Black Diggers

PRESENTED BY SYDNEY FESTIVAL IN ASSOCIATION WITH THE BALNAVES FOUNDATION

BLACK DIGGERS A QUEENSLAND THEATRE COMPANY & SYDNEY FESTIVAL PRODUCTION AUSTRALIA | WORLD PREMIERE

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ACKNOWLEDGEMENT OF COUNTRY

A MESSAGE FROM LIEVEN BERTELS

Sydney Festival would like to acknowledge the traditional owners of the land that we meet on, and pay respect to the 29 clans of the Eora Nation. We would also like to acknowledge that this land falls within the boundaries of the Metropolitan Local Aboriginal Land Council. We would like to pay our respects to Elders both past and present, and all Aboriginal peoples whichever Aboriginal nation they may come from.

FESTIVAL DIRECTOR, SYDNEY FESTIVAL Over the last two Festivals we will have world-premiered 23 new Australian works, from smallscale children’s shows and music recitals to fully fledged theatre productions that continue to tour nationally and internationally. Of all these, Black Diggers is perhaps the one I feel the strongest personal connection with. It all started at a dinner with director Wesley Enoch in the winter of 2011.

Coming from Belgium I had only a sketchy knowledge of Australia’s Indigenous history in the 20th century, but I shared with Wesley that we were very much taken by the story of Rufus Rigney, a young Ngarrindjeri man from Raukkan who enlisted in the Imperial forces aged 16 to fight at the Western Front in World War I. After getting wounded (for the second time) in the battle of Passchendaele, Rufus died in a German field hospital and was buried in a town next to ours. With my own son soon approaching the tender age

Warning: Aboriginal and Torres Strait Islander People are advised that this program contains images and names of deceased persons.

of 16, I have often wondered how an Indigenous kid so young might have felt, enlisting in this army at a time his country wouldn’t recognise him as a citizen, and becoming part of the first global war, with soldiers from the four corners of our planet all fighting in Turkey, Egypt and in Flanders Fields.

The military speak of a war zone as the ‘Theatre of War’. In the arts we have the privilege and the duty to make ‘Theatre of Reflection’, not just to address the darker pages of our past, such as the colonialIndigenous relations in this nation’s history, but also to bring out universal human virtues and to find paths of reconciliation. The latter has become a central goal for Sydney Festival, and the launch of our Reconciliation Action Plan in July 2013 was an important cornerstone for us. The journey of our Black Diggers project allowed us to go beyond a mere plan and put some of these words into action, building cultural awareness and understanding of the diversity of Aboriginal and Torres Strait Islander stories. I feel privileged to have been part of that journey.

A MESSAGE FROM AIR CHIEF MARSHAL ANGUS HOUSTON AC AFC (RET’D) CHAIR OF THE ANZAC CENTENARY ADVISORY BOARD AND FORMER CHIEF OF THE DEFENCE FORCE I have been very excited by this project since its genesis. For many years, the stories of our Indigenous servicemen and women have largely been untold and unheralded.

A MESSAGE FROM THE BALNAVES FOUNDATION The Balnaves Foundation is proud to be presenting, in association with Sydney Festival, such a significant and groundbreaking Indigenous production as Black Diggers. With an all-Indigenous cast sourced from all over Australia and renowned director Wesley Enoch at the helm, it is sure to be an inspiring production that fuses various performance genres. We as a Foundation believe this production will be a landmark for future Indigenous theatre projects.

The Anzac Centenary from 2014 to 2018 is a unique opportunity for all Australians to recognise the contribution of Indigenous Australians and honour their service and sacrifice. The Balnaves Foundation is a private philanthropic organisation Black Diggers highlights some of that was established in 2006. the remarkable individual stories of Indigenous Australians who served in The Foundation’s aim is to create a better Australia through the the Australian Imperial Force during the First World War. It’s a project that funding of education, medicine and the arts with a particular focus on I know will resonate with audiences young people, the disadvantaged across Australia and will help foster and Indigenous communities. greater community awareness of The Foundation congratulates all the loyal and dedicated service of those involved in this project.

Indigenous Australians.

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CAST OF BLACK DIGGERS IN REHEARSAL PHOTO: STEPHEN HENRY

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PRESENTED BY SYDNEY FESTIVAL IN ASSOCIATION WITH THE BALNAVES FOUNDATION

BLACK DIGGERS A QUEENSLAND THEATRE COMPANY & SYDNEY FESTIVAL PRODUCTION AUSTRALIA | WORLD PREMIERE DIRECTED BY WESLEY ENOCH WRITTEN BY TOM WRIGHT

DRAMA THEATRE SYDNEY OPERA HOUSE 17–26 JANUARY 2014

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PRESENTED BY SYDNEY FESTIVAL IN ASSOCIATION WITH THE BALNAVES FOUNDATION

A QUEENSLAND THEATRE COMPANY & SYDNEY FESTIVAL PRODUCTION AUSTRALIA | WORLD PREMIERE

CREATIVE TEAM DIRECTOR Wesley Enoch WRITER Tom Wright SET DESIGNER Stephen Curtis COSTUME DESIGNER Ruby Langton-Batty LIGHTING DESIGNER Ben Hughes COMPOSER/SOUND DESIGNER Tony Brumpton DRAMATURG Louise Gough CULTURAL CONSULTANT George Bostock RESEARCHER David Williams

PRODUCTION Acting Coach Jason Klarwein Singing Coach Megan Shorey Voice And Dialect Coach Melissa Agnew Fight Director Niki-J Price Movement Consultant Nerida Matthaei

CAST George Bostock Luke Carroll David Page Hunter Page-Lochard Guy Simon Colin Smith Eliah Watego Tibian Wyles Meyne Wyatt Bugler CPL Ian Stenning, University of NSW Reg.

