 19 graduating students performed five works: First Form, Lisa Griffiths From the Feet Up, Ian RT Colless Lost Body, Iratxe Ansa Taction, Sara Black 2 One Another (Excerpt), Rafael Bonachela “The Pre-Professional Year of 2015 has been nothing short of an enlightening experience. Each week we are forced to adapt to a new way of moving which brings with it new discovery and new potential. The course forced me to settle into my own style and groove and I credit that to the array of choreographers we have been so fortunate to have worked with. This journey would not have been as valuable or opportunistic without Linda Gamblin. I am forever grateful.” — Nelson Earl, 2015 Pre-Professional Year; recipient of the 2015 Mary Zuber Scholarship

As part of the Studio program, 843 students attended seasonal school holiday workshops participating in two and three-day Contemporary and Lyrical, and Jazz, Theatre Jazz, Jazz Funk Hip Hop and Hip Hop classes. Two sold-out, one-day Intensives were also delivered in June and July for 70 students aged 14 to 18 years, giving them an insight into the training and methodology experienced in the Pre-Professional Year.

Left – Dancers perform Taction, choreographed by Sara Black

Photo: Gez Xavier Mansfield

The Studio open class program continues to engage a significant number of the general public and dance community with 68,453 unique visits to open classes in 2015. The four studios at the Wharf provide a distinctive location for drop-in classes. Styles of classes available include Contemporary Dance, Ballet, Jazz, Theatre Jazz, Hip Hop, Lyrical, Stretch, Zumba, Pilates and Yoga. In addition the Seniors (55 years+) weekly class covers both Jazz and Tap.

Above – Dancers perform First Form, choreographed by Lisa Griffiths

A total of 785 students from 20 schools came to the Studios to take part in a Sydney Dance Company class. The Studios were also hired 40 times throughout the year for corporate bookings and as a venue for commercial dance industry auditions. The Department of Education hosted a variety of workshops for school students and teachers throughout the year. The Education program, Pre-Professional Year course and Studio open class program continue to be a critical and expanding part of Sydney Dance Company’s activities impacting on a variety of participants in numerous locations.

Caroline Spence Director of Education and Outreach

Annual Report 2015


The Company


46—47

Photo: Peter Greig

Annual Report 2015


Sydney Dance Company

Board of Directors

Management

Chair Andrew Messenger

Artistic Director Rafael Bonachela

Pamela Bartlett Peter Brownie Jean-Marc Carriol Brett Clegg (from March 2015) Jane Freudenstein Kiera Grant Randal Marsh Karen Moses Beau Neilson (from March 2015) Naseema Sparks (retired March 2015) Carla Zampatti AC

Executive Director Anne Dunn

Patron Darcey Bussell CBE Ambassadors Judy Crawford Bee Hopkins Jules Maxwell

Deputy Executive Director Sean Radcliffe Producer Dominic Chang Executive Assistant Alexandra Cook Accountant Melissa Sim Payroll Assistant Carina Mision Business Consultant Bruce Cutler Development Director Lizzi Nicoll Business Development Manager Kate Munnelly Philanthropy Manager Hannah McCann (January – August 2015 Maternity Cover) Michelle Boyle Patrons Manager Susan Wynne Development Coordinator Joshua Forward Philanthropy Assistant Carina Martin Marketing Manager Zena Morellini Marketing Coordinator Chontelle Clark (until November 2015) Publicist Julie Clark Resident Multi-Media Artist Peter Greig Education Coordinator Kath Duhigg Emma Powell


Production

Dance Studios

Rehearsal Director Lee Johnston (until March 2015) Chris Aubrey (from March 2015)

Technical Director Joe Fletcher (until April 2015) Guy Harding (from April 2015)

Director, Dance Classes Ramon Doringo

Juliette Barton Richard Cilli Holly Doyle Janessa Dufty Cass Mortimer Eipper Fiona Jopp Bernhard Knauer Chloe Leong David Mack Daniel Roberts Alana Sargent Jesse Scales Todd Sutherland Petros Treklis Josephine Weise (trainee) Charmene Yap Samuel Young-Wright

Stage Manager Simon Turner

Company Teachers Andrea Briody Craig Bary Linda Gamblin Alister Grant (accompanist) Catherine Goss Lucas Jervies Lee Johnston Philipe Klaus (accompanist) Kristina Chan Lisa Griffiths Paul Knobloch Simonne Smiles Nicola Wade Chris Aubrey Pre-Professional Year Course Director Linda Gamblin

Production Technician Tony McCoy Head Mechanist John Shedden Production Assistant Roni Wilkinson Gareth Brown Wardrobe Supervisor Fiona Holley Wardrobe Steph Wiggens Dancers Treatment & Care Company Doctor Dr. Michael Berger Sports & Exercise Physician The late Dr. Ken Crichton Dr. James Lawrence Physiotherapists April-Rose Ferris Marko Becejski Maleeka Raynor

48—49

The Company

Dance Studios Manager Tamara Wheeler Office Assistant Narelle Howarth 2015 Dance Noir Committee Co-Chairs Tina Johnson and Peter Reeve Pam Bartlett Deirdre Brennan Hilary Burton Mark Cavanagh Jean-Marc Carriol Debbie Coffey Ally Considine Jade Coppleson Vitek Czernuszyn Miranda Darling Alexa Haslingden Terry Kaljo Paul Kelly Marita Leuver Jane McCallum Chris Paxton Karin Upton-Baker Education Advisory Board Helen Cameron Julie Dyson Clare Goetze Lesley Graham John Mullins (until October) Ruth Osborne Susan Rix

Annual Report 2015


Sydney Dance Company Partners

Sydney Dance Company’s Partners provide the vital support we need to commission new works, share them with audiences around Australia and overseas, grow our education program and support emerging talent. We would like to thank all those who have contributed to our Commissioning Fund, Touring Fund, Education Fund and Partner Program. We would also like to thank all of our Partners who wish to remain anonymous. Platinum Partners Robert Albert AO and Elizabeth Albert The Balnaves Foundation Crown Resorts Foundation Julian and Lizanne Knights Andrew Messenger The Neilson Foundation Packer Family Foundation Thyne Reid Foundation The Wales Family Foundation Carla Zampatti Foundation Performance Partners $20,000+ Jillian Broadbent AO and Olev Rahn Manuela Darling-Gansser and Michael Darling Paul and Nikki McCullagh Sandra McCullagh (in tribute to my mum) Karen Moses Nelson Meers Foundation Gretel Packer Roslyn Packer AO Rebel Penfold-Russell OAM John Prescott AC and Jennifer Prescott The Ian Potter Foundation Emma Zuber Studio Partners $10,000+ Pam and Doug Bartlett Paul Brady and Christine Yip Peter and Liz Brownie Janice and Tony Burke Peter Clemenger AO and Joan Clemenger AO Jade and Richard Coppleson Crawford Family Foundation Mike Dixon and Dr Dee de Bruyn Doug Hall Foundation Talita Estelle Tim Fairfax AC Jane and Richard Freudenstein Kiera Grant Andrew and Emma Gray Evelyn Hawkins Sarah and Robby Ingham Key Foundation Susan Maple-Brown and the late Robert Maple-Brown AO Jules Maxwell Michael Mills Beau Neilson and Jeffrey Simpson Judith Neilson Erin Ostadal and the late Billy Ostadal Alden Toevs and Judi Wolf Chris and Susie Townsend Alastair J M Walton The Waypoint Group Duet Partners $5,000+ Australia China Art Foundation Dr Richard Balanson and Dawn Talbot Carrie and Steve Bellotti


Rehearsal Partners $1,000+ Lenore and Ross Adamson Antoinette Albert John Armati OAM and Kate Armati Ralph Ashton Lisa Barakat Christine Bishop Philip and Catherine Brenner Maxine Brenner and Jodee Rich Dr Catherine A Brown-Watt Lucy Calabria Christine and Robert Camping Rob Coombe Vitek Czernuszyn and Deborah Thomas Mary-Lou Donnan Jane Douglass AM Ari and Lisa Droga Suellen and Ron Enestrom Fivex Commercial Property Rosemary Grant Mandy Gray Ray Hansen Rachelle Hofbauer Sue Hoopmann Andrew and Georgie Howard Joey and Charles Hue-Williams Sarah Hue-Williams Michael Ihlein Allen Iu and Bernadette Walker Christopher and Nicky Joye Elias and Jana Juanas Virginia Judge Paul Kelly Les Kennedy Josephine Key and Ian Breden Joanne Killen Skye and David Leckie Marina and Richard Leong Andrew and Liz Leuchars Charlotte and Adrian Mackenzie Beverly Ng Gail O’Brien Graeme Pike Joe and Bronte Pollard Greeba Pritchard Ted and Nanette Robson Emma and Duncan Snodgrass Howard and Mary Tanner Mike Thompson Margaret Waller Melissa Widner and Andrew Dent Donna Woodhill Ensemble Partners $250­­­  –  $999 Dr Cynthia à Beckett and Gordon Smith Juliet Ashworth Ian Belgiorno-Zegna Steve Bennett Minnie Biggs Anne Marie Birkill and Nell Bartolo Sarah Brasch Krystina Burdekin on behalf of Gwendolyn Joyce Burdekin Jacqui Burton Ruth Chandler Stephen Chase and Colette Baini

