photo credit - from the photography archives of jan dalman celebrating 50 years in 2015 a letter...

A N N U A L R E P O R T 2 0 1 5

Photo credit - from the photography archives of Jan Dalman

C O N T E N T S

C E L E B R A T I N G 5 0 Y E A R S I N 2 0 1 5

A L E T T E R F R O M E L I Z A B E T H C A M E R O N D A L M A N O A M

C H A I R M A N ’ S R E P O R T

A R T I S T I C D I R E C T O R ’ S R E P O R T

E X E C U T I V E D I R E C T O R ’ S R E P O R T

T H E C O M P A N Y

I N T E R N A T I O N A L T O U R I N G

N A T I O N A L T O U R I N G

P E R F O R M A N C E A G A I N S T G O A L S

• A R T I S T I C I N N O V A T I O N• A U D I E N C E E N G A G E M E N T• L E A R N I N G• O P E R A T I O N A L E X C E L L E N C E

C O R P O R A T E G O V E R N A N C E S T A T E M E N T

P A R T N E R S

C O M P A N Y D I R E C T O R S

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Cover: Orginal design by MASH.

Pictured: ADT Founder and 50th anniversary partron Elizabeth Cameron Dalman OAM. From the photography archives of Jan Dalman. 1

C E L E B R A T I N G 5 0 Y E A R S I N 2 0 1 5Australian Dance Theatre is Australia’s first professional contemporary dance company, founded in 1965 by Dr. Elizabeth Cameron Dalman OAM with the aim to ‘open horizons for provocative contemporary dance’. For 50 years the company has stayed true to this vision and produced some of the most exciting and iconic dance in Australia.

This proud South Australian company shined brightly in its 50th year as one of the most significant and resilient dance companies to have evolved from the great social and cultural changes of Australia in the 1960s.

Thank you for joining us in our 50th anniversary year.

A R T I S T I CD I R E C T O R S1965 - 1975 Dr. Elizabeth Cameron Dalman OAM1977 - 1985 Jonathon Taylor 1986 Anthony Steel and Lenny Westerdijk (artistic caretakers)1987 - 1993 Leigh Warren1993 - 1999 Meryl Tankard1999 Bill Pengelly (interim Director) 1999 - current Garry Stewart

ustralian Dance Theatre celebrates 50 years!This is a celebration of an Australian contemporary dance company that has survived for 50 years - a major achievement for our nation. A

As well, it is a celebration of dance as a vital and important part of our lives. For the original custodians and First Peoples of this land, and for people from all ancient cultures, dance has always been the most important way of communication and of bringing people together. Dance speaks without words and reaches beyond cultural and language barriers. As our world becomes smaller with travel between countries so easy these days, I believe that dance has a major role to play not only as an art form but also as a uniting force in our global society. I am proud of the wide and long vision that we had in the establishment of Australian Dance Theatre in 1965. I acknowledge the extraordinary contributions made by more than 70 dancers, the many staff and crew members and all of the volunteer management committee members and company friends during the founding ten years. Their passion, determination, commitment and sacrifice helped build the company into one of national and international standing. The company toured nationally on a regular basis and internationally to Europe, India and the Asia Pacific region pioneering modern and contemporary dance and profiling Australian dance and culture. On that foundation the company has flourished for another four decades. Over those years there have been various Artistic Directors each bringing their own talents and expertise enriching the company and adding to its diverse history in unique ways. I am proud that Australian Dance Theatre exists today. I applaud Garry Stewart and the current company, and am particularly passionate about Australian dance and the role it plays on both the national and international stage.Happy 50th Anniversary! May there be another 50 creative years for Australian Dance Theatre.

Dr. Elizabeth Cameron Dalman OAM Founder & Anniversary Patron of Australian Dance Theatre

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C H A I R M A N ’ S R E P O R T

It is extraordinary to reflect on this achievement.

Looking back on our history, there have been several moments when the company could have easily closed down, but we have managed our way through these truly tumultuous times. There have been notable and controversial separations with previous Artistic Directors and we have had moments of financial alarm that have come close to bringing us undone. But somehow, the company always found a way to survive its difficulties and emerge stronger.