Production Manager Toni Glynn Stage Manager Peter Sutherland Assistant Stage Manager Ashlee Hints

SOH SHOW CREW Head of Lighting James Minogue Board Operator Michael Schell / Chris Day Sound Operator Sarah Black Radio microphone Technician Neil McLean Wardrobe Dresser Samantha McLean

This This project project has has been been assisted assisted Government’s Government’s Major Major Festivals Festivals In I Australia Australia Council, Council, its its arts arts fundin fundin association association with with the the Confederatio Confederatio Arts Arts Festivals, Festivals, Sydney Festival Sydney Festival a

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CAST OF BLACK DIGGERS IN REHEARSAL PHOTO: STEPHEN HENRY

BLACK DIGGERS INDIGENOUS REFERENCE GROUP Uncle Harry Allie

SYDNEY FESTIVAL Producer, Black Diggers Loretta Busby Production Manager Mick Jessop Event Coordinator Anneke Barnes

QUEENSLAND THEATRE COMPANY Executive Director Sue Donnelly Producer, Black Diggers Katherine Hoepper Artistic Coordinator Samantha French Head of Workshop Peter Sands Head Mechanist/Company Carpenter John Pierce Technical Coordinator Daniel Maddison Wardrobe Coordinator Gayle MacGregor Sound Consultant Sam Maher

Retired Air Force Warrant Officer Representative Air Force Elder

Professor Lisa Jackson Pulver AM GPCAPT Royal Australian Airforce Professor Public Health Chair Indigenous Health, University of New South Wales

Dr Jackie Huggins AM FAHA

Adjunct Professor, Centre for Australian Indigenous History, Australian National University

Pastor Ray Minniecon

Chairperson Coloured Diggers Project Chairperson of the Sydney Anglican Indigenous People’s Committee, Director of Bunji Consultancies

Gary Oakley

Indigenous Liaison Officer, Australian War Memorial, National President of the Aboriginal and Torres Strait Islander Veterans and Services Association

Garth O’Connell

Assistant Curator | Military Heraldry and Technology, Australian War Memorial Secretary of the Aboriginal and Torres Strait Islander Veterans and Services Association

Colin Watego

Warrant Officer Class One ADF Senior Indigenous Recruitment Officer

Uncle David Williams

Retired Chief Petty Officer, Submariner, President of the NSW Aboriginal and Torres Strait Islander Veterans Association

This project has been assisted by the Australian Government’s Major Festivals Initiative, managed by the Australia Council, its arts funding and advisory body, in association with the Confederation of Australian International Arts Festivals, Sydney Festival and Brisbane Festival.

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GEORGE BOSTOCK AND HUNTER PAGE-LOCHARD PHOTO: STEPHEN HENRY

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One purpose of Indigenous theatre is to write on to the public record neglected or forgotten stories.

Many of these stories survive in our oral storytelling traditions and have been passed down through families to arrive today as folklore – stories of the people. Theatre has become a crossover point where these stories are made public and expressed to demonstrate our history.

One hundred years ago Indigenous servicemen volunteered to fight for the newly formed country called Australia.

Though the constitution of this newest of old countries did not recognise them as citizens, Indigenous men signed up and fought in Palestine, the Somme, Gallipoli, Flanders Fields and every major battlefront during what would be called the Great War. Despite limited

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social standing, appalling living conditions and lack of human rights, Indigenous men enlisted. Was it the sense of freedom and adventure? Was it the fact that the newly minted AIF (Australian Imperial Force) had no way of administratively recognising their Indigenous background and hence granted all soldiers the same rights?

Or was it a sense of patriotism in a country that offered renewed hope for change?

Over 1000 Indigenous men fought side by side with their white countrymen and forged bonds that would sow the seeds of the modern reconciliation movement.

When constructing this piece of theatre we were confronted by the enormity of the task, the cultural protocols, the military records, the family lore – so we adopted a broad acceptance of truth. In post-apartheid South Africa during the Truth and Reconciliation Commission there was a four-part definition of truth:

• Personal truth – the thing you believe to be true • Social truth – what a group believe to be true through discussion and debate • Forensic truth – the truth that can be proven through science and records • Public truth – the value of telling the truth for the greater good Stories have come to us through interviews with family members, scouring the official records, scholarly historical analysis and research and our own narratives; we believe them all to have equal value and truth.

Black Diggers honours the memories of these men and their families and through them demonstrates the long history of national service and participation in public life by Indigenous Australians. We follow a number of archetypal character journeys based on real-life events in a fragmented view of history. It’s like the shellshock

experience of those in war – fragments of story mixed with emotional responses. There are 60 scenes broken into five parts: • Pre-Nation – a reflection on the wars and experience of Indigenous people before nationhood • Enlistment – the process of Indigenous men signing up • The Theatre of War – the stories from the front as reported in journals, letters, official records and oral history • The Return – the effects of returning and the expectations of both the men who returned and those they were returning to • Legacy – what has been left behind for us

The invitation is to accumulate the stories and follow the characters/actors as they journey through. It has been a great honour to work on this project with such a dedicated and insightful group of contributors. There is much we know and there is much we can never know but sharing stories is the best way for us all to know more.

If you know a story of Indigenous service in World War I or have a photo or a piece of ephemera, please contact the Australian War Memorial and have it recorded. As we commemorate the centenary of World War I these words become even more apt.

Lest We Forget.

WESLEY ENOCH

WESLEY ENOCH AND COLIN SMITH PHOTO: STEPHEN HENRY

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When World War I broke out in 1914, the White Australia policy was well and truly in force.

PICTURED: FRANCE, c1916 NON COMMISSIONED OFFICERS (NCOS) AND GUNNERS WHO SERVED AT GALLIPOLI. IMAGE P01242.002 – COURTESY OF AUSTRALIAN WAR MEMORIAL

Aboriginal and Torres Strait Islander people were not considered citizens of Australia, but were rather the wards of the local Protector of Aborigines.

They were paid low wages, were forced to live on reserves and mission stations, could not enter a public bar, vote, marry non-Indigenous partners or buy property. They were actively discriminated against, and yet when war was declared, many Indigenous men wanted to join up and fight for Australia.

The Defence Act of 1903 prevented those who were not of ‘substantially European descent’ from being able to enlist in any of the armed forces. Many Indigenous men who tried to enlist were rejected on the grounds of race, but others managed to slip through the net. In late 1917, following the defeat of a second conscription referendum, these restrictions were slightly eased. A new order stated that: “Half-castes may be enlisted in the Australian Imperial Force provided that the examining Medical Officers are satisfied that one of the parents is of European origin.”

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Despite the difficulties, it seems that at least 800 Indigenous soldiers managed to join the AIF, out of a total of only 80,000 Indigenous people thought be living in Australia at the time. Some did so despite being rejected several times for being insufficiently white. Some lied about their age or parentage, and some were granted formal permission from their local Protector of Aborigines to serve. Once past the initial barriers to enlistment, these soldiers fully integrated into the AIF. Whilst almost exclusively of low ranks, these black diggers were paid the same as other soldiers, underwent the same training and experienced the same hardships.

As Gary Oakley of the Australian War Memorial has noted on several occasions: “The Army was Australia’s first equal opportunity employer.” In their civilian life they had to put up with constant racist slurs and attitudes.

But in the trenches, any negative stereotypes that many non-Indigenous diggers had would have quickly disappeared when they were living, eating, laughing and dying with these young men.