Annual Report 2015

Dance Partners $2,000+ Paul Bedbrook and Fiona Hopkins Berg Family Foundation Jane Bridge Antony Bullimore Hilary Burton and Craig Goodman Dr Bruce Caldwell Graham and Marisa Campion Prof Malcolm Coppleson AO Jill Davies Dr Michelle Deaker Drysdale Family Ian Galloway and Linda Treadwell Girgensohn Foundation Bradford Gorman and Dean Fontana Rupert and Sarah Henry Gabrielle Iwanow Tina and Mark Johnson David Jonas and Desmon Du Plessis Tony Jones and Julian Iiga Brian Ladd and Brian Kelly David Mathlin John and Ursula Moore Dr Gary Nicholls and Niall Barlow Chris Paxton Alex Popov and Allie Hulett Philip and Carolyn Rossi Christina Scala and David Studdy Morna Seres and Ian Hill Peter and Victoria Shorthouse Ezekiel Solomon AM Mark Stanbridge Stephen Thatcher Monika Tu UBS Foundation

Eduardo and Maria Villa Adriana and Daniel Weiss

50—51

Andrew Bird and Alexandra Holcomb Bird Andrew Cameron AM and Cathy Cameron Jean-Marc and Kirsten Carriol Peter Chadwick Brett Clegg and Annabel Hepworth Susie Dickson and Martin Dickson AM James and Jacqui Erskine Paul and Roslyn Espie Annalise Fairfax David Fite and Danita Lowes Chris and Tony Froggatt Judy Garb-Weiss and Sam Weiss Mark Hassell Rose Herceg Fraser Hopkins Belinda Hutchinson AM and Roger Massy-Greene John and Frances Ingham Donna and Carl Jackson Macquarie Group Foundation The Alexandra and Lloyd Martin Family Foundation Carina Martin Naomi Milgrom AO and John Kaldor AM Paris Neilson and Todd Buncombe peckvonhartel architects Peter Reeve and Jaycen Fletcher Penelope Seidler AM Bianca Spender Leslie Stern Victoria Taylor Turnbull Foundation Ian Wallace and Kay Freedman Shemara Wikramanayake and Ed Gilmartin Di Yeldham


Michael Chisholm Min Li Chong Robert and Carmel Clark Davidov Partners Architects Dr Suresh de Silva and Dr Katja Beitat Margot Faraci Keith Findlay Marilyn Anne Forbes Helen Forrester Amber Gooley Diane Grady AM Rachael Haggett Louise Hamshere Ben Harlow Professor Margaret Harris Alexa and David Haslingden Teresa Johnson Ballet School Maureen and Keith Kerridge Robert Kidd Susan Kirby Luisa Kliman Margaret Lederman Macansh Family Dougal Maple-Brown Lopa Mehrotra Prof Elizabeth More AM Jacqueline O’Brien Stephen O’Rourke James Ostroburski Mark Royle Norman R Scott Jillian Segal AM Natasha Stanley Ross Steele AM Greta Thomas Guy Thompson David Thomson Kathryn Warren Brian White AO and Rosemary White Renae Worboys Susan Wynne 2015 Pre –Professional Year Scholarships The Doug Hall Foundation Scholarship Tim Fairfax AC Scholarship Mary Zuber Scholarship Bequests The Estate of C.R. Adamson The Estate of Patricia Cameron-Stewart The Estate of Janet Fischer The Estate of Particia Leehy


Supporters American Tourister, Artbank, Challis & Company, Contemporary Hotels, Pages, Pegasus Printing, Rococo Flowers, Santa Vittoria, Stedmans, Vitek Vodka

Government Partners

New Breed Season Supporter

52—53

Sponsors

Major Partners

Major Partners

Associate Partners

Government Supporter

Platinum Member

Industry Partner

Annual Report 2015


Performance Against Goals


The three goals as stated in the current Strategic Plan are: 1. 2. 3.

54—55

Sydney Dance Company measures success against three key goals as outlined in the Strategic Plan. These goals are designed to complement and strengthen each other and all activities the Company undertakes are informed by and assessed against them.

Artistic Excellence and Innovation Growth in Audience and Participation Financial Sustainability

Photo: Peter Greig Annual Report 2015


Artistic Excellence and Innovation

In 2015, Sydney Dance Company continued the innovative approach to commissioning, collaboration and programming which has become its signature under the artistic direction of Rafael Bonachela. The year showcased collaborations with Sydney Symphony Orchestra, the Australian Chamber Orchestra, singer Katie Noonan and sound artist and sculptor Mira Calix. This year’s artistic output demonstrates Sydney Dance Company’s commitment to nurturing Australian talent as well as to delivering exceptional performance experiences to our audiences. A strategy of artist development was implemented through numerous programs and streams including supporting emerging and early career choreographers, and dancer development programs including employment and performance opportunities. The year commenced with Inside There Falls, as part of the 2015 Sydney Festival. Conceived as a multisensory installation work, Inside There Falls featured the paper sculptures and soundscapes of renowned English artist Mira Calix. Held over 10 days at Carriageworks, the dance component of the piece was created by Rafael Bonachela and performed by a mix of dancers from the Company ensemble and associate artists.

Dancers perform for Inside There Falls, an installation work for Sydney Festival

As Inside There Falls was primarily a visual art immersion experience, the dance was conceived of as something which you may or may not encounter within the space, depending on how long you spent in the space or at what time you entered. Thus, the dance was performed over a 20-minute period within every hour that the exhibition was open to the public. This work required a conceptual approach outside of the normal constraints and advantages of a proscenium-arched theatre, and continued the thread of intersecting with the visual arts that started with 2013’s 13 Rooms.


56—57

Collaborations continued to be a theme throughout the year. In February, Sydney Dance Company was commissioned by the Sydney Symphony Orchestra to create three new works by three Australian choreographers for their presentation of Le Grand Tango. The tango music of Astor Piazzolla was brought to life in two sell-out performances in the Concert Hall of the Sydney Opera House. Once again, this program used a mix of Company dancers and associate artists. Another collaboration was the Sydney season of Triptych and the Melbourne and Hong Kong presentation of Illuminated when Sydney Dance Company once again joined forces with the Australian Chamber Orchestra and Katie Noonan.

Sydney Dance Company’s international touring in 2015 also represented an innovative and new approach to artistic planning. In addition to Hong Kong, we were delighted to tour twice to Germany. In May, the Company opened the prestigious Movimentos Festival in Wolfsburg, where we performed four sold-out performances of the award-winning 2 One Another.

ACO2 perform music by Benjamin Britten for Triptych

Photo: Peter Greig

Triptych featured the musicians of ACO2 and was a triple-bill of Bonachela works set to the music of Benjamin Britten. The program featured costume design by renowned Australian fashion designer Toni Maticevski. Illuminated featured two of the works of Triptych and a reprise of Project Rameau, the very first program on which Sydney Dance Company collaborated with the Australian Chamber Orchestra. Touring Illuminated to Hong Kong with the ACO was a highlight of 2015 and our first performances in Hong Kong for 21 years.

In November, we returned to Germany with three different programs for a two-week tour. We were proud to present the world premieres of works by four Australian choreographers in New Breed in Ludwigshafen, ahead of a season at Carriageworks in Sydney. The opportunity to premiere these works internationally was an exceptional one for choreographers Kristina Chan, Daniel Riley, Fiona Jopp and Bernhard Knauer. In the same tour, Sydney Dance Company also presented Triptych, although this time in conjunction with players from the German State Philharmonic of Rhineland-Palatinate. This was the first time Sydney Dance Company had presented three different programs of work internationally in this way, representing unique collaborations with international artists.

Annual Report 2015

Sydney Dance Company’s commitment to artistic excellence is driven by a desire to support the development of artists and the artform, and also audiences. With this in mind, the Company was delighted to secure the rights to stage William Forsythe’s masterpiece Quintett, his most dearly held piece. Only a very limited number of companies around the world have ever been given permission to stage the work and it had never been seen in Australia. Staged in conjunction with the world premiere of Rafael Bonachela’s Frame of Mind, the program went on to win the Helpmann Awards for Best Choreography and Best Dance Work for Frame of Mind as well as Best Female Dancer, Chloe Leong and Best Male Dancer, Cass Mortimer Eipper, for their performances in Quintett.


Across the year, Sydney Dance Company presented 22 different works in repertoire of which 14 were world premieres in 2015. Additionally, eight new music commissions were made. Our extensive commissioning program develops artists at all levels, from emerging choreographers and composers through to established artists. This wide range of programmed works also created a diverse and appealing program with specific repertoire selected for different elements of the Company’s performance schedule.

The development of the artform and the artists extended beyond audience development and our commissioning program and into the development of dancers. 2015 saw the second intake of students for our Pre-Professional Year program with an extensive schedule delivered to them involving working with more than 20 artists over the year. This also allowed Sydney Dance Company to employ many independent artists to share their knowledge and experience with the students.

2015 represented the first year of Sydney Dance Company’s three-year funding under the National Touring Status program. The program selected for the regional tour was designed for broad audience appeal; to continue to develop appetites for contemporary dance; to feature a range of artistic voices and generate good media hooks. The program was a triple-bill called De Novo, comprised of the funny and accessible work Cacti by Sweden’s Alexander Ekman, Fanatic by Larissa McGowan, and Rafael Bonachela’s Emergence, which featured a commissioned score by acclaimed singer/ songwriter Sarah Blasko and Nick Wales.

Overall, the 2015 program was met with high regard from audiences and critics alike. Sydney Dance Company was recognised with awards and praise. Commissioning so much new work was a bold choice for programming. It created an air of excitement and ambition in the performances that the Company delivered in 2015; that excitement was matched by audience growth and growth in financial turnover.

Accompanying each season and tour was an extensive education program specifically designed to promote audience development. Tailored workshops and master classes, delivered by the Company ensemble and by teaching artists, explored creative tasks, the composition of tasks and curriculum-linked streams of ways of analysing and assessing works. This approach to dance education is supported and guided by our education advisory group.