And all the while we have stayed true to the vision of our founder to create world leading contemporary dance, pushing boundaries and thrilling our audiences around the world.

It is impossible to acknowledge and thank all of the people who have made this possible. So many people on both the administrative and artistic side of our company have given (and continue to give) so much to ADT. We are, today, the sum total of the contribution of all of those people.

I know I speak for all of the Board in saying that the responsibility of helping to lead (and do justice to) such an incredible company is, at times, quite daunting. But that said, I would like to quickly add that the company itself is currently in wonderful hands. We are fortunate to have the incredibly talented Garry Stewart as our Artistic Director and we are also fortunate to now have in place a great team of administrative, production, marketing, financial and creative staff too.

Shaun Comerford joined us as our Executive Director last year and he and Garry provide us with a very powerful leadership team.

I would also like to recognise and thank Paul Cowley, our Operations Manager, who assumed the Acting Executive Director role while we were searching for Shaun. Paul did an outstanding job in very difficult circumstances - and in a year when he already had more than enough to do to coordinate three international tours, a national tour, and numerous performances in Adelaide.

You will read elsewhere in this report a summary of our artistic achievements in 2015. We wanted our 50th year to be outstanding - and it was. Australian Dance Theatre has achieved much over the last 50 years. We are pioneers of international touring (our first international tour was in 1966) and we tour more than any other South Australian-based arts company. Our global standing

and recognition can perhaps give the impression that we are better resourced than we actually are. Indeed, I can’t believe what we are able to achieve with the resources we have – but there’s so much more we’re capable of doing.

This brings us to the issue of funding. Let me start by saying that without the financial support of the South Australian Government (through Arts South Australia) and the Australian Government (through the Australia Council for the Arts) our company simply would not exist. We are so grateful that our governments recognise the value of the arts to the community and recognise the importance of Australian Dance Theatre to the dance sector in particular.

However, we are acutely aware that, to secure the future of the company, we need to continue to raise more and more of our funding through other means, such as foundations, sponsorship and philanthropy, so that we are not so heavily dependent on our governments. We accept this responsibility and are working hard to ensure that the company is sufficiently well resourced to enable it to continue to create, produce and perform world-class contemporary dance in front of more people, in more places, more often.

Indeed, much of what the company was able to achieve in 2015 was because of the support of our sponsors – Beach Energy, Channel Nine Network, Palmer’s AustraliaCocoa Butter, Novatech Creative Technology, SA Power Networks - and I would like to thank these companies for their continued support and generosity.

Finally, I would like to thank my fellow board members for the service they give to Australian Dance Theatre. They give many hours of their time and expect nothing in return except to see the company do well.

Hopefully, as good as our first 50 years have been, we haven’t yet seen the best of Australian Dance Theatre. The passion and determination of our people is as strong as it ever has been. Our program for the next few years is ambitious and the entire company is very excited about the challenge of bringing this program to fruition.

We’ll do our best.

On June 10, 2015 a very special event took place in Adelaide Arcade. Our founder, Elizabeth Cameron Dalman OAM, and a group of past and present Australian Dance Theatre Artistic Directors, dancers, staff and supporters gathered together to celebrate the 50th anniversary of the formation of the company.

KIM BOEHM CHAIRMAN

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2015 was a momentous year for Australian Dance Theatre as we celebrated our 50th anniversary.

We are indebted to the vision of Elizabeth Cameron Dalman OAM who, in an act of audacity and vision, brought contemporary dance to South Australia for the very first time in 1965. Fittingly, Elizabeth agreed to become the Patron for our 50th year – a role which she carried off with great aplomb and infectious enthusiasm.

The company, along with Elizabeth and founding members, attended an official Founders Celebration at Adelaide Arcade on 10 June – the anniversary day of the founding of Australian Dance Theatre. Adelaide Arcade was the site where the company occupied its first studios. The event was attended by His Excellency The Honourable Hieu Van Le AO and his wife, as well as The Lord Mayor of Adelaide Martin Haese.