Aboriginal and Torres Strait Islander diggers fought in every significant engagement of the war – from Gallipoli, to Palestine, to the Western Front. They served as infantrymen, machine gunners, light artillery and as lighthorsemen. They won the respect of their fellow soldiers, and won many bravery awards and commendations.

Many were wounded, some were captured and dozens were killed. But the most tragic aspect of their service was not that they offered their lives for a country that did not recognise them as citizens, but came after they returned to Australia. When they came back home they were shunned, their sacrifices ignored and their families oppressed even further by

the government. Very few Indigenous diggers were given the land grants offered to returned soldiers, and in many cases, the land for grants to war veterans was taken away from Indigenous communities whose men had fought overseas. War pensions and back pay were frequently denied and very few Indigenous diggers were welcomed at their local RSL – except sometimes on ANZAC Day. Even though their small number seems insignificant compared to the 416,809 men enlisted in the AIF to fight in World War I, their significance to modern Aboriginal and Torres Strait Islander history is immense. Slowly, due to the efforts and enthusiasm of researchers such as Rod Pratt,

David Huggonson, Phillippa Scarlett, Doreen Kartinyeri, Gary Oakley and Garth O’Connell, among many others, the long-forgotten service of these men is being acknowledged and celebrated.

The Ipswich re-burial in April 2012 of Trooper Horace Dalton, 11th Lighthorse Regiment, with full military honours and traditional ceremony, is a welcome example of this change. Today the bodies of Indigenous Australians who fell in the battlefields of France, Belgium, Turkey and Palestine remain buried thousands of miles away from their ancestral homes. Their brave spirits deserve the honour of remembrance – lest we forget again.

Dr David Williams, Researcher 11

CAST OF BLACK DIGGERS IN REHEARSAL PHOTO: STEPHEN HENRY

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WESLEY ENOCH DIRECTOR

Queensland Theatre Company: As Director: Design For Living, Trollop, Mother Courage and Her Children, Managing Carmen, Head Full of Love, Elizabeth, Bombshells, Fountains Beyond, The Sunshine Club, Blacked Up, Radiance (co-production with Kooemba Jdarra Indigenous Performing Arts). As Writer: The Sunshine Club.

As Actor: One Woman’s Song. Other Credits: As Director: Sydney Theatre Company: The 7 Stages of Grieving, Black-ed Up, The Cherry Pickers; Company B: The Man From Mukinupin (co-production Melbourne Theatre Company), Yibiyung, Black Medea (co-productions with Matlhouse Theatre), The Sapphires (co-production with Melbourne Theatre Company, and remounted co-production with Black Swan State Theatre Company), Parramatta Girls, Paul, Capricornia, Conversations With The Dead, The Dreamers, Stolen; Erth: Nargun & The Stars (co-direction, co-production with Sydney Festival); Gondwana (co-production with Queensland Performing Arts Centre); Queensland Performing Arts Centre: Red Earth, Blue Water (Associate Director); Nyurin Ga (Associate Director), Boat (for KITE Arts 14

Education and Out of the Box Festival); Kooemba Jdarra Indigenous Performing Arts: The 7 Stages of Grieving, Bitin' Back, The Dreamers (co-production with Brisbane Festival), Murri Love, Little White Dress (co-production with Queensland Performing Arts Centre & Out of the Box Festival), A Life of Grace and Piety (co-production with Just Us Theatre Ensemble) Changing Time (co-production with Salamanca Theatre Company) Up the Ladder (co-production with Melbourne Workers Theatre/Festival of the Dreaming); Yirra Yaakin Theatre Company: Waltzing The Wilarra; Performing Lines/Sydney Festival: I Am Eora; Browns Mart Theatre/Jute Theatre/Totem Theatre: Head Full of Love; Malthouse Theatre: One Night, the Moon; Iibijerri Aboriginal and Torres Strait Islanders Cooperative: Rainbow’s End, Shrunken Iris; Windmill Performing Arts/Adelaide Festival/ Brisbane Festival/Sydney Festival/ Perth International Arts Festival: Riverland; Legs on the Wall: Eora Crossing; Playbox Theatre: Stolen; Bell Shakespeare: Romeo and Juliet; The Melbourne Workers’ Theatre; 1975.

As Writer: The 7 Stages of Grieving (co-written with Deborah Mailman),

Little White Dress, A Life of Grace and Piety, Black Medea, The Sunshine Club, Grace, The Story of the Miracles at Cookie’s Table. Positions: Artistic Director Queensland Theatre Company 2010–present; Trustee Sydney Opera House 2006–2013; Associate Artistic Director, Company B 2007–2010; Artistic Director Australian Delegation, Festival of Pacific Arts 2008; Director, My Skin My Life, Opening Ceremony, Melbourne Commonwealth Games 2006; Artistic Director, Ilbijerri ATSI Theatre Co-op 2003–2006; Resident Director, Sydney Theatre Company 2000–2001; Artistic Director, Kooemba Jdarra Indigenous Performing Arts, 1994–1997. Awards: The Patrick White Award for The Story of the Miracles at Cookie’s Table; Helpmann Award for Best Play and Helpmann Award for Best New Australian Work for The Sapphires; Helpmann Award for Best Presentation For Children for Riverland; Deadly Award for Best Direction for The Sunshine Club; Matilda Award for Best Direction for The Sunshine Club; Queensland Performing Arts Centre Award for contribution to theatre.

TOM WRIGHT WRITER

Tom Wright started as a member of Barrie Kosky’s Gilgul in the early 90’s, then with Michael Kantor’s Mene Mene in the late 90’s. He has worked as an actor and director at the Melbourne Theatre Company, STCSA, Sydney Theatre Company, Playbox, La Mama, Company B, Anthill, Gilgul, Mene Mene, Bell Shakespeare Company, Chunky Move, Black Swan Theatre, Chamber Made Opera and the Adelaide, Sydney, Edinburgh, Vienna, Perth and Melbourne Festivals. He was Artistic Associate at Sydney Theatre Company 2004–2008 and Associate Director of Sydney Theatre Company 2008 to 2012.

He has written a number of plays or adaptations, including A Journal of the Plague Year, The Caucasian Chalk Circle, The Castle, Ubu, This Is a True Story, Lorilei, Medea, Babes in the Wood, Puntila and His Man Matti, Tense Dave, The Odyssey, The Lost Echo, Criminology (with Lally Katz), Tales From the Vienna Woods, The Misanthrope, The Women of Troy, The War of the Roses, The Duel, Baal, Optimism, Oresteia, On the Misconception of Oedipus and The Histrionic.