58—59

What critics had to say about Sydney Dance Company in the 2015 Dance Australia Critics’ Survey Most outstanding choreography Rafael Bonachela, Frame of Mind — Stephanie Glickman, The Herald Sun Most outstanding choreography William Forsythe, Quintett — Valerie Lawsone, dancelines.com.au/dancetabs.com Best new work Rafael Bonachela, Frame of Mind — Peter Burdon, The Advertiser Most outstanding dancer Chloe Leong and Sam Young-Wright in Quintett — Geraldine Higginson, Dance Australia

Photo: Peter Greig

Most outstanding dancer Chloe Leong in Quintett — Valerie Lawsone, dancelines.com.au/dancetabs.com Dancer to watch Chloe Leong, Quintett — Deborah Jones, The Australian

Above – Dancers perform Frame of Mind, choreographed by Rafael Bonachela

Opposite Page – Katie Noonan and ACO2 perform with dancers in Les Illuminations

Annual Report 2015

Left – Sam YoungWright and Chloe Leong in Quintett


Growth in Audience and Participation

In 2015, Sydney Dance Company had an exceptionally busy and productive year. The Company undertook 98 performances across the year, 10 of which were durational performances as part of Sydney Festival’s visual arts and sound installation Inside There Falls. The year included two international tours. In April, the Company travelled to Germany. In November we returned to Germany and also toured to Hong Kong. In addition, an extensive national tour saw us visit 14 Australian cities and towns. The breadth of programming and presentations undertaken in 2015 was aimed at enhancing audience reach and growing both paid and unpaid audiences for Sydney Dance Company performances. These performances returned a significant increase in audience numbers for Sydney Dance Company. Across the year, close to 63,000 people saw a Sydney Dance Company performance. Year on year, this was a 26% increase on 2014. The increases were across all audience categories with increases in school matinee performances of 28% and increases in paid audiences of 21%. The year also delivered significant increases in participation rates with 34% growth in attendance and participation in school workshops and master classes. 2015 began with Sydney Dance Company working with sculpture and sound artist Mira Calix to create Inside there Falls as part of Sydney Festival. The dance element of the work was designed to be encountered within the sculptural space at a point in time during a sound cycle. The installation was experienced by 6,234 people. Moving from sculpture to symphony, Le Grand Tango in February was a collaboration with the Sydney Symphony Orchestra and featured three new commissioned contemporary responses to the tango music of Astor Piazzolla. The program Le Grand Tango was produced by Sydney Symphony Orchestra; Sydney Dance Company was delighted to showcase contemporary dance to this orchestral audience. 2015 saw Sydney Dance Company’s regional touring program enhanced by the attainment of National Touring Status. As one of only four companies awarded this status, Sydney Dance Company is assured of multi-year funding support to assist with our regional touring programs. The surety that comes with that multi-year touring funding has allowed Sydney Dance Company to plan 2015’s and future regional tours more effectively and, importantly, to extend the reach of our activities designed to complement our touring performances. Also in 2015, Sydney Dance Company was able to secure multi-year philanthropic support to allow us to dramatically extend our education activities alongside our national tour. Two teaching artists were employed to deliver additional workshops in regional centres alongside our performances. This doubled the number of young people we were able to reach as part of our regional education activities; we reached 1,936 young people and their teachers. This additional activity also increased the audience numbers for our regional tour. The touring production of De Novo was seen by 8,747 people across four states and territories with the tour starting in Darwin and ending in Launceston. This was an 11% increase on the audience numbers achieved by our 2014 national tour.


60—61

The two mainstage Sydney seasons presented in 2015, Frame of Mind and Triptych, each overachieved their box office targets and contributed towards the overall increase in audience numbers for the year. We were pleased to once again collaborate with the Australian Chamber Orchestra and Katie Noonan for Triptych and to extend the reach for new audiences by collaborating with artists and companies from non-dance forms. These strategies have delivered new audiences with 53% of audiences across the Triptych season being first-time purchasers for Sydney Dance Company. The second edition of New Breed, staged in conjunction with Carriageworks with the support of the Balnaves Foundation, also had an increase in attendances; an additional performance was added to the schedule and the season sold out. Off the stage and in the studio, Sydney Dance Company continued to have a significant reach with 68,453 attendances at our popular open class program and a total of 168,000 visits to our Walsh Bay premises. A total of 144,357 people had direct live contact with Sydney Dance Company throughout the year.

The dancers perform on stage in front of students at an education matinee Photo: Peter Greig Annual Report 2015


Financial Sustainability

Greater sustainability has been a central goal for Sydney Dance Company throughout our current multi-year strategic plan. In 2015, Sydney Dance Company achieved a surplus of $515,376, a result which was ahead of the budget target for the year and reflects growth in all areas of operations as well as careful cost control over expenditure. This result contributes positively towards building the cash reserves of the Company, a key goal of the five-year strategic plan. Revenue from performances, a mix of ticket sales and performance fees, was up by 34%, the growth reflecting the Company’s very busy performance year. Our ongoing focus on increasing philanthropic revenue for the Company continues to yield positive results. Increases in philanthropic revenue have allowed Sydney Dance Company to expand our education programs and have ensured that a substantial portion of our education activities has been completely subsidised. Sydney Dance Company’s key performance indicator matrix has a number of measures to ensure the Company achieves its goals including building reserves, increasing profitability and securing long-term sustainability. Sydney Dance Company maintains a working capital ratio of over 1.7. Sydney Dance Company is in a period of ongoing growth. This growth is being achieved in a framework of slim margins, carefully managed risk and continued investment in artistic output. The company had an overall growth in turnover of 15.6% and posted significant growth in the areas of performance revenue, development income and self-generated income through classes, education and outreach programs. This has allowed for expansion in our education and performance program and significantly contributed to our capacity to reach more people with our performances and outreach activities. The company continues to invest in commissioning and creating new contemporary dance works, supporting Australian artists and progressing the art form. Over 75% of the expenditure of the company goes directly to artist wages and production costs (including teaching staff for dance classes, school holiday workshops and education program as well as dancers, Rafael Bonachela, the rehearsal director and technical crew). As Sydney Dance Company looks at the next five-year period, risks and challenges surrounding the planned Walsh Bay redevelopment must be acknowledged. There is also the ever-present challenge of producing contemporary dance pieces in a fiscally conservative climate. Sydney Dance Company looks forward to meeting those challenges with a proven approach and with careful risk mitigation strategies in place. There are also significant opportunities in the Company’s future. Continued growth and ongoing sustainability will be achieved by careful financial management and an ongoing commitment to artistic excellence and putting our audiences at the centre of our decisionmaking processes.


2015 was a year in which Sydney Dance Company had solid growth in audience numbers, strong financial results and achieved some real highlights on the stage. The success of each of these areas is reflective of a cohesive approach that recognises their interdependency. The Company puts significant effort into its strategies around programming, touring and education and takes an entrepreneurial approach to creating revenue and building reserves.

62—63

Conclusion

With 14 new commissioned dance works from artists at all stages in their careers, as well as new commissions in music and design, Sydney Dance Company is a major contributor to the Australian arts landscape. We make that contribution in an economically responsible way and with an eye to delivering exceptional quality performances and participatory experiences to our audiences. Sydney Dance Company is the flag bearer for Australian contemporary dance on the national and international stage. The ensemble of exceptional dancers is complemented by a hardworking administration team. The recent successes of the company are a tribute to them all.

Annual Report 2015


Key Performance Indicators


64—65 Photo: Peter Greig

Annual Report 2015


Audiences

2015

2014

2013

2012

2011

Sydney

17,159

15,298

10,832

14,602

12,712

Canberra

2,420

2,487

2,766

2,383

2,534

Melbourne

4,895

3,543

2,472

Brisbane

1,125

2,021

1,463

Perth

3,071

2,639

Darwin

932

735

1,797

Hobart

1,306

884

Adelaide

1,944

1,750

2,900

3,122

3,740

2,136

1,426

993

International

10,407

3,659

14,797

8,700

Performances where SDC dancers are hired by another major arts company

1

4,923 

4,109

14,968

Total Paid Audiences

47,108

38,782

33,287

39,635

30,898

8,326

5,495

-6,348

8,737

8,445

21%

17%

-16%

28%

385

6,234 2

2,000

29,000 3

1,525

7,000

Other Unpaid Audiences 

9,633

9,076

4,134

8,540

9,076

Total Unpaid Audiences

15,867

11,076

33,134

10,065

16,076

Total Audiences

62,975

49,858

66,421

49,700

46,974

Paid Audiences

NSW Regional Australia Regional excl NSW

Increase in annual paid theatre audiences % change Unpaid Audiences Free Festival Performances 4

Le Grand Tango presented by the Sydney Symphony Orchestra Inside There Falls as part of Sydney Festival 3 Outsiders street performance as part of the City of London Festival 4 Includes sponsor and other complimentary tickets 1 2


2015

2014

2013

2012

2011

41

39

27

36

34

Western Sydney

7

2

Canberra

4

4

4

5

3

11

10

1

10

Brisbane

1

5

5

Other State Capital Cities

8

5

7

2

NSW Regional

6

12

Australia Regional excl NSW

8

16

1

3

9

14

4

14

45

20

Other Performances

2

2

11

11

Total Performances

88

87

70

131

73

4

5

3

3

2

Number of new dance commissions

14

10

3

7

2

Number of new music commissions

8

5

1

2

2

22

9

7

8

5

Sydney

Melbourne

International

Number of seasons presented in Sydney

Number of different works in repertoire during the year

66—67

Performances

Annual Report 2015


Education and Outreach

2015

2014

2013

2012

2011

6

5

5

4

2

110

90

46

24

12

23

44

69

52

58

Attendance at School Matinees

3,697

2,886

2,220

2,052

1,385

Attendance at in-school School Workshops and Masterclasses

2,981

2,223

1,362

421

246

Attendance at in-studio School Workshops

912

1,347

2,998

2,738

2,978

Teacher attendance at all education events

458

391

219

25

24

68,453

70,688

66,490

64,186

64,458

935

956

825

892

884

Sydney Dance Company premises visitation

168,067

168,228

165,021

162,500

150,000

Reach of SDC related live activities

144,357

129,370

141,052

Income ($ AUD)