In the following month the company performed excerpts from Be Your Self in a double bill program with Mirramu Dance Company – Elizabeth’s current company. The performance was held at the Dunstan Playhouse at the Adelaide Festival Centre. It was a unique privilege for the current members of Australian Dance Theatre to share this program with Elizabeth and, on behalf of the company, I wish to thank her for her vision and tenacity in founding the company, as well as her generosity and good humour as Patron of our 50th year celebrations.

For the very first time, the Australian Dance Awards were held in Adelaide in honour of our milestone year. The company performed an excerpt from my first work for the company – Birdbrain - and our dancers Kimball Wong and Lonii Garnons-Williams performed a short work by Elizabeth, created during her time as Artistic Director of the company.

Concurrent with this was an exhibition of ADT memorabilia at the Adelaide Festival Centre, which was curated and exhibited by the South Australian Performing Arts Collection. These costumes and props illustrated something of the epoch of each of Australian Dance Theatre’s five Artistic Directors who have guided the company through it’s colourful history. The company is grateful to personnel at the Performing Arts Collection for their care and efforts into formulating this important archival exhibition.

On the international touring front, Multiverse, our innovative new work that employs 3D graphics and dance to express ideas about physics and the structure of the cosmos, premiered in Europe,

including a sell out season at Théâtre National de Chaillot in Paris. The performances in Paris formed a component of a season of various Australian works, Focus Australie. Myself and the other members of the touring party attended a reception at the Australian Embassy kindly hosted by Australian Ambassador to France, Ambassador Stephen Brady AO CVO which was also attended by the Australian Foreign Minister, the Hon Julie Bishop.

The company travelled to Europe with Multiverse on three separate occasions throughout 2015 and performed in Austria, France, Spain, the Netherlands, Germany and Belgium. It was seen in 13 cities, with the majority of the performances enjoying a complete sell out.

In June - August the company toured nationally with Be Your Self, including performances in Mandurah, Dubbo, Wollongong, the Barossa, Marion and Perth. The show received extremely enthusiastic responses from audiences, presenters and critics. For this tour we created two versions of the show – one without the full set design for smaller venues and the complete version for the performances at the State Theatre in Perth, which included the full set design. The resounding success of this tour augurs well for further Australian touring of this work, which we have planned for 2017.

2015 also saw the continuation of our Adelaide Embedded program. This program is comprised of performances in public spacesthroughout Adelaide – taking the company out ofthe theatre space and into the streets as well as art galleries, public squares and other outdoor domains. This permits the company to be seen by large numbers of members of the public who may not necessarily see the company in a theatre context. For this year’s program we created new works for our Ice Cube – a visually compelling 3m cubic squared space fabricated from Perspex in which we present bespoke performance pieces performed by the company. For the Adelaide Embedded program we also utilised our recently acquired portable dance floor for an open rehearsal and performance in Victoria Square in the Adelaide CBD.

Over the course of my directorship at ADT the company has always had a connection to the representation of dance through modes outside of the theatre space, particularly through film

and new media. We were delighted to be commissioned by the Adelaide Film Festival to create a short film for their Made in SA program. For this project I worked with video editor Brenton Kempster as well as the dancers of the company on an 11-minute short film, Mood Machine. This film explores the physicality of human emotions and was screened in Adelaide as well as at the Middleback Theatre in Whyalla as part of the Adelaide Film Festival’s regional program.

Our video installation work Collision Course, which we made in Perth in 2011 with 110 sports people and dancers, was toured nationally as part of Experimenta Recharge: The 6th International Biennial of Media Art. It was also screened at the Frankston Arts Centre during August.

Both Collision Course and Mood Machine will continue to be screened nationally and internationally into the future.

Providing opportunities for young choreographers is integral to the function of our company. Rough Draft is our forum for low key studio showings of new works at their most nascent and raw, first stage of development. These short new works created by our dancers and local independent choreographers are given an airing to an audience for the first time via this program. This year we held Rough Draft in May in partnership with The Mill – an Adelaide based independent artists collective – and again in November. Sixteen new short works were presented through Rough Draft this year.