The radio version of his play Lorilei won the Gold Drama Award (British Radio Academy) and BBC Radio Drama Award, 2007. His adaptation of Ovid’s Metamorphoses, The Lost Echo, won five Helpmann awards in 2007, including Best Play. His adaptation of Shakespeare’s History Plays, The War of the Roses, won six Helpmanns in 2009, including Best Production.

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STEPHEN CURTIS Set Designer Queensland Theatre Company: Pygmalion, Corporate Vibes, The Venetian Twins, Dinkum Assorted.

Other credits: Sydney Festival 2012: I Am Eora; Stalker Theatre Company at Brisbane Festival 2010, Shanghai Lady Killer; Opera Australia: La bohème, Lulu, The Cunning Little Vixen, Turn of the Screw; State Opera of South Australia: Der Ring Des Nibelungen (The Ring Cycle); Houston Grand Opera: The Turn of the Screw; Victorian Opera: Julius Caesar; Sydney Theatre Company: The Secret River, The Pig Iron People, Navigating, Hanging Man, Heartbreak House; Bell Shakespeare Company: Henry IV, The Government Inspector, Much Ado About Nothing, Romeo and Juliet, The Wars of the Roses, The Servant of Two Masters; Melbourne Theatre Company: Tribes, The Blue 16

RUBY LANGTON-BATTY Costume Designer Room, All About My Mother, Cat on a Hot Tin Roof, The Hypocrite, Life x 3, The Birthday Party, Realism and Rock ‘n’ Roll; Melbourne Theatre Company/ Sydney Theatre Company: The Vertical Hour, Doubt and Two Brothers, Company B/Sydney Festival/Windmill Performing Arts/Perth International Arts Festival: The Adventures of Snugglepot and Cuddlepie and Little Ragged Blossom; Company B Belvoir: The Business, Gwen in Purgatory, Scorched, It Just Stopped, The Underpants, Small Poppies, The Alchemist. Training: NIDA (Design).

Film: Looking for Alibrandi, Twelfth Night, Breathing Underwater, Bedevil and Night Cries. Awards: Helpmann Award, Best Costume Design: Der Ring de Nibelungen; Green Room Award, Best Designer: Lulu

Queensland Theatre Company: Debut. Other Credits: Malthouse Theatre at 2014 Sydney Festival: The Shadow King (Props and Costume); Belvoir: Coranderrk, Beautiful One Day, Windmill Baby (Set and Costume), The Wild Duck (Costume); Casula Powerhouse: Tough Beauty; Performing Lines: I Am Eora (Associate Designer); Malthouse Theatre: The Shadow King (Costume). Film: The Sapphires (Costume Assistant). Short film: Sam’s Story, Kite, Reason To Smile, In the Clear (Costume). TV: Redfern Now (Costume Assistant). Awards: Yvonne Cohen Award for Creative Indigenous Australian Youth 2011 Training: VCA (Design)

BEN HUGHES Lighting Designer Queensland Theatre Company: Design For Living, Trollop (as CoDirector/Designer), 1001 Nights, The Lost Property Rules, Orbit, Mother Courage and Her Children, The Pitch & The China Incident, Kelly, Head Full of Love, Fractions (co-production with Hothouse Theatre), Orphans, An Oak Tree, Sacre Bleu!, Fat Pig, Let The Sunshine (co-production with Melbourne Theatre Company), The Crucible, 25 Down, Stones in His Pockets, I Am My Own Wife, John Gabriel Borkman, The Estimator, Private Fears in Public Places, Man Equals Man, Waiting for Godot, Eating Ice Cream with Your Eyes Closed, The Exception and The Rule, Ruby Moon. Other Credits: The Danger Ensemble: The Wizard of Oz (co-production with La Boite Theatre Company and Brisbane Festival),

Sons of Sin, Children of War, Loco Maricon Amor, The Hamlet Apocalypse; Expressions Dance Company: Carmen Sweet, Propel; Queensland Ballet: Giselle, A Classical Celebration, ...with Attitude; Zen Zen Zo: Cabaret, Zeitgeist, Dracula; Collusion Ensemble: Transient Beauty; The Nest Ensemble: Home; La Boite Theatre Company: Statespeare, Kitchen Diva. As Associate Lighting Designer: Elision Ensemble: The Navigator; Meryl Tankard: The Oracle; Opera Queensland: Aida; Queensland Theatre Company: Toy Symphony, Heroes; Expressions Dance Company: Where The Heart Is. Awards: 2011 Groundling Award – Outstanding Contribution to Lighting Design. Positions: Resident Lighting Designer, Queensland Theatre Company (2013), Associate Artistic Director – The Danger Ensemble;

Emerging Artist, Queensland Theatre Company (2007); Affiliate Artist, Queensland Theatre Company (2011); Professional Designer, Association of Lighting Designers.

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TONY BRUMPTON Composer/Sound Designer Queensland Theatre Company: As Sound Designer: Design For Living, Other Desert Cities (co-production with Black Swan State Theatre Company), Managing Carmen (coproduction with BSSTC), Pygmalion, No Man’s Land (co-production with Sydney Theatre Company), Sacre Bleu!, Macbeth (co-production with Brisbane Festival), Fat Pig, The Little Dog Laughed, The Crucible, God of Carnage (co-production with Black Swan State Theatre Company), I Am My Own Wife, Private Fears in Public Places, Absurd Person Singular, The Removalists, Waiting for Godot, Hurry Up and Wait (co-production with deBase Theatre Company), Eating Ice Cream With Your Eyes Closed, Beckett x3, Maxine Mellor’s Mystery Project

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LOUISE GOUGH Dramaturg (co-production with State Library of Queensland). As Co-Sound Designer: The August Moon, Anatomy Titus Fall of Rome: A Shakespeare Commentary (co-production with Bell Shakespeare Company), Stones in his Pockets.

Other Credits: Composer/Sound Designer: Dead Puppet Society: The Harbinger, The Timely Death of Victor Blott. I-Pin Lin’s productions: Bamboo, Harmony, 4orces and 1984–2005; QUT Dance: Current, Fade Away, Accented Bodies, Altered States.

Positions: Associate Artist/Head of Audio, Queensland Theatre Company (2011); Emerging Artist, Queensland Theatre Company (2010); Tone Black Productions (Company Owner), Lecturer – QUT.

Queensland Theatre Company: Resident Dramaturg. Other Credits: Louise Gough is an Australian script editor, dramatic advisor and dramaturg working in film, television and theatre in Australia, America, New Zealand and throughout Europe. Louise has recently returned to Australia after six years in NYC, and has taken on appointments including Queensland Performing Arts Centre: Curatorial Advisor and Madman Production Company: Development.