10,688,621

9,242,717

8,172,178

7,703,011

7,377,555

Expenses ($ AUD)

10,173,244

9,073,598

7,660,292

7,252,379

6,870,943

515,377

169,119

511,886

450,632

506,612

Number of School Matinees Number of In-School Workshops and Masterclasses Number of in-studio School Workshops

Pre-Professional Year Students Attendance in Open Dance Classes Attendance at School Holiday Workshops

Surplus ($ AUD)


68—69

‘There is nothing like the passion for movement that Sydney Dance Company has, nor the choreographic passion that characterises Bonachela’s work.’ — Michelle Potter on Dancing

Photo: Peter Greig Annual Report 2015


Corporate Governance


70—71 Photo: Peter Greig

Annual Report 2015


Corporate Governance

This statement outlines the Sydney Dance Company’s corporate governance practices and addresses the Essential Governance Practice Principles published and monitored by the Australia Council for the Arts. These principles are based on the recommendations published by the ASX Corporate Governance Council. As at 31 December 2015 Sydney Dance Company has achieved substantial compliance with the recommendations as outlined below. 1.

Lay solid foundations for management and oversight

Over the course of 2015 the Board continued to operate in line with the practices and principles set out in the Governance strategy contained within the Sydney Dance Company Strategic Plan. A high level of engagement with company operations was clearly expressed across the 6 board meetings held, with attendance rates of more than 72%. In addition, the Board sub-committee on audit and risk met regularly with senior management in order to assist in the discharge of the Board’s strategic direction, and to monitor expenditure as necessary, such as international tour budgets. In 2015 the Board formed the Marketing Commercial Activities sub-committee, and Development was a standing agenda item with whole-of-Board oversight. A nominations sub-committee met on an as-needed basis. A new Strategic Plan covering the period 2016–2020 was written over the course of the 2015 year and a Board strategic sub committee was convened and met regularly over the course of writing that plan. A whole-of-Board strategy and planning session was convened in early 2015. 2.

Structure the board to add value

In 2015, Andrew Messenger continued in his role as Board Chair. Brett Clegg, Senior Executive at Newscorp, and Beau Neilson with fundraising and relationships management expertise, both joined the Board of Directors in March 2015. Their appointments took place just prior to Naseema Sparks stepping down from the Board after 6 years service. Board evaluation is carried out on an annual basis between the Chair and all Board Members. A nominations committee comprised of board members and SDC management meets once a year or as needed to discuss skill gaps and propose potential new board members. 3.

Act Ethically and Responsibly

Sydney Dance Company’s governance model is driven by both our constitution and the Code of Conduct approved by the Board. Directors and management are expected to behave in an ethical manner, requiring that the people who occupy these positions are people of integrity. 4.

Ensure Diversity

Sydney Dance Company fosters an organisational culture that embraces diversity and is committed to diversity at all levels. This is not only evident in its staff and Company dancers, but also in its audiences.


5.

Safeguard Integrity in all Reporting

Sydney Dance Company has an active Audit Committee. The prime responsibility of this committee is to independently verify and safeguard the integrity of the Company’s financial reporting for the year-end financial audit, to foundations and state and government stakeholders. It does this through: –– –– –– –– –– –– –– ––

Reviewing the annual budget and monthly management accounts and forecasts Reviewing all financial reports and statements contained in the statutory accounts and recommending acceptance to the Board Reviewing the Company’s financial progress against its Strategic Plan Evaluating the adequacy of the Company’s internal control system and procedures Reviewing the audit plan and appropriateness of accounting policies Monitoring that any recommendations of the external auditors are implemented in a timely and effective manner Overseeing and approving programming and presentation plans Approving any capital expenditure over $20,000.

7.

Recognise and Manage Risk

Risk analysis and management, including financial, health and safety and reputational risks, is undertaken by Management and reported to the relevant sub-committees as part of regular Board briefings. A detailed risk management plan is included in the Company’s five-year Strategic Plan, identifying the ten most direct and damaging risks to the Company’s future as well as listing controls and strategies to deal with each risk. 8.

72—73

Sydney Dance Company has fair and open recruitment and selection practices at all levels and has adopted a flexible approach to work practices in order to assist employees to meet family responsibilities. No form of workplace discrimination, harassment, vilification or victimisation is tolerated.

Remunerate Fairly and Responsibly

The audit committee functions as the remuneration committee on an annual and as-needed basis with reference to both performance and industry standards. Responsibility for recruitment and remuneration negotiations with administrative staff is delegated to the Executive Director and reported to the audit committee. A conscientious effort is made to keep remuneration levels within industry norms. Negotiations for dancers’ levels of remuneration are conducted between the union and management; 2015 represents the second year of the current 3 year dancers’ collective agreement.

Andrew Messenger Chair

The Audit Committee meets monthly, and on an asneeds basis. The committee is comprised of Andrew Messenger, Karen Moses (Chair), Peter Brownie and Keira Grant with the Executive Director and the Finance Manager in attendance. The Board members of the committee have specific financial/accounting experience. Sydney Dance Company is currently working towards financial sustainability. Our 2015 result again contributes towards bettering our accumulated financial position and our business plan is geared towards building reserves. The 2015 result is the 7th successive surplus result and the 2016 budget forecasts another surplus result. External auditors, Ernst & Young, were appointed for the 2015 financial year. 6.

Engage with Stakeholders

Annual Report 2015

The Board recognises the legitimate interests of Sydney Dance Company’s many stakeholders, including its government funding stakeholders. Our partners, donors and sponsors are listed and recognised on Company marketing material and season programs, and information about the Company and its governance is provided to stakeholders via its website. The Board ensures that the Company’s legal obligations to government funding agencies are met, including regular and timely provision of required information. The Company holds an Annual General Meeting every year.


General Purpose (RDR) Financial Report

Sydney Dance Company ABN 59 002 707 897, For the year ended 31 December 2015


Contents Directors’ report Auditor’s Independence Declaration Statement of profit or loss and other comprehensive income Statement of financial position Statement of changes in equity Statement of cash flows Notes to the financial statements Governance statement Directors’ declaration Independent auditor’s report

2 7 8 9 10 11 12 25 27 28

Photo: Peter Greig


Directors’ report Your directors submit their report for the year ended 31 December 2015. Directors The names of Sydney Dance Company’s (“the Company”) directors in office during the financial year and until the date of this report are as follows. Directors were in office for this entire period, unless otherwise stated. Andrew Messenger (Chairman) Pamela Bartlett Peter Brownie Jean-Marc Carriol Brett Clegg (Appointed: March 2015) Jane Freudenstein Kiera Grant Randal Marsh (Resigned: February 2016) Karen Moses Beau Neilson (Appointed: March 2015) Naseema Sparks (Resigned: March 2015) Judy Crawford (Resigned: January 2015) Carla Zampatti AC Qualifications, experience and special responsibilities Andrew Messenger – B.Comm (Melbourne), LLB (Melbourne) Partner – Corrs Chambers Westgarth Appointed to the Board in August 2010 Appointed Chair 22 April 2013 Member of the Audit Committee Member of the Infrastructure Sub Committee Chair – Nominations Sub Committee Expertise: Legal, Governance, Corporate Contacts Pamela Bartlett Founding member of The Marmalade Foundation, operating and funding Lou’s Place, a safe place for women. Studied liberal arts and business administration. Previously Executive Manager, American Express Company with 20 years’ experience in Card and Travelers Cheque Operations. Appointed to Board in August 2012 Chairman of SDC’s major fundraiser, Dance Noir in 2011, 2012 and 2013 Member of the Marketing and Commercial Activities Sub Committee Expertise: Operational Management, Customer Service, Quality Assurance, Marketing and Fundraising Peter Brownie – B. Economics Managing Director, Luminis Partners Appointed to the Board in August 2012 Member of the Audit and Risk Committee Chair – Marketing and Commercial Activities Sub Committee Expertise: Finance, Strategy, Management, Corporate Contacts


2—3

Jean-Marc Carriol – B.A. International Relations – Commerce, Brown University, Providence, R.I, USA Chairman, Saint Germain Holdings Managing Director/Executive Director – Trimex Group (No.1 Luxury/Beauty Distributor, Oceania) 1996-2014 Vice Chairman of the board – Trimex Group Federal Executive Director, French-Australian Chamber of commerce & Industry, 1993–1996 Previous Director of the board, The International-French School of Sydney Corporate underwriter ‘Dream Ball’ (Look Good Feel Better Cancer Charity) 1996–2007 Appointed to the Board January 2011 Member of the Marketing and Commercial Sub Committee Member of the Nominations Sub Committee Expertise: Fundraising, Strategic Management, Marketing, Operational Management, Corporate Contacts Brett Clegg – B. Business (University of Technology, Sydney), Masters of Commerce in Advanced Finance (University of NSW) Senior Executive – News Corp Australia Appointed to the Board in March 2015 Member of the Marketing and Commercial Activities Sub Committee Expertise: Strategy, Corporate Contacts Jane Freudenstein – GAICD Deputy Chair of the Board of Directors of the Sydney Children’s Hospital Foundation 2011–2016 and Director on the Board of Sydney Children’s Choir and Gondwana Voices from 2007 to 2010. Appointed to the Board in October 2012 Member of the Marketing and Commercial Activities Sub Committee Expertise: Advertising, Marketing and Strategic Brand Development, Fundraising Kiera Grant – B. Economics (Sydney), FAICD Non-executive Director of Samuel Smith and Sons (incorporating Yalumba Wines and Negociants Limited) Non-executive Director of Pacific Brands Ltd Trustee of the AGNSW Foundation Former Executive Director of UBS Australia Appointed to the Board in March 2013 Member of the Audit and Risk Committee Member of the Nominations Sub Committee Expertise: Finance, Strategic Management, Corporate Governance and Corporate Contacts Randal Marsh (Resigned: February 2016) Founder and Partner of Wood/Marsh Pty Ltd Architecture Appointed to the Board in April 2014 Chair – Infrastructure Sub Committee Expertise: Fundraising, Strategic Management, Corporate Contacts