At Australian Dance Theatre, we are committed to providing leadership in the education arena. The work of the company is taught to high school dance students around Australia and the company is viewed as a leader in its contribution to new ways of approaching dance, particularly through the convergence of dance and science, as well as our unique movement vocabulary. Our European tours of Multiverse included the delivery of multiple workshops to students in the Netherlands, Austria, Belgium and the United Kingdom. We also conducted 6 workshops on our national tour of Be Your Self to students in Western Australia.

In October, our Associate Artistic Director, along with our dancers, delivered a 5 day major workshops program to the Western Eyre Peninsula in South Australia. This involved over 900 students, many of whom had never experienced dance before. The program had an enormous impact on these students and was one of our most successful education workshop series to date. We thank the Ministry for the Arts for supporting this project.

The company commenced an exciting new creative partnership with Adelaide College of the Arts (AC Arts) this year. This partnership provides dance students at AC Arts the opportunity to benefit from learning from the company’s dancers and teachers, and enables Australian Dance Theatre to present performances at AC Arts’ Light Square venue, increasing the number of annual seasons that we can present to our hometown audiences.

Next year the company will be developing three new major works, including a collaboration with tanzmainz, a German contemporary dance company that is housed in the Staatstheater complex in Mainz, near Frankfurt. These works will also inaugurate the Nature Series – a series of new works with a conceptual connection to nature that we will be creating over the next several years. We will also be relaunching Ignition, a choreographic season for emerging and mid-career choreographers.

I’d like to thank wholeheartedly all of the former Artistic Directors of Australian Dance Theatre as well as all of our past creative collaborators, production and technical personnel, and the countless numbers of dancers who have contributed to Australian Dance Theatre over the past 50 years. They have made the company what it is – an invaluable Australian icon and an unparalleled representative of Australian dance across the world.

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GARRY STEWART ARTISTIC DIRECTOR


E X E C U T I V E D I R E C T O R ’ S R E P O R T

Fifty years of operation for any arts organisation is a significant achievement, and I was honoured to join Australian Dance Theatre in the year in which it celebrated this milestone.

Australian Dance Theatre’s place as one of our country’s all time leading arts organisations is firmly established. The company’s history of artistic endeavour and achievement was commemorated throughout the year, at home and abroad.

The fact that we undertook three international tours of Multiverse during this year of celebration, performing to more than 9500 audience members across Europe, is testament to the continued importance of this company as a cultural ambassador and exporter of Australian dance.

Our esteemed Artistic Director, Garry Stewart, has been an international innovator in contemporary dance for close to two decades and in 2015 was recognised with the Australia Council Award for Outstanding Achievement in Dance.

Our contribution to dance and the performing arts was also recognised with the company receiving the South Australian Ruby Award for Sustained Achievement by an Organisation.

Milestones of this magnitude highlight the longevity, adaptability and ability of an organisation to prosper through changes in artistic direction, audience diversity, funding challenges, adversity and time. Inevitably the question we ask after achieving 50 years of successful operation is – what’s next? How do we remain relevant, innovative and exciting? Creativity and ingenuity must permeate both our artistic endeavours as well as our business practices, now more than ever, as an increasingly challenging economy and funding climate across the arts presents itself.

We embark on 2016 with great optimism.

My commencement in November 2015 as Executive Director followed a period of caretaker management by the company’s long serving Operations Manager, Paul Cowley. Alongside Paul, our new Finance Administrator, Bev Majda, commenced an organisational review, which we completed in December as part of a new 5-Year Strategic Plan for 2016-2020.

This work saw a restructure of our administrative team, as well as the development of a bold and innovative program of works and continued education and audience engagement initiatives for the next five years.

All of what we achieved during our 50th year would not have been possible without the dedicated staff at ADT. I applaud the work of Paul and Bev, as well as Eira Swaine and Madison Thomas in our Development and Marketing roles, who continue to develop our audience base and drive our ability to tell our stories to our supporters, audiences and donors.

Elizabeth Old, our Associate Artistic Director, has achieved some remarkable outcomes with the ADT Learning Program and Youth Ensemble – programs that continue to effect change in our community and develop the next generation of contemporary dance artists.

Leading the company alongside Garry is a privilege, and as we embark on the next trajectory for the company with new works as part of “The Nature Series”, the ingenious work of ADT continues.