DAVID WILLIAMS Researcher Queensland Theatre Company: Debut. Other Credits: As Director: version 1.0 The Bougainville Photoplay Project, A Distressing Scenario, From a Distance, Unfinished Business: X Marks the Spot. As Co-Director: Powerhouse Youth Theatre: In This Fairfield; Australian Theatre for Young People: Quay to the City, The Tender Age (coproduction with version 1.0); version 1.0 The Disappearances Project. As Dramaturg: Belvoir: Beautiful One Day (co-production with Ilbijerri Theatre Company). As Producer, Co-Devisor and Performer: version 1.0: The Table of Knowledge (co-production with Merrigong Theatre Company), THIS KIND OF RUCKUS, Deeply Offensive

and Utterly Untrue, The Wages of Spin, CMI (A Certain Maritime Incident), The second Last Supper. Training: PhD, University of NSW 2007; B. Arts, First Class Honours (Theatre Theory and Practice), University of Western Sydney (Nepean) 2000. Positions: Chief Executive Officer, version 1.0 1998– 2012; Honorary Associate, Department of Performance Studies, University of Sydney. Awards: Marten Bequest Travelling Scholarship for Acting 1998; Drovers’ Award for Deeply Offensive and Utterly Untrue; Helpmann Award for Visual or Physical Theatre Production for THIS KIND OF RUCKUS.

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GEORGE BOSTOCK Cultural Consultant for Black Diggers Queensland Theatre Company: Mother Courage and Her Children, Fountains Beyond. Other Credits: Sydney Theatre Company: The Cherry Pickers (2001, 2002 tour to UK).

Kooemba Jdarra Indigenous Performing Arts: Seems Like Yesterday, The Mack.

As Writer: Seems Like Yesterday.

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LUKE CARROLL Queensland Theatre Company: Mother Courage and Her Children.

Other Credits: Belvoir/Yirra Yaakin: The Cake Man; Company B: The Dreamers, No Sugar, A Midsummer Night’s Dream, Capricornia, Conversations with the Dead; Bell Shakespeare: My Girragundji; Legs on the Wall: Eora Crossing; Windmill Theatre Company: Riverland; Kooemba Jdarra: Purple Dreams; Sydney Theatre Company: The Cherry Pickers. Film: Needle, Subdivision, Stone Bros, The Tender Hook, Free, Saturday Night, Sunday Morning, Dallas Dolls, Tears, Australian Rules. Television: The Gods of Wheat Street, Playschool, Redfern Now, Heartbeat, Home and

Away, Going Bush, R.A.N, The Alice, All Saints, Water Rats, Heartbreak High, Fallen Angels, Ocean Girl 3, Ghost Story, Heartland, Loulia, Man Fom Snowy River, The Flying Doctors, Skytrackers, Lift Off, Stingers. Awards: AACTA Nomination – Best Guest or Supporting Actor in a Television Drama for Redfern Now (2013), Deadly Award – Male Actor of the Year (2009, 2013), Bob Maza Fellowship (2008), AFI Nomination – Best Guest or Supporting Actor in a Television Drama for Remote Area Nurse – R.A.N (2006), Best Supporting Actor in a Feature Film for Australian Rules (2002), POV Short Film Competition – Best Actor – Free (2003).

DAVID PAGE Queensland Theatre Company: Mother Courage and Her Children, Bloodland, The Sunshine Club, Fountains Beyond. Other Credits: Sydney Theatre Company: Bloodland (co-production with Adelaide Festival), Cherry Pickers; Adelaide Fringe: Murras; Parramatta Riverside: Big Sister; Belvoir/Melbourne Theatre Company: Page 8, The Man from Mukinuppin, Yibiyung. As Composer: For Bangarra: Blak, Terrain, Belong, of earth & sky, Praying Mantis Dreaming, Ochres, Ninni, Fish, Skin, Corroboree, Bush, Unaipon/Clan, Boomerang, X300, Mathinna. For The Australian Ballet: Alchemy, Amalgamate (with

Elena Kats Chernin), Warramuk.

Contributed music to the Opening Ceremonies of the Sydney Olympic Games, the Sydney Olympic Arts Festival and, in 2002, the Sydney Dreaming Festival. Film: As Actor:Two Bob Mermaid, Oscar and Lucinda, The Masters, Green Bush, Two Big Boys, Bran Nue Dae, The Oysterman, Stone Bros. As Composer: Heartland, Pride, Poison, Songlines, Living Black, Pioneers of Love, Round Up, Passing Through, Grace, Saturday Night Sunday Morning, Bit of Black Business (AFC short film series – 5 of 13).

Positions: Artist-in-Residence Bangarra. Awards: Green Room

Award – Best New Australian Play for Page 8, Five Deadly Sound Awards (1995–2006), Indigenous Artist Award for The Sidney Myer Foundation, Helpmann Award for Best Original Score for Belong (2010), Mathinna (2008). Training: Centre for Aboriginal Studies in Music (CASM), Adelaide.

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HUNTER PAGE-LOCHARD Queensland Theatre Company: Bloodland (a co-production with Sydney Theatre Company). Other Credits: Yirra Yaakin: The Cake Man; Bangarra: Blak, Praying Mantis Dreaming, Skin, Boomerang, KIN. Film: Around the Block, Bran Nue Dae, The Sapphires, Arcadia, Black Talk, Djarn Djarns, Short/ The Palace that I Live In. Television: Blak, Water Rats, EastWest 101, Disney Channel (USA).

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GUY SIMON Queensland Theatre Company: Debut. Other Credits: Mooghalin Performing Arts Inc: This Fella, My Memory, Yellamundie; Bakehouse Theatre: Junction; National Film and Sound Archive: Cooee Cabaret: Sound of Australia (tour); Sydney Theatre Company: Stolen; New Theatre: Lucky; NIDA: Lord of the Flies, Lesbian Vampires of Sodom, The Hypochondriac, The Hour We Knew Nothing of Each Other, Hamlet, The Threepenny Opera, Three Sisters, Bodyline – The Gift; BrownsMart Theatre: I AM MAN. Film: Around the Block. Short Film: Aunty Maggie and The Womba Wakgun, Whandi.

Training: Bachelor of Dramatic Arts (Acting) NIDA.