Financial Report


Directors’ report (continued) Karen Moses – B.Economics, Dip Education Director of Origin Director of Australia Pacific LNG Pty Limited and Chair of Audit Committee Director of SAS Trustee Corporation and member of the Risk and Audit Committee and the HR & Nominations Committee Director of Boral Limited Director of Sydney Symphony Limited and Sydney Symphony Holdings Pty Limited Appointed to the Board in May 2012 Chair – Audit and Risk Committee (Appointed Chair 22 April 2013) Member of the Infrastructure Committee Expertise: Financial, Strategic Management, Corporate Governance, Corporate Contacts Beau Neilson – B.Laws (UTS) External Engagement – Anti-Slavery Australia Appointed to the Board in March 2015 Expertise: Philanthropy, Events, Relationship Management Carla Zampatti AC Executive Chairman of Carla Zampatti Pty Ltd Board member of the Australian Multicultural Foundation Board member of the European Australian Business Council Board member of the Sydney Dance Company Board member of the MCA Foundation Former Chairman of the SBS Corporation, and a former director of several Boards including Westfield Holdings and McDonalds Australia and former Board member of Sydney Theatre Company Foundation Member of UTS V-C’s Industry Advisory Board Granted an Honorary Doctorate of Laws at the Faculty of Arts Monash University in May 2014 An Honorary Doctorate of Letters from the University of Western Sydney was awarded to Carla in 1999 for outstanding service to the University as a member of its Board of Governors. Appointed to the Board in October 2012 Member of the Nominations Sub Committee Expertise: Business, Export Markets, Board Governance, Networks Dividends The Company is a not for profit organisation which does not pay dividends. Corporate Information Sydney Dance Company is a company limited by guarantee that is incorporated and domiciled in Australia. The registered office and principal place of business of the Company is: The Wharf, Pier 4, Hickson Road, Walsh Bay, NSW 2000. The Company employed 38 permanent employees as at 31 December 2015 (2014: 35 employees).


4—5

Principal Activities The principal activities during the year were as follows: –– –– –– ––

Production and presentation of live dance in Australia and overseas. Promotion and the study of dance. Commercial activities to provide financial support for the above including daily dance classes, school holiday workshops and dance studio hire. Fundraising to support production, promotion and presentation of live dance in Australia and internationally.

Operating Results The operating surplus of the Company for the year ended 31 December 2015 was $515,377 (2014: $169,119). Significant Changes in the State of Affairs There have been no significant changes in the state of affairs of the Company during the year. Significant Events After the Reporting Date There have been no significant events occurring after the reporting date which may affect either the Company’s operations or results of those operations or the Company’s state of affairs. Objectives Fourteen newly commissioned choreographic works and eight newly commissioned music scores underpin a very busy and successful year for Sydney Dance Company. Across the year Sydney Dance Company presented 74 performances across 14 centres in New South Wales, the Northern Territory, South Australia, Tasmania and the ACT. International tours to Germany in March and Hong Kong in November were a feature of the year, totalling 14 performances in four international cities. The total annual audience for all performances in 2015 exceeded 62,000. A surplus of $515,377 was achieved in 2015 which will add significantly to company reserves. The building of reserves is a major focus of the SDC 2016-2020 Strategic Plan, as is generating income through philanthropy and corporate sponsorship. Cash income generated by the development department increased by 35% in 2015. The Company focus on education has expanded the number of students and teachers to over 8,000 attending 139 workshops or schools matinees. The Pre-Professional Year entered its second year after a very successful first year where 20 students completed the year. SDC remains a large generator of visitation to the Wharf as Sydney Dance Company Studios continue to draw over 70,000 visits each year to our Hickson Road studios to participate in dance classes and workshops. Indemnification and Insurance of Directors and Officers Since the end of the previous financial year, the Company has not indemnified or made a relevant agreement for indemnifying against a liability of any person who is or has been an officer or auditor of the Company. Since the end of the previous financial year, the Company has paid premiums in respect of directors’ and officers’ liability and legal expenses insurance contracts. These insurance contracts insure against liability (subject to specific exclusions) for persons who are or have been directors or officers of the Company. The Directors have not included details of the nature of the liabilities covered nor the amount of the premium paid in respect of the directors’ and officers’ liability and legal expenses’ insurance contracts, as such disclosure is prohibited under the terms of the contract.

Financial Report


Directors’ report (continued) Directors’ Meetings The number of meetings of directors (including meetings of committees of directors) held during the year and the number of meetings attended by each director were as follows: Directors’ meetings

Audit and Risk Committee meetings

Number of meetings

Attended

Eligible to attend

Attended

Eligible to attend

Andrew Messenger

6

6

6

7

Pamela Bartlett

6

6

Peter Brownie

5

6

6

7

Brett Clegg

5

6

Jane Freudenstein

3

6

Kiera Grant

5

6

5

7

Randal Marsh

6

Karen Moses

6

6

7

7

Beau Neilson

5

6

Jean-Marc Carriol

2

6

Naseema Sparks

Carla Zampatti AC

5

6

Member’s Guarantee The Company is a public company limited by guarantee that is incorporated and domiciled in Australia. If the Company is wound up, its Constitution states that each member is required to contribute a maximum of $100 each towards meeting any outstanding obligation of the Company, a total of $1,400 (a total of $1,400 as at 31 December 2014). At 31 December 2015, the number of members was 14 (2014: 14 members). Indemnification of Auditors To the extent permitted by law, the Company has agreed to indemnify its auditors, Ernst & Young, as part of the terms of its audit engagement agreement against claims by third parties arising from the audit (for an unspecified amount). No payment has been made to indemnify Ernst & Young during or since the financial year. Auditor Independence The directors received an independence declaration from the auditor of Sydney Dance Company. A copy has been included in this report. Signed in accordance with a resolution of the directors.

Andrew Messenger Chair Sydney 18 April 2016


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Ernst & Young 680 George Street Sydney NSW 2000 Australia GPO Box 2646 Sydney NSW 2001

Tel: +61 2 9248 5555 Fax: +61 2 9248 5959 ey.com/au

Auditor’s Independence Declaration to the Directors of Sydney Dance Company

In relation to our audit of the financial report of Sydney Dance Company for the financial year ended 31 December 2015, and in accordance with the requirements of Subdivision 60-C of the Australian Charities and Not-for profits Commission Act 2012, to the best of my knowledge and belief, there have been no contraventions of the auditor independence requirements of the Australian Charities and Not-for profits Commission Act 2012 or any applicable code of professional conduct.

Ernst & Young

Lisa Nijssen-Smith Partner 18 April 2016

Financial Report

A member firm of Ernst & Young Global Limited Liability limited by a scheme approved under Professional Standards Legislation


Statement of profit or loss and other comprehensive income For the year ended 31 December 2015 Notes

2015 $

2014 $

Revenue

4(a)

10,616,626

9,093,782

Other income

4(b)

71,995

148,935

Administration and marketing expenses including staff costs

(5,268,359)

(5,036,143)

Performance and production expenses

(3,206,431)

(2,523,631)

Commercial activity related costs

(796,048)

(810,730)

Philanthropy activity related costs

(604,429)

(469,548)

Sponsorship activity related costs

(9,828)

(5,982)

(288,149)

(227,564)

Operating surplus for the year

515,377

169,119

Other comprehensive income

–

–

515,377

169,119

Education costs

Total comprehensive income for the year

The above statement of profit or loss and other comprehensive income should be read in conjunction with the accompanying notes.


8—9

Statement of financial position As at 31 December 2015 Notes

2015 $

2014 $

2,101,851

1,195,189

264,943

282,315

2,366,794

1,477,504

Assets Current assets Cash and cash equivalents Trade and other receivables

5

Total current assets Non-current assets Property, plant and equipment

6

98,502

127,524

Reserve incentive funding scheme

7

522,272

495,000

620,774

622,524

2,987,568

2,100,028

Total non-current assets Total assets Liabilities Current liabilities Trade and other payables

8

347,719

270,818

Deferred revenue

9

421,641

317,672

Employee benefit liabilities

10

196,613

112,445

Government grant advances

11

510,683

413,810

1,476,656

1,114,745

51,727

41,475

51,727

41,475

1,528,383

1,156,220

524

524

936,389

448,284

522,272

495,000

Total equity

1,459,185

943,808

Total equity and liabilities

2,987,568

2,100,028

Total current liabilities Non-current liabilities Employee benefit liabilties

10

Total non-current liabilties Total liabilties Equity Contributed equity

12

Retained earnings Reserve incentive funding scheme reserve

13

Financial Report

The above statement of financial position should be read in conjunction with the accompanying notes.