The incredible dancers of ADT, both past and present, astound me daily with their discipline, strength, artistry and determination. These finely tuned athletes are truly some of the finest dancers in the world, and our path ahead must provide more opportunities for them to create and perform.

I would like to take this opportunity to acknowledge and thank our Board of Directors led by Chair Kim Boehm, for providing the support necessary to continue our legacy of pushing artistic boundaries.

I am delighted to have accepted the stewardship of this fine company, and look forward to helping pave the way for another equally ambitious and successful 50 years.

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SHAUN COMERFORD EXECUTIVE DIRECTOR

MANAGEMENT

T H E C O M P A N Y

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Garry Stewart

Shaun Comerford

Elizabeth Old

Paul Cowley

Bev Majda

Madison Thomas

Eira Swaine

Lucie Balsamo

Françoise Piron

Lee-Anne Donnelly

Stella Thomas

Artistic Director

Executive Director

Associate Artistic Director

Production and Operations Manager

Finance Administrator

Marketing Coordinator

Producer and Program Coordinator

Production Administration

Stage Manager

Touring Producer

Office Administrator

(commenced November 2015; Acting ED Paul Cowley July

- October 2015; ED Teena Munn February - June 2015)

(commenced October 2015; Peter Hartley resigned

September 2015)

(commenced January 2015)

(commenced July 2015)

(resigned October 2015)

BOARD OF DIRECTORS

Kim Boehm - Chair

Fraser Bell

Anne Carman

Anita Ewing

Christine Locher

Jeff Meiners

Peter Seltsikas

David Stobbe

Christopher Tooher

Danielle Tsogas

Tricia Walton

(commenced February 2015)

(resigned June 2015)

(commenced October 2015)

(commenced February 2015)

DANCERS

Zoë Dunwoodie

Scott Ewen

Thomas Fonua

Lonii Garnons-Williams

Samantha Hines

Jake McLarnon

Michael Ramsay

Matte Roffe

Kimball Wong

(resigned December 2015)

(commenced April 2015)

(resigned November 2015)

EUROPEAN AGENTGie Baguet (Frans Brood Productions)

RESEARCH PARTNER

University of Western Sydney

CASUAL STAFF

Nathan D’Agostino

Nathalie Devilliers

Louise Fox

Annabel Giles

Sam Hopkins

Ryan Kroon

Gaelle Mellis

Chris Petridis

Oliver Taylor

Lachlan Turner

Timothy Willett

CONTRACTORS

Pascal Baxter

Damien Cooper

Daniel Gibbs

Sam Haren

Chris Herzfeld

Michael Heynen

Brenton Kempster

Gabrielle Leonello

MASH Design

Monkey Stack

Novatech Creative Event Technology

Thomas Pachoud

PKF Kennedy

David Tang

Brendan Woithe

Catherine Ziersch

(La Cellule)

(The Yellow Agency)

(Posture Podiatry)

(Sandpit Media)

(Camlight Productions)

(Mitcham Rehab)

(ZuLuMu)

(Littlelion Communications)

(Chartered Accountants)

(Red Fox Films)

(KLANG)

(resigned November 2015)

COMPANY TEACHERS

Israel Aloni

Janet Bridgman

Lee Brummer

Studio Flamenco

Katrina Lazaroff

Lina Limosani

Larissa McGowan

Poe One

Simi Roche

Maura Vergara

Kialea-Nadine Williams

Contemporary Teacher

Ballet Teacher


Palmas Workshop




Breaking Teacher

Yoga Teacher

Yoga Teacher


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T H E C O M P A N Y

PUBLIC DANCE CLASS TEACHERS Zoë Dunwoodie Scott Ewen Thomas Fonua Alexandra Knox Larissa McGowan Michael Ramsay Matte Roffe

With its stunning 3D graphics, talented dancers and a thought-provoking concept, Multiverse challenges ideas about dance” - InDaily

Multiverse is co-commissioned by La Rose des Vents, Villeneuve d’Ascq (France), Theater im Pfalzbau, Ludwigshafen (Germany) and Théâtre National de Chaillot, Paris (France) and has been made possible through the support of Deakin University’s Thinker in Residence program, Deakin Motion.Lab and the Australian Research Council’s Discovery Projects funding scheme (project number DP120101695).