COLIN SMITH Queensland Theatre Company: Debut. Other Credits: Queensland Shakespeare Ensemble: Mary Stuart, A Midsummer Night’s Dream, The Bombitty of Errors, The Two Gentlemen of Verona, Shakespeare’s Shorts: Express Macbeth, Instant Romeo and Juliet, The Half-Hour Hamlet, Midsummer’s Mechanicals, The Merchant of Venice, Richard III, As You Like It, Food of Love: A Shakespeare Cabaret, Twelfth Night, Metamorphoses, Much Ado About Nothing, Shakespeare’s Briefs or Let’s Kill All the Lawyers; Brisbane Arts Theatre: Monstrous Regiment, Night Watch, The Fifth Elephant, Men At Arms; Queensland Ballet: Vis-à-vis: Moving Stories. Short Film: The Last Aussie Hero 3: The Search for Kip, Episode 1.5: Lord of the Philosophers Stone. Television: Secrets & Lies, Sea Patrol (Season 5), Sea Patrol (Season 3), Mortified.

ELIAH WATEGO Queensland Theatre Company: Mother Courage and her Children.

Other Credits: ACPA student productions: Stolen, Blackrock, Soul Music/Souls Entwined, Midsummer Night’s Dream, Time, Reflections.

Training: Advanced Diploma in the Performing Arts, ACPA; Diploma in the Performing Arts, ACPA; Cert IV in the Performing Arts, ACPA.

TIBIAN WYLES Queensland Theatre Company: Debut. Other Credits: ACPA Student Productions: Oedipus the King, NIDA, Romeo and Juliet, Glad Tomorrow, Spirit of the Lore. Film: Mystery Roads.

Short Film: Home. Music Video: The Medics. Training: Aboriginal Centre of Performing Arts.

MEYNE WYATT Queensland Theatre Company: Bloodland. Other Credits: Belvoir: Peter Pan – NY tour, Buried City (co-production with Urban Theatre Projects and Sydney Festival); Bell Shakespeare Company: The School for Wives; Sydney Theatre Company: Bloodland (co-production with Adelaide Festival); Griffin Theatre Company: Silent Disco, The Brothers Size. Film: The Sapphires. Television: The Broken Shore, Redfern Now.

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PETER SUTHERLAND Stage Manager Queensland Theatre Company: Venus in Fur, Kelly, Elizabeth, Summer of the Seventeenth Doll (co-production with Belvoir), No Man’s Land, Faustus, Grimm Tales, Betrayal, The Crucible, The School of Arts (co-production with QPAC), The Female of the Species, Rabbit Hole, The August Moon, The Fortunes of Richard Mahony (co-production with Playbox), Molly Sweeney, Buried Child, Dirt, Fred, Fountains Beyond, The Skin of Our Teeth and Bell Shakespeare coproductions Faustus,The Alchemist, The Tragedy of Richard III and Anatomy Titus Fall of Rome: A Shakespeare Commentary. Other Credits: Bell Shakespeare: Henry V, King Lear, The Government Inspector, Macbeth, The Merchant of Venice, Romeo and

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ASHLEE HINTS Assistant Stage Manager Juliet, Measure for Measure, The Wars of the Roses, Hamlet; Black Swan State Theatre Company: The Sapphires; Sydney Theatre Company: Blacked Up, Stones In His Pockets, Barrymore; Griffin Theatre Company: Wicked Sisters; Marion St Theatre: Brief Lives, Tom and Clem; Melbourne Theatre Company: Dumb Show, The Herbal Bed, A Little Night Music; Legs on the Wall: Eora Crossing, Flying Blind; Sydney Conservatorium of Music: The Beggar’s Opera; Darwin Theatre Company: The Winter’s Tale, Cosi, Diving For Pearls, Emma; Queensland Conservatorium of Music: Orpheus in the Underworld. Training: Bachelor of Dramatic Arts (Technical Production), NIDA.

Queensland Theatre Company: Fat Pig, An Oak Tree. Other Credits: As Assistant Stage Manager: Opera Australia: The Ring Cycle, Partenope; The Production Company: Singing In The Rain, Promises Promises, Chess, The Producers; Melbourne Symphony Orchestra: Dr Who Symphonic Spectacular; Expressions Dance Company: Propel, Launch Pad; Dead Puppet Society: The Harbinger.

As Stage Manager: Victorian State School Spectacular 2010–2013, Jubilation – The Prince of Wales and Duchess of Cornwall National Tour 2012 – Performing Arts Unit; The Weather and Your Health – National Tour 2012; Midsumma Festival 2011–2013, Mentone Grammar’s 90th Anniversary Showcase.

GUY SIMON AND HUNTER PAGE-LOCHARD PHOTO: STEPHEN HENRY

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SYDNEY FESTIVAL

QUEENSLAND THEATRE COMPANY

Every January, Sydney Festival enlivens and transforms Sydney with a bold cultural celebration based on the highest quality art and big ideas.

Queensland Theatre Company (QTC) is the state’s flagship professional theatre company. This year the Company will present an impressive season featuring comedies, Shakespeare and new Australian work. 2014 will excite, amuse, challenge and mesmerise audiences.

The program is kaleidoscopic in its diversity, from burlesque circus to Chicago rap to Dutch theatre; from contemporary dance to family programs to traditional Indigenous arts practice. In all, the 2014 program comprises around 340 performances and around 100 events performed by more than 700 artists in more than 30 venues each year. Inclusive programming, a broad range of free events and accessible pricing policies for the ticketed shows means that Sydney Festival is open to all, welcoming Sydneysiders and visitors from wherever they live.

More than any other cultural event, Sydney Festival defines Sydney's personality. For almost four decades it has presented international artists who guarantee headlines, and whose presence in Sydney adds to the Festival's buzz and prestige.

Names like Chaka Khan, Björk, Brian Wilson, Grace Jones, Manu Chao, Elvis Costello, AR Rahman, Cate Blanchett, Ralph Fiennes, Robert Lepage, Peter Sellars, David Byrne & St. Vincent and Mike Patton alongside some of the world's great companies – Wayne McGregor's Random Dance, Cheek

by Jowl, the Schaubühne Berlin and Sasha Waltz & Guests to name only a few – share the Festival with the most exciting artists and companies in Australia.

Sydney Festival's audacious contemporary programming positions it at the forefront of arts practice in Australia and up there as one of the most wonderful festivals in the world.

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Established in 1970, QTC supports the industry by creating new work and staging an eclectic mix of Australian and international works. The Company is dedicated to encouraging artists and artform development across the state through its creative developments and workshops with artists, national and regional touring, and a diverse writing program which includes the Queensland Premier’s Drama Award, commissions and a young playwrights program.