Statement of changes in equity For the year ended 31 December 2015 Contributed equity (Note 12) $

Retained earnings $

Reserve incentive funding scheme reserve (Note 13) $

Total equity $

524

361,665

412,500

774,689

Surplus for the year

169,119

169,119

Other comprehensive income

Total comprehensive income for the year

169,119

169,119

Transfer to reserve incentive funding scheme reserve

(82,500)

82,500

524

448,284

495,000

943,808

Surplus for the year

515,377

515,377

Other comprehensive income

Total comprehensive income for the year

515,377

515,377

Transfer to reserve incentive funding scheme reserve

(27,272)

27,272

524

936,389

522,272

1,459,185

At 1 January 2014

At 31 December 2014

At 31 December 2015

The above statement of changes in equity should be read in conjunction with the accompanying notes.


10—11

Statement of cash flows For the year ended 31 December 2015 Notes

2015 ($)

2014 ($)

6,554,407

5,112,093

(9,000,774)

(8,425,204)

3,366,934

3,279,427

41,184

36,475

961,751

2,791

Purchase of property, plant and equipment

(27,817)

(82,363)

Transfer reserve incentive funding to escrow account

(27,272)

(82,500)

Net cash flows used in investing activities

(55,089)

(164,863)

906,662

(162,072)

Cash and cash equivalents at beginning of year

1,195,189

1,357,261

Cash and cash equivalents at end of year

2,101,851

1,195,189

Operating activities Receipts from customers Payments to suppliers and employees Receipt of government grants Interest received Net cash flows from operating activities Investing activities

Financing activities Net cash flows used in financing activities Net increase/(decrease) in cash and cash equivalents

Financial Report

The above statement of cash flows should be read in conjunction with the accompanying notes.


Notes to the financial statements For the year ended 31 December 2015 1.

Corporate information The financial report of Sydney Dance Company (the “Company’’) for the year ended 31 December 2015 was authorised for issue in accordance with a resolution of the directors on 18 April 2016. Sydney Dance Company is a not for profit company limited by guarantee and as such has no authorised capital and is domiciled in Australia. The Company exists to present live dance in Australia and overseas and to promote the study of dance. The nature of the operations and principal activities of the Company are further described in the directors’ report.

2.

Summary of significant accounting policies

a.

Basis of preparation The financial report is a general purpose financial report, which has been prepared in accordance with the requirements of the Corporations Act 2001, Australian Accounting Standards and other authoritative pronouncements of the Australian Accounting Standards Board, and the Australian Charities and Not-for-Profits Commission Regulation 2013. The financial report has also been prepared on a historical cost basis. The financial report is presented in Australian dollars ($).

b.

Statement of compliance The financial report is a general purpose financial report, which has been prepared in accordance with the requirements of the Corporations Act 2001, Australian Accounting Standards - Reduced Disclosure Requirements and other authoritative pronouncements of the Australian Accounting Standards Board. The Company is a not-for-profit, private sector entity which is not publicly accountable. Therefore, the financial statements for the Company are tier 2 general purpose financial statements which have been prepared in accordance with Australian Accounting Standards – Reduced Disclosure Requirements (AASB - RDRs).

c.

Changes in accounting policy, disclosures, standards and interpretations Changes in accounting policies, new and amended standards and interpretations The accounting policies adopted are consistent with those of the previous financial year.

d.

Going concern The financial report has been prepared on a going concern basis, which contemplates continuity of normal business activities and realisation of assets and settlement of liabilities in the ordinary course of business. The Company reported an operating surplus of $515,377 (2014: $169,119) for the year ended 31 December 2015, and as at that date, the Company’s total current assets exceeded total current liabilities by $890,138 (2014: $362,759). Sydney Dance Company has received confirmation of funding from the Australia Council and Arts NSW to 31 December 2016. This is subject to Sydney Dance Company continuing to meet the requirements of the Tripartite Agreement under which it is funded, and addressing any specific concerns and caveats that the funding bodies might require throughout the period. Each year the Directors and management prepare a schedule of performances and a budget for the Company based on assumptions as to the level of income from the various streams. A budget has been prepared for the year ending 31 December 2015 which projects a surplus. Therefore the directors believe that Sydney Dance Company will be able to pay its debts as and when they fall due and can continue on a going concern basis.


12—13

e.

Current versus non-current classification The Company presents assets and liabilities in the statement of financial position based on current/noncurrent classification. An asset is current when it is:

–– –– –– ––

Expected to be realised or intended to be sold or consumed in the normal operating cycle Held primarily for the purpose of trading Expected to be realised within twelve months after the reporting period, or Cash or cash equivalent unless restricted from being exchanged or used to settle a liability for at least twelve months after the reporting period All other assets are classified as non-current. A liability is current when:

–– –– –– ––

It is expected to be settled in the normal operating cycle It is held primarily for the purpose of trading It is due to be settled within twelve months after the reporting period, or There is no unconditional right to defer the settlement of the liability for at least twelve months after the reporting period The Company classifies all other liabilities as non-current.

f.

Foreign currency translation Transactions in foreign currencies are recorded by the Company at its functional currency spot rate at the date the transaction first qualifies for recognition. Monetary assets and liabilities denominated in foreign currencies are translated at the functional currency spot rates of exchange at the reporting date. Differences arising on settlement or translation of monetary items are recognised in profit or loss.

g.

Cash and cash equivalents Cash and cash equivalents in the statement of financial position comprise cash at bank and on hand. For the purpose of the statement of cash flows, cash and cash equivalents consist of cash, as defined above.

h.

Trade and other receivables Trade receivables, which generally have 30–90 day terms, are recognised initially at fair value and subsequently measured at amortised cost using the effective interest method, less an allowance for impairment. Collectability of trade receivables is reviewed on an ongoing basis. Individual debts that are known to be uncollectible are written off when identified. An impairment provision is recognised when there is objective evidence that the Company will not be able to collect the receivable.

Financial Report


Notes to the financial statements (continued) i.

Property, plant and equipment Plant and equipment is stated at cost, net of accumulated depreciation and accumulated impairment losses, if any. Such cost includes the cost of replacing part of the plant and equipment. When significant parts of plant and equipment are required to be replaced at intervals, the Company depreciates them separately based on their specific useful lives. Likewise, when a major inspection is performed, its cost is recognised in the carrying amount of the plant and equipment as a replacement if the recognition criteria are satisfied. All other repair and maintenance costs are recognised in profit or loss as incurred. Depreciation is calculated on a straight-line basis over the estimated useful lives of the assets as follows: Leasehold improvements - over 10 years Plant and equipment - over 2 to 5 years Furniture and fittings - over 5 years Computer software - over 3 years An item of property, plant and equipment and any significant part initially recognised is derecognised upon disposal or when no future economic benefits are expected from its use or disposal. Any gain or loss arising on derecognition of the asset (calculated as the difference between the net disposal proceeds and the carrying amount of the asset) is included in the statement of profit or loss and other comprehensive income when the asset is derecognised. The residual values, useful lives and methods of depreciation of property, plant and equipment are reviewed at each financial year end and adjusted prospectively, if appropriate.

j.

Impairment of non-financial assets The carrying values of plant and equipment are reviewed for indicators of impairment at each reporting date, with a recoverable amount being estimated when events or changes in circumstances indicate the carrying value may not be recoverable. The recoverable amount of plant and equipment is the greater of fair value less costs to sell and value in use. Impairment losses are recognised in the statement of profit or loss and other comprehensive income.

k.

Leases The determination of whether an arrangement is (or contains) a lease is based on the substance of the arrangement at the inception of the lease. The arrangement is, or contains, a lease if fulfilment of the arrangement is dependent on the use of a specific asset or assets and the arrangement conveys a right to use the asset, even if that right is not explicitly specified in an arrangement. Company as a lessee A lease is classified at the inception date as a finance lease or an operating lease. A lease that transfers substantially all the risks and rewards incidental to ownership to the Company is classified as a finance lease. An operating lease is a lease other than a finance lease. Operating lease payments are recognised as an operating expense in the statement of profit or loss and other comprehensive income on a straight-line basis over the lease term.


14—15

l.

Trade and other payables Trade and other payables are carried at amortised cost and due to their short-term nature they are not discounted. They represent liabilities for goods and services provided to the Company prior to the end of the financial year that are unpaid and arise when the Company becomes obliged to make future payments in respect of the purchase of these goods and services. The amounts are unsecured and are usually paid within 30 days of recognition.

m. Provisions and employee benefit liabilities General Provisions are recognised when the Company has a present obligation (legal or constructive) as a result of a past event, it is probable that an outflow of resources embodying economic benefits will be required to settle the obligation and a reliable estimate can be made of the amount of the obligation. When the Company expects some or all of a provision to be reimbursed, for example, under an insurance contract, the reimbursement is recognised as a separate asset, but only when the reimbursement is virtually certain. The expense relating to a provision is presented in the statement of profit or loss and other comprehensive income net of any reimbursement. Wages and salaries Liabilities for wages and salaries, including non-monetary benefits expected to be settled within 12 months of the reporting date are recognised in respect of employees’ services up to the reporting date. They are measured at the amounts expected to be paid when the liabilities are settled. Long service leave and annual leave The Company does not expect its long service leave or annual leave benefits to be settled wholly within 12 months of each reporting date. The Company recognises a liability for long service leave and annual leave measured as the present value of expected future payments to be made in respect of services provided by employees up to the reporting date using the projected unit credit method. Consideration is given to expected future wage and salary levels, experience of employee departures, and periods of service. Expected future payments are discounted using market yields at the reporting date on national government bonds with terms to maturity and currencies that match, as closely as possible, the estimated future cash outflows. n.

Contributed equity The membership fees were contributed by the initial members upon establishment of the Company. In accordance with the Constitution, members are not entitled to any reimbursement or return of initial membership fees upon ceasing to be a member.

o.