MULTIVERSE EUROPEAN PREMIERE SEASON

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CREDITS

Conceived & Directed - Garry StewartAssociate Artistic Director – Elizabeth OldChoreographed – Garry Stewart & the ADT dancers3D image concept, design and creation - Kim Vincs, Daniel Skovli, Simeon Taylor, Kieren Wallace, Bobby Lin, John McCormick, Peter Divers – Deakin Motion.Lab, Deakin UniversityComposer – Brendan Woithe (KLANG)Costume Designer – Catherine ZierschLighting Designer – Damien CooperTechnical Director – Paul CowleyPhysics Adviser – Dr Andrew Melatos, Physics Department, Melbourne University

Stage Manager and Company Manager – Françoise Piron (March/June)Stage Manager and Company Manager - Nathalie Devilliers (October/November)Rehearsal Director & undersu - Scott EwenHead Lighting – Sam HopkinsHead Vision & Staging – Lachlan Turner

DANCERSSamantha Hines Matte RoffeKimball Wong

I N T E R N A T I O N A L T O U R S

11, 12 & 13 March – La Rose des Vents, Villeneuve d’Ascq (FR)

17 March – Théâtre de Colombes, Colombes, L’Avant-Seine (FR)

20-21 March – Teatro Central, Sevilla (ES)

MULTIVERSE EUROPEAN RETURN SEASON3-4 November – La Comète, Scène Nationale, Châlons-en-Champagne (FR)

30 October – De Oosterpoort & de Stadsschouwburg, Groningen (NL)

22-23 October – UnterwegsTheater – Hebbel Halle, Heidelberg (DE)

17-18 October – Theater im Pfalzbau, Ludwigshafen (DE)

15 October – Cultuurcentrum Hasselt, Hasselt (BE)

13 October – Theaters Tilburg, Tilburg (NL)

9-10 October – Bonlieu – Scène Nationale, Annecy (FR)

6 October – Tanztage – Posthof, Linz (AUT)

2 October – Théâtre de Nîmes, Nîmes (FR)

1-6 June – Théâtre National de Chaillot, Paris (FR)

MULTIVERSE FOCUS AUSTRALIE

“..an exhilarating dance work that is entertaining to watch and interesting to think about”

- Sydney Morning Herald - InDaily

Be Your Self has been co-produced by Grand Théâtre de Luxembourg, La Rose des Vents - scène nationale Lille Métropole - Villeneuve d’Ascq, Le Rive Gauche Saint-Etienne-du-Rouvray, Centro Cultural Vila Flor Guimarães, Théâtre de la Ville Paris, and Arts SA’s Major Commission Fund.This tour is supported by the Australian Government through the Australia Council, its arts funding and advisory board.

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CREDITS

Conceived & Directed - Garry Stewart Assistant to Garry Stewart – Elizabeth OldChoreographed – Garry Stewart, Larissa McGowan & the ADT dancersSet Design - Diller, Scofidio + Renfro (redux version without set)Sound Designer - Brendan Woithe (colony nofi)Lighting Designer – Damien CooperCostume Designer - Gaelle MellisTechnical Director – Paul CowleyDramaturge - Professor Julie HolledgeConsulting physical therapist/physiologist - Michael HeynenNeurobiology consultant - Professor Ian GibbonsStage Manager, Production Coordinator and Company Manager – Lucie BalsamoHead Lighting – Christopher Pedtridis Head Sound and Staging – Lachlan TurnerActor/Voice Artist - Annabel Giles

DANCERSZoë Dunwoodie

Scott EwenThomas FonuaLonii Garnons-WilliamsSamantha Hines Jake McLarnonMichael Ramsay Matte RoffeKimball Wong

N A T I O N A L T O U R

BE YOUR SELF PERTH RETURN SEASON

BE YOUR SELF (REDUX)REGIONAL TOUR

24 – 27 June – State Theatre Centre, Perth (WA)

20 June – Mandurah Performing Arts Centre, Mandurah (WA)

7 July – Dubbo Civic Theatre, Dubbo (NSW)

10-11 July – Illawarra Performing Arts Centre, Wollongong (NSW)

5 August – Barossa Arts & Convention Centre, Barossa (SA)

7 August – Marion Cultural Centre, Marion (SA)

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A R T I S T I C I N N O V A T I O N

ADT’s vision is to be the world’s most ingenious contemporary dance company. To achieve this, we strive to create contemporary dance that challenges the way people think, through a diversity of works, collaborations and partnerships.