In addition to the Mainstage season, the Company has a strong development program which includes co-productions with smaller independent companies, workshops, forums and masterclasses. These are all run at the GreenHouse venue in the Company’s headquarters.

Developing young people’s participation in theatre activities is a key focus of the Company through an extensive education program and a wide range of activities for young people including the Youth Ensemble and Theatre Residency Week. In addition, QTC provides school performances, workshops and teacher training across the state.

Aaron Pedersen

Liza-Mare Syron

Air Chief Marshal Angus Houston, AC, AFC (Ret’d)

Malarndirri McCarthy

Annie Sutton Anzac Centenary Advisory Board Aunty Verna Koolmatrie Australian War Memorial Belvoir Brisbane Festival Carriageworks

Margaret Beadman Mark Stapleton Michael Rowe National Archives of Australia National Indigenous Television (NITV) Noel Staunton Phillippa Scarlett Professor Richard White

City of Sydney Aboriginal and Torres Strait Islander Advisory Panel

Queensland Performing Arts Centre

Clyde Rigney

Raukkan Schools (Meningie Area School and Birdwood High School)

Department of Veteran Affairs Elizabeth Rechniewski Fabienne Cook Flanders Fields Museum, Ypres His Excellency Patrick Renault, Belgian Ambassador to Australia (2009–2013)

Rhoda Roberts Robyn Archer Ronald Briggs Sam Vanoverschelde State Library of NSW State Library of QLD

Imogen Millhouse

Sydney Opera House

Josephine Ridge

Travis Cardona

Julia Morwood

University of Sydney

Kim Spinks

Wim Opbrouck

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FOUNDATIONS Sydney Festival wishes to acknowledge the following Foundations who have supported us over the last 12 months:

The Martin-Weber Family The Nelson Meers Foundation

DONORS Sydney Festival wishes to thank the following individuals for their generous donations over the last 12 months: Directors Circle President: Michael Crouch AO Anonymous (1) Antoinette Albert Peter Freedman Peter Hunt AM Roslyn Packer AO Rebel Penfold-Russell OAM Festival Heroes Robert Albert AO and Libby Albert The Hon. Ashley Dawson-Damer Jonathan Blakeman and Dr Heather Worth David Mathlin and Camilla Drover Matthew and Alex Melhuish John Messala Marie Slaight Lang Walker

GET INVOLVED!

We encourage donations from individuals who appreciate the role the Festival plays in transforming Sydney each January. This may be towards Sydney Festival itself, or through specific support for productions, programs or other initiatives.

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Associate Producers Gillian Appleton Andrew and Cathy Cameron Susan Carleton Jonathan and Judith Casson Ros and Alex Hunyor Dr Kathryn Lovric and Dr Roger Allen Julianne Maxwell Penelope Seidler Victoria Taylor Kim Williams AM Dr Carolyn Lowry OAM and Peter Lowry OAM Peter Young AM and Susan Young Festival Lovers Lieven Bertels Angela Bowne Virginia Gordon John Kaldor AM and Naomi Milgrom Kaldor AO Adam Max Mary Read Christopher Tooher Trawalla Foundation Sam and Judy Weiss Fiona Winning

Become a Festival Lover, Associate Producer or Festival Hero and contribute to the continuing success of Sydney Festival.

Visit sydneyfestival.org.au/support or contact Malcolm Moir on 02 8248 6521 for further details.

GOVERNMENT AND COMMUNITY PARTNERS PRINCIPAL SUPPORTERS

PRINCIPAL GOVERNMENT PARTNER

LEADERSHIP PARTNERS STRATEGIC PARTNER

MAJOR SUPPORTERS

DISTINGUISHED PARTNERS

STAR PARTNERS

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CORPORATE PARTNERS PRINCIPAL PARTNER

LEADERSHIP PARTNERS OFFICIAL AIRLINE

SPECIAL DISTINGUISHED PARTNERS

DISTINGUISHED PARTNERS

STAR PARTNERS

FESTIVAL LAWYERS

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MEDIA PARTNERS MAJOR SUPPORTER

SPECIAL DISTINGUISHED PARTNERS

DISTINGUISHED PARTNERS A L L T H I NG S I NDI A N. I N AU S T RA L I A T A X I

M E D I A

STAR PARTNERS

RESTAURANT PARTNERS 360 Bar and Dining Ananas Bar & Brasserie Aria Restaurant Balla Bavarian Bier Café BLACK by ezard Café Mix at Shangri-La Hotel Sydney Cafe Sydney Chefs Gallery Chophouse El-Phoenician Food Society Garden Buffet Glass Brasserie La Rosa The Strand

CONTRIBUTORS Opera Kitchen Sydney Puntino Trattoria Q Dining Red Lantern on Riley Sailors Thai Saké Restaurant & Bar Sokyo Steel Bar and Grill The Cut Bar & Grill The Dining Room at Park Hyatt Sydney The Morrison Bar & Oyster Room The Sydney Mint Café The Woods Ventuno Pizzeria e Ristorante

Avant Card Bar Coco Clifton Productions Closed Loop Coates Hire Joe Button Motorola Rental Direct PR Newswire Roses Only Secure Parking PROFESSIONAL PARTNERS Hapag Lloyd Pureprofile RDA Research Woolcott Research

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SYDNEY FESTIVAL SYDNEY FESTIVAL PATRON Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales BOARD OF DIRECTORS PRESIDENT The Hon. Barry O’Farrell MP Premier of New South Wales CHAIR Clover Moore, Lord Mayor of Sydney DIRECTORS The Hon. George Souris MP Monica Barone Simon Corah Matthew Melhuish Sam Weiss Geoff Wilson ALTERNATE DIRECTORS The Hon. Ashley Dawson-Damer (for The Hon. Barry O’Farrell MP) Mary Darwell (for The Hon. George Souris MP) Ann Hoban (for Monica Barone) SYDNEY FESTIVAL STAFF Festival Director Lieven Bertels Executive Director Christopher Tooher FINANCE AND OPERATIONS Head of Finance and Operations Tanya Bush Accountant Caroline Brosnan Payroll Carina Mision Executive Assistant Rachael McNally Executive Projects Coordinator Fiona Jackson Administration Officer Julie Gock Receptionists Leah Flanagan, Jessica Sullivan PROGRAMMING Head of Programming Fiona Winning Producer, Major Outdoor Events Vernon Guest Program Manager Danni Colgan Programming Associate Adam McGowan