Revenue recognition Revenue is recognised to the extent that it is probable that the economic benefits will flow to the Company and the revenue can be reliably measured, regardless of when the payment is received. Revenue is measured at the fair value of the consideration received or receivable, taking into account contractually defined terms of payment and excluding taxes or duty. The specific recognition criteria described below must also be met before revenue is recognised. Box office Box office revenue is recognised in the year in which the performance is given. Fundraising, Sponsorship and Government grants Fundraising, Sponsorship and Government grant income are brought into account over the year to which the sponsorship agreement or grant relates. If the fundraising, sponsorship or grant relates to a specific project, then it is brought to account at the time the project occurs.

Financial Report


Notes to the financial statements (continued) o.

Revenue recognition (continued) Education Income Education Income is recognised as revenue in the period which the service is provided. Income received in advance is deferred and will be recognised in the following year. Sponsorship in-kind Sponsorship in-kind is brought to account as revenue in the year to which the equal and corresponding expense relates. Consequently, the revenue and expenses are recognised in the same accounting year. Where a depreciable asset is received as sponsorship in-kind, revenue is recognised in the period in which the asset is received, and that asset is depreciated over its useful life. Commercial Income – Dance classes Dance classes are recognised as revenue within the period in which they are provided. Dance class tickets have an expiry date of 6 months (2014: 6 months). The income from unused dance class tickets at year end is deferred into the following year after an adjustment is made for tickets that will remain unused at the date of expiry. Interest income Interest income is recorded using the effective interest rate (EIR) method. The EIR is the rate that exactly discounts the estimated future cash receipts over the expected life of the financial instrument or a shorter period, where appropriate, to the net carrying amount of the financial asset. Interest income is included in other income in the statement of profit or loss and other comprehensive income.

p.

Income tax The Company has not provided for income tax as it is exempted from income tax by virtue of section 50-5 of the Income Tax Assessment Act, 1997.

q.

Goods and services tax (GST) Revenues, expenses and assets are recognised net of the amount of GST, except:

––

When the GST incurred on a sale or purchase of assets or services is not payable to or not recoverable from the taxation authority, in which case the GST is recognised as part of the revenue or the expense item or as part of the cost of acquisition of the asset, as applicable When receivables and payables are stated with the amount of GST included

––

The net amount of GST recoverable from, or payable to, the taxation authority is included as part of receivables or payables in the statement of financial position. Commitments and contingencies, if any, are disclosed net of the amount of GST recoverable from, or payable to, the taxation authority. Cash flows are included in the statement of cash flows on a gross basis and the GST component of cash flows arising from investing and financing activities, which is recoverable from, or payable to, the taxation authority is classified as part of operating cash flows. r.

Government grants Government grants are recognised when there is reasonable assurance that the grant will be received and all attaching conditions will be complied with. When the grant relates to an expense item it is recognised as income on a systematic basis over the periods that the related costs, for which it is intended to compensate, are expensed. Any funding not spent on the planned activities agreed by both parties, at the start of the calendar year, is required to be repaid.


16—17

3.

Significant accounting judgements, estimates and assumptions The preparation of the Company’s financial statements requires management to make judgements, estimates and assumptions that affect the reported amounts of revenues, expenses, assets and liabilities, and the accompanying disclosures, and the disclosure of contingent liabilities. Uncertainty about these assumptions and estimates could result in outcomes that require a material adjustment to the carrying amount of assets or liabilities affected in future periods. Estimates and assumptions The key assumptions concerning the future and other key sources of estimation uncertainty at the reporting date, that have a significant risk of causing a material adjustment to the carrying amounts of assets and liabilities within the next financial year, are described below. The Company based its assumptions and estimates on parameters available when the financial statements were prepared. Existing circumstances and assumptions about future developments, however, may change due to market changes or circumstances arising beyond the control of the Company. Such changes are reflected in the assumptions when they occur. Long service leave provision The liability for long service leave is recognised and measured at the present value of the estimated future cash flows to be made in respect of all employees at balance date. In determining the present value of the liability, attrition rates and pay increases through promotion and inflation have been taken into account. Annual leave provision The liability for annual leave provision is recognised and measured at the present value of the estimated future cash flows to be made in respect of all employees at balance date. In determining the present value of the liability and pay increase through promotion and inflation have been taken into account. Unused dance class tickets The income from unused dance class tickets at year end is deferred into the following year after an adjustment is made for tickets that will remain unused at the date of expiry. Estimates of the future use of these tickets, based on historical use of tickets, are applied in the calculation of this value.

Financial Report


Notes to the financial statements (continued) 4.

Revenue and expenses 2015 $

2014 $

1,729,518

1,285,047

Sponsorship – cash

136,723

57,171

Sponsorship in-kind

827,619

440,135

Fundraising

1,762,850

1,327,443

Commercial income

1,629,566

1,604,813

419,948

301,695

3,270,061

3,271,013

840,341

806,465

10,616,626

9,093,782

Interest income

41,184

36,475

Other income

30,811

112,460

Total other income

71,995

148,935

4,547,398

4,428,296

Workers’ compensation costs

61,664

37,312

Long service leave expense

45,665

7,627

Total employee benefit expense

4,654,727

4,473,235

Plant and equipment

33,253

25,919

Office equipment

13,021

17,287

Furniture and fittings

2,508

2,020

Computer software

8,057

7,335

56,839

52,561

2,572,233

2,516,862

25,000

37,848

a.

Revenue Box office & fees

Education income Government grants – cash Government grants in-kind rental Total revenue b.

c.

Other income

Salaries and employee benefit expenses included in the statement of profit or loss and other comprehensive income Wages and salaries

d.

Depreciation expense included in the statement of profit or loss and other comprehensive income Depreciation of non-current assets

Total depreciation expense e.

Government grant income included in the statement of profit or loss and other comprehensive income Australia Council Grants: –– Australia Council General –– Australia Council Support Arts Organisation Change Management and Growth –– Australia Council Big Dance


18—19

2015 $

2014 $

267,218

267,218

5,500

NSW Government In-kind Rental Assistance

840,341

806,465

Australia Council Touring Fund Grant

393,610

300,612

City of Sydney Big Dance

40,000

NSW Government NSW Touring

90,973

City of Sydney Education Grant

12,000

12,000

4,110,402

4,077,478

Trade receivables

20,074

61,364

Allowance for impairment loss

(9,433)

(2,079)

10,641

59,285

243,456

192,342

10,846

30,688

264,943

282,315

At 1 January

2,079

1,249

Charge for the year

7,354

830

At 31 December

9,433

2,079

22,259

22,259

(22,259)

(22,259)

e.

Government grant income included in the statement of profit or loss and other comprehensive income (continued) NSW Government MPA Grant NSW Government Education Grant

Total Government Grants

5.

Trade and other receivables

Sundry debtors Goods and services tax receivable Carrying amount of trade and other receivables Movements in the provision for impairment loss were as follows:

6.

Property, plant and equipment

Leasehold improvements At cost Accumulated depreciation Net carrying amount

Financial Report


Notes to the financial statements (continued) 6.

Property, plant and equipment (continued) 2015 $

2014 $

221,961

316,681

(161,614)

(231,446)

60,347

85,235

Plant equipment At cost Accumulated depreciation Net carrying amount

During the period, $102,798 of plant and equipment with a nil written down value was written off. Office equipment At cost

101,077

241,897

Accumulated depreciation

(77,025)

(223,245)

24,052

18,652

Net carrying amount

During the period, $158,656 of office equipment with a nil written down value was written off. Furniture and fittings At cost Accumulated depreciation Net carrying amount

29,115

28,157

(21,740)

(19,305)

7,375

8,852

24,415

24,415

(17,687)

(9,630)

6,728

14,785

398,827

633,409

(300,325)

(505,885)

98,502

127,524

Computer software At cost Accumulated depreciation Net carrying amount Total property, plant and equipment At cost Accumulated depreciation Net carrying amount Reconciliation of carrying amounts at the beginning and end of the year Balance at the beginning of the year Cost Net carrying amount Additions Depreciation charge for the year Balance at the end of the year – Net carrying amount During the period, $261,454 of property, plant and equipment with a nil written down value was written off.

2015 $ 633,409 (505,885) 127,524 27,817 (56,839) 98,502


20—21

7.

Reserve Incentive Funding Scheme

Reserve Incentive Funding Scheme

2015 $

2014 $

522,272

495,000

The funds received under the Reserve Incentive Funding Scheme Agreement together with the Company’s contribution are held in escrow for a period of 15 years ending on 2 April 2028 and are subject to the terms and conditions of the Reserves Incentive Funding Scheme Agreement between the Australia Council, Arts NSW and the Company. The funds have not been used to secure any liabilities of the Company. The funds consist of short term deposits of $522,272 (2014: $495,000). No funds were required to be paid into this account by SDC in 2015 ($82,500 was required in 2014). The increase in the fund balance relates to interest received from the short-term deposits. 8.

Trade and other payables

Current Trade payables

66,286

117,341

Other payables

281,433

153,477

347,719

270,818

Dance class deferred revenue

82,547

81,463

Education activity deferred income

74,900

51,209

264,194

185,000

421,641

317,672

107,966

59,210

88,647

53,235

196,613

112,445

51,727

41,475

51,727

41,475

a. Trade payables Trade payables are non-interest bearing and are normally settled on 30 day terms. b. Other payables Other payables are non-trade and non-interest bearing. 9.