We celebrated our 50th anniversary in 2015 with a unique program of performances, a world premiere of our short film, Mood Machine, three European tours, a national tour and community events. 2015 was a year in which the company explored new ways of presenting dance to reach larger and more diverse audiences.

As part of the company’s anniversary celebrations we performed in July an excerpt of Be Your Self in the second half of the program for “L” by Mirramu Dance Company, the current company of our founding Artistic Director, and 50th anniversary patron, Elizabeth Cameron Dalman OAM. We were also invited to perform at the Australian Dance Awards in September, held for the first time in Adelaide. We performed excerpts from Garry Stewart’s seminal work for the company, Birdbrain, as well as a work from Elizabeth Cameron Dalman OAM’s time as ADT’s Artistic Director.

We had the European premiere of Multiverse, our ground-breaking work that integrates 3D graphics with contemporary dance, in March, and followed this with two European return tours in June and October. By the end of the year, Multiverse had been performed across 13 venues in France, Austria, Belgium, Germany, The Netherlands and Spain, to more than 9500 audience members, including a sell-out season at Théâtre National de Chaillot in Paris as part of their Focus Australie program. This was an extraordinary result for an Australian contemporary dance company and a great reward for this bold and ambitious work.

In June, ADT embarked on a 6-week regional tour of Australia, presenting Be Your Self Redux to audiences in Western Australia, New South Wales, and South Australia. The company also performed the original mainstage version of the work to large audiences in Perth over four nights. Be Your Self Redux is a distilled version of Be Your Self. For Redux, Garry Stewart reimagined and reworked Be Your Self to strip away the set and video projections, and transferred the live narration to a voiceover to create an adapted work more suitable and affordable for smaller, regional venues. Originally trialled for an appearance at the Salihara

Festival in Indonesia in 2014, we made further adaptions to ensure that our regional audiences saw an equally powerful work to the original Be Your Self.

Our Adelaide Embedded community program went from strength to strength in 2015. Launched in 2014, Adelaide Embedded is a free program of events performed in public spaces, bringing dance to new Adelaide audiences. With support from an Adelaide City Council grant, this year’s program included two free outdoor performances in Victoria Square in the heart of the Adelaide CBD, where we made the most of the beautiful Adelaide Spring weather and took dance out of the theatre and onto the streets. New works were developed for performing in the Ice Cube, ADT’s Perspex cube, which was erected in the Square so that audience members could gain a 360 view of the dancers as they performed.

We premiered our latest short film, Mood Machine, at the Adelaide Film Festival in October. With funding support from the Adelaide Film Festival, Mood Machine is an 11-minute short film exploring the physical manifestation of human emotions. Mood Machine was created in collaboration with cinematographer and post-production editor Brenton Kempster, who previously worked with ADT on main-stage productions Be Your Self and Held. The film continues ADT’s exploration of integrating multimedia with dance.

Our interest in engaging with new technologies continued with the activities of our Geek-In-Residence program (supported by the Australia Council for the Arts). We partnered with local South Australian technology companies Sandpit and Jumpgate to commence development of a virtual reality experience as an accompanying piece to The Beginning of Nature. The Beginning of Nature in Virtual Reality will premiere at WOMADelaide in 2016.

The company continued to develop two new mainstage works, Habitus and The Beginning of Nature, which will premiere in early 2016 at the Adelaide Festival of Arts and WOMADelaide respectively.

CREATION OF CONTEMPORARY DANCE THROUGH PROJECTS THAT CHALLENGE THE WAY PEOPLE THINK.