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Special Projects Loretta Busby Project Manager Michelle Kotevski Music Coordinator Alicia Kish Assistant Music Programmer Marty Doyle Programming Coordinator Sam Hawker Program Administrator Ione Davis Music Programming Intern Thalia Skopellos Theatre & Dance Programming Intern Louana Sainsbury MARKETING AND CUSTOMER SERVICES Head of Marketing and Customer Services Tina Walsberger Deputy Head of Marketing Derek Gilchrist Marketing Coordinator Aimee Huxley Digital Marketing Manager Julia Thomas Digital Marketing Assistant Jen Mackie Publicity Manager Mary Stielow Publicists Jessica Keirle, Julia Lenton Graphic Designer Camille Manley Signage Coordinator Kate Williams Ticketing and Customer Services Manager Katinka van Ingen Ticketing Systems Coordinator Carmel May Ticketing Guest Services Coordinator Richard Cox Ticketing Operations Coordinator Alana Hicks Ticketing Assistants Andrew Dillon, Ashleigh Garwood DEVELOPMENT Head of Development Malcolm Moir Senior Sponsorship Manager Anna Matthews

Sponsorship Manager Brooke Ravens Corporate Partnerships Coordinator Jane You Operations Coordinator Jo Horsley Development Coordinator – Research Julia Johnston Corporate Partnerships Executive Amalina Whitaker PRODUCTION Head of Production John Bayley Production Manager Mick Jessop Catering & Sustainability Manager Fernando Motti Production Coordinators Alycia Bangma, Elise Brokensha Project Coordinator – Parramatta Whitney Eglington Production Assistant Rita Khayat Transport Coordinator Nathalie Taylor Crewing Coordinator Alexandra Kennett DOMAIN STAFF Domain Manager Tim Pack Site Manager Corey O’Malley Domain Coordinator Malinny Cheng Electricians Craig Adamson Ian Godfrey FESTIVAL DESIGN AGENCY alphabet studio PROGRAM PRINTING Offset Alpine VOLUNTEER MANAGEMENT Eventeamwork THANK YOU Accessible Arts, Cheryl Elvey, City of Sydney Aboriginal & Torres Strait Islander Advisory Panel, Jodie Choolburra, John Chase, Matt Jones, Michael Abbott, Rebecca Bourne-Jones, Ricky Lyons, Uncle Chicka Madden, Uncle Max Eulo, Vision Australia.

QUEENSLAND THEATRE COMPANY PATRON Governor of Queensland, Her Excellency, Ms Penelope Wensley, AC MEMBERS OF THE BOARD Professor Richard Fotheringham (Chair) Julieanne Alroe Kirstin Ferguson Erin Feros Simon Gallaher Elizabeth Jameson Nathan Jarro Liz Mellish Karl Morris Peter Hudson COMPANY STAFF Artistic Director Wesley Enoch Executive Director Sue Donnelly Executive Assistant Jenny Usher Artistic Associate Todd MacDonald Resident Dramaturg Louise Gough Program Manager Katherine Hoepper Theatre Diversity Associate Chris Kohn Program Coordinator Shari Irwin Artistic Coordinator Samantha French

Education Program Coordinator Heidi Irvine Regional & Touring Coordinator Christine Johnstone Youth Program Coordinator Claire Christian Digital Projects Officer Nathan Sibthorpe

Corporate Partnerships Manager Nikki Porter Philanthropy Manager Amanda Jolly Development Coordinator Dee Morris Researcher and Grant Writer Liz Bissell

Chief Financial Officer Michael Cullinan Finance Officer Robin Koski Assistant Accountant Roxane Eden Front of House & Events Supervisor Deirdree Wallace

Production Manager Toni Glynn Technical Coordinator Daniel Maddison Operations & Venue Supervisor Julian Messer Production Coordinator Scot Klupfel Head of Workshop Peter Sands Company Carpenter/Head Mechanist John Pierce Head of Wardrobe Vicki Martin Apprentice Costume Maker Savannah Mojidi

Marketing Manager Yvonne Whittington Marketing Coordinator Amanda Solomons Marketing Assistant Yuverina Shewpersad Publicity Kath Rose & Associates CRM & Ticketing Services Coordinator Rory Killen Ticketing Coordinators Maggie Holmes & Brad Routledge Receptionist & Ticketing Officer Donna Fields-Brown Administration Assistant Kalisha Soe

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THIS SHOW IS ABOUT PEOPLE, SHAUN PARKER & COMPANY, SYDNEY FESTIVAL 2008. PHOTO: JOHN SONES

ARTS NSW PROUDLY SUPPORTING SYDNEY FESTIVAL FOR OVER 30 YEARS THIS IS OUR CITY IN SUMMER

ARTS.NSW.GOV.AU FOLLOW US @ARTSNSW

We love taking a supporting role.

The City of Sydney is a proud sponsor of Sydney Festival 2014.

We proudly support programs that help form the creative lifeblood of our city and inspire our built environment.

Together with our partners, we’re helping make Sydney an exciting, dynamic and international city.

See more events at whatson.cityofsydney.nsw.gov.au

CreaTive CiTy Sydney

ALL new AIRCRAFT

See your Travel Agent or call CSAIR

1300 889 628

www.csair.com.au

Official Airline Partner

THIS IS OUR CITY RIGHT NOW

It’s festival time in one of the world’s greatest cities. So join us to celebrate the energy, creativity and diversity of Sydney.

Discover. Connect. Be inspired. Your festival starts right here.

sydney.edu.au/sydney-festival

Indigenous Service and the Anzac Centenary Between 2014 and 2018 Australia is commemorating the Anzac Centenary —100 years since our nation’s involvement in the First World War. The Anzac Centenary Program encompasses all wars, conflicts and peacekeeping operations in which Australians have been involved from the First World War to the present day.

During the Centenary we are not only remembering the original Anzacs who served at Gallipoli and on the Western Front, but commemorating more than a century of service by Australian servicemen and women, including the enormous contribution of Indigenous Australians.

For many years, the stories of our Aboriginal and Torres Strait Islander peoples have largely been untold and unheralded.

Initiatives like “Black Diggers” draw attention to the important contribution + ANZAC Centenary of our Indigenous peoples.

The Anzac Centenary provides all Australians with a unique opportunity to honour the contribution of our Indigenous peoples and their service and sacrifice.

The Department of Veterans’ Affairs recognises the proud history of Aboriginal and Torres Strait Islander peoples and their families in service to this country.

If you served in the Australian Navy, Army or Air Force, and were injured or became sick as a result of your service, you and your family may be entitled to a pension, compensation payments, free health care or other benefits and services.

P02628 12/2013

To find out more call the Department of Veterans’ Affairs on 1300 551 918 or visit www.dva.gov.au/indigenous

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