Deferred Revenue

Development activity deferred income

10. Employee benefit liabilities Current Annual leave Long service leave

Non-current Long service leave

Financial Report


Notes to the financial statements (continued) 11. Government grant advances 2015 $

2014 $

Australia Council touring grant advances

400,000

400,000

Australia Council Support Arts Organisation Change Management and Growth grant advances

100,000

10,683

13,810

510,683

413,810

413,810

405,396

4,216,792

4,085,892

(9,517)

(4,110,402)

(4,077,478)

510,683

413,810

524

524

524

524

Current

Touring funds repayable Total government grants deferred Movement in government grants At 1 January Received during the year Repaid Released to the statement of profit or loss and other comprehensive income At 31 December

12. Contributed equity Membership fees

The membership fees were contributed by the initial members upon establishment of the Company. In accordance with the Constitution, members are not entitled to any reimbursement or return of initial membership fees upon ceasing to be a member. 13. Reserve Incentive Funding Scheme Reserve At 1 January

495,000

412,500

27,272

82,500

522,272

495,000

Transfer from retained earnings in relation to: ––

Reserve incentive funding scheme

At 31 December

14. Commitments and contingencies a.

Commitments Leasing commitments Negotiations are currently underway with Arts NSW concerning the lease and lease term of the premises going forward.

b.

Contingencies The directors are not aware of any contingent liabilities as at 31 December 2015 (2014: none).


22—23

15. Related party disclosures Transactions with related parties Donations: The following donations were made by directors during the year: 2015 ($)

2014 ($)

Andrew Messenger (Chairman)

25,000

30,000

Pamela Bartlett

10,000

7,500

Peter Brownie

10,000

5,000

Jean-Marc Carriol

5,000

7,000

Brett Clegg

5,000

20,000

Jane Freudenstein

10,000

15,000

Kiera Grant

10,000

19,000

Karen Moses

20,000

20,000

Beau Neilson

10,000

1,500

25,000

35,500

130,000

160,500

Judy Crawford

Naseema Sparks Carla Zampatti AC Total donations

16. Key management personnel a.

Details of Key Management Personnel Current Directors Andrew Messenger Chairman (non-executive) Director (non-executive) Pamela Bartlett Director (non-executive) Peter Brownie Jean-Marc Carriol Director (non-executive) Brett Clegg Director (non-executive) Jane Freudenstein Director (non-executive) Kiera Grant Director (non-executive) Randal Marsh Director (non-executive) Karen Moses Audit and Risk Committee Chair (non-executive) Beau Neilson Director (non-executive) Naseema Sparks Director (non-executive) Carla Zampatti AC Director (non-executive) Executives Anne Dunn Rafael Bonachela Sean Radcliffe

Executive Director Artistic Director Deputy Executive Director, Company Secretary

Non-executive Directors of Sydney Dance Company do not receive remuneration for serving on the Board of Directors. b.

Key Management Personnel 2014 ($)

723,526

636,892

Financial Report

Total compensation

2015 ($)


Notes to the financial statements (continued) 16. Key management personnel (continued) c.

Other transactions and balances with Key Management Personnel Donations from directors are disclosed in Note 15. There are no other transactions or balances with key management personnel.

17. Events after the reporting date There have been no significant events occurring after the reporting date which may affect either the Company’s operations or results of those operations or the Company’s state of affairs. 18. Economic dependency The Company is dependent upon funding in the form of government grants, sponsorship, donations and funds received through various fundraising events.


24—25

Governance statement For the year ended 31 December 2015 This statement outlines the main corporate governance practices that were in place throughout the financial year. a. Board of Directors The board is responsible for the overall corporate governance of the Company including its corporate planning, establishing goals for management and monitoring achievement of these goals. The board meets 6 times a year. To assist in the execution of its responsibilities the board has established five standing committees: the Audit Committee, the Marketing and Commercial Activities Committee, the Development Committee, Infrastructure Committee and Nominations Committee. The board currently has eleven members. Two new directors have been added to the board as from January 2015 while two have resigned in the same period. The names of board members at the date of this statement are set out in the Director’s Report on page 2 of these financial statements. Established skills represented on the board include finance, legal, marketing, administration and fundraising. b. Audit and Risk Committee The audit and risk committee is responsible for reviewing, advising and evaluating the Company’s financial controls, procedures and policies including the review of annual budgets, management accounts and forecasts. The committee also reviews the annual audit plan and statutory accounts. The audit and risk committee meets monthly. Currently it is comprised of Karen Moses (Audit and Risk Committee Chair), Andrew Messenger (Board Chair), Peter Brownie and Kiera Grant (Board members). The Executive Director and Finance Manager are also invited to attend meetings. c. Marketing Committee The marketing and commercial activities committee is responsible for strategic guidance in relation to marketing, communications plans and commercial activities. This function includes post season reviews and recommendations on changes to be made for future marketing campaigns, corporate sponsorship and other commercial activities. The marketing committee meets on a quarterly and an as needs basis. Currently is comprised of Peter Brownie, Jane Freudenstein, Jean-Marc Carriol, Pam Bartlett, Brett Clegg (Board members), Executive Director, Finance Manager, Development Manager and Marketing Manager. d. Development Committees Development is overseen by the entire board. This oversight includes reviewing annual development targets, budgets and results as well as providing advice to management as to increasing development income. Individual Board members are appointed to take carriage of specific development events and strategies in conjunction with the Development Director. Sydney Dance Company’s major fundraising event is managed by its own committee. In 2015, the committee was comprised of two Board members, Pam Bartlett and Jean-Marc Carriol and additional external expert members. This committee meets regularly in the six month lead up to the event. e. Infrastructure Committee The infrastructure committee meets to discuss and suggest responses to ongoing plans and proposals regarding the development of the Wharf by the state government. Currently chaired by Randal Marsh (Board member) and also includes Andrew Messenger (Board Chair) and Karen Moses (Board member), Executive Director and Finance Manager. The committee meets quarterly and on an as-needs basis.

Financial Report


Governance statement (continued) f.

Nominations Committee The nominations committee meets to identify, propose and discuss the skills and suitability of persons for nomination and election to the Sydney Dance Company board of directors. The committee also has the responsibility of identifying skills gaps in the current Sydney Dance Company board and finding suitable replacements thus ensuring an appropriate combination of skills, experience and influence. Currently it is chaired by the Andrew Messenger (Board Chair) and comprises three other board members, Jean-Marc Carriol, Carla Zampatti, Kiera Grant and the Executive Director. The committee meets twice a year and on an as-needs basis.


26—27

Directors’ declaration In accordance with a resolution of the directors of Sydney Dance Company, I state that: In the opinion of the directors: a.

b. c. d. e.

the financial statements and notes of Sydney Dance Company are in accordance with the Corporations Act 2001 and the Australian Charities and Not-for-Profits Commission Act 2012, including: i. giving a true and fair view of its financial position as at 31 December 2015 and performance; ii. complying with Australian Accounting Standards - Reduced Disclosure Requirements (including the Australian Accounting Interpretations), the Corporations Regulations 2001 and the Australian Charities and Not-for-Profits Commission Regulation 2013; and there are reasonable grounds to believe that the Company will be able to pay its debts as and when they become due and payable. the provision of the Charitable Fundraising Act (1991) and its regulations and the conditions attached to the Authority to conduct fundraising have been complied with; and the internal controls exercised by the Company are appropriate and effective in accounting for all income received and applied to its fundraising appeals. the government funding received has been spent in accordance with funding agreements.

On behalf of the Board

18 April 2016

Financial Report

Andrew Messenger Chair Sydney


Ernst & Young 680 George Street Sydney NSW 2000 Australia GPO Box 2646 Sydney NSW 2001

Tel: +61 2 9248 5555 Fax: +61 2 9248 5959 ey.com/au

Independent auditor's report to the members of Sydney Dance Company Report on the financial report We have audited the accompanying financial report of Sydney Dance Company, which comprises the statement of financial position as at 31 December 2015, the statement of profit or loss and other comprehensive income, statement of changes in equity and statement of cash flows for the year then ended, notes comprising a summary of significant accounting policies and other explanatory information, and the directors' declaration.

Directors' responsibility for the financial report The directors of the company are responsible for the preparation of the financial report that gives a true and fair view in accordance with Australian Accounting Standards – Reduced Disclosure Requirements and the Australian Charities and Not-for-Profits Commission Act 2012 and for such internal controls as the directors determine are necessary to enable the preparation of the financial report that is free from material misstatement, whether due to fraud or error.

Auditor's responsibility Our responsibility is to express an opinion on the financial report based on our audit. We conducted our audit in accordance with Australian Auditing Standards. Those standards require that we comply with relevant ethical requirements relating to audit engagements and plan and perform the audit to obtain reasonable assurance about whether the financial report is free from material misstatement. An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the financial report. The procedures selected depend on the auditor's judgment, including the assessment of the risks of material misstatement of the financial report, whether due to fraud or error. In making those risk assessments, the auditor considers internal controls relevant to the entity's preparation of the financial report that gives a true and fair view in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the entity's internal controls. An audit also includes evaluating the appropriateness of accounting policies used and the reasonableness of accounting estimates made by the directors, as well as evaluating the overall presentation of the financial report. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our audit opinion.

Independence In conducting our audit we have complied with the independence requirements of the Not-for-Profits Commission Act 2012. We have given to the directors of the company a written Auditor’s Independence Declaration, a copy of which is included in the financial report.

A member firm of Ernst & Young Global Limited Liability limited by a scheme approved under Professional Standards Legislation


28—29

Opinion In our opinion the financial report of Sydney Dance Company is in accordance with the Australian Charities and Not-for-Profits Commission Act 2012 including: (a)

giving a true and fair view of the financial position of Sydney Dance Company as at 31 December 2015 and of its performance for the year ended on that date; and

(b)

complying with Australian Accounting Standards – Reduced Disclosure Requirements and the Australian Charities and Not-for-Profits Commission Regulation 2013.

Ernst & Young

Lisa Nijssen-Smith Partner Sydney 18 April 2016

Financial Report

A member firm of Ernst & Young Global Limited Liability limited by a scheme approved under Professional Standards Legislation


Sydney Dance Company Annual Report 2015  
Sydney Dance Company Annual Report 2015  
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