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KPIs 2O15 RESULTOver the period 2015-2019, produce diverse works developed

through creative partnerships and commissions:

• 2 major works

• 3 small-medium works for touring

• Community projects including a theatre piece (no company

dancers)

• 1 small-medium work for touring – Be Your Self Redux (reduced-scale touring version of Be Your Self)

• 2 outdoor community performances as part of Adelaide Embedded

• Creative development of 2 mainstage works - Habitus and The Beginning of Nature (premiering in Feb & March

2016)

Over the period 2015-2019, produce at least 1 work that has a

commercial focus:

• 1 guest choreographer and/or commercial partner

• Commenced research into a commercial development

and touring model for a future work

Photo credit: Sofia Calado Photography

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BUILDING AUDIENCES FOR CONTEMPORARY DANCE THROUGH LIVE PERFORMANCE, PUBLIC EVENTS AND SOCIAL MEDIA. SUPPORTING A GROWING, ENGAGED AND ACTIVE SOUTH AUSTRALIAN, NATIONAL AND INTERNATIONAL AUDIENCE.

2015 saw a significant increase in our audience numbers, due to the diversity of our activities across the year. Audience attendance figures were up from 6,925 in 2014 to 17,143. We continue to extend our national and international reach, with a number of European venues new to ADT programming Multiverse.

As part of our international market development strategy, we invited presenters from across Europe and the United Kingdom to attend a performance of Multiverse in order to secure tour dates for a return European tour later in the year and to develop an ADT tour to the UK in the next few years. This was facilitated by the Australia Council to coincide with our inclusion in the Focus Australie program at Théâtre National de Chaillot in Paris.

Our commitment to regional audiences grows, with over 65% of the venues that we performed in during our 2015 national tour of Be Your Self Redux located outside of capital cities.

The success of this “reduced scale” touring version of an ADT work was an exciting development for us as we look to ways in which we can reach new audiences and ensure that our program satisfies the needs of our presenters. In seeking to engage a diverse audience type, we have listened to feedback from programmers and responded to their perception that ADT’s works are not always suited to their venues due to their scale and size, and have actively responded to this by developing more affordable and adaptable works.

This is something we now consider whenever we create new works – we keep tourability and venue suitability in mind so that we can ensure a continued growth in our national audience.

We also develop works that take the company outside the “mainstage” and into galleries, cinemas and public spaces.

Our diverse programming in 2015 included three Adelaide Embedded public events, the world premiere of our latest short film, Mood Machine, and a strong Experience ADT learning program.

We kicked off our 2015 Adelaide Embedded season with a performance in ADT’s Ice Cube, in Victoria Square in September. That same month, two of our dancers ran a street dance workshop, Adelaide Street Sessions, during the school holidays, responding to feedback that there was an identified gap in

activities in the CBD for teenagers and young adults. In November, our Production team constructed our portable dance floor in Victoria Square for our Open Rehearsal – an afternoon event which saw our dancers take company class and rehearse excerpts from a work in development in front of office workers, shoppers and visitors to the city, who sat on the lawns and took time out of their day to enjoy an outdoor dance performance and gain insight into the day-to-day activities of a contemporary dance company. We were delighted to have our Youth Ensemble perform as part of the afternoon’s program.

Our social media audience grew at an astounding rate over 2015, particularly across Facebook (72% increase) and Instagram (13% increase). This reach, to 25,820 digital audience members, is a result of the company investing in regular and interesting content. The range of behind the scenes and performance footage has engaged our digital audiences in Australia and world-wide. The company is commited to interacting with its digital audience through online communication and providing feedback to our loyal fanbase who seek a deeper engagement with the company, beyond the theatre experience.

The world premiere of Mood Machine as part of the Made in SA program of the Adelaide Film Festival saw the film screened in Adelaide and at the Middleback Theatre in Whyalla and seen by 550 people, and highlighted how our diverse range of works can reach a diverse and wider audience.

In 2015, ADT held the inaugural Meeting at the Dance Hall, a forum for the South Australian dance community to come together, share ideas and discuss issues affecting dance in the State. What initially began as an informal gathering is growing into a more active engagement that supports members of the dance sector through increased communication and providing opportunities to share resources.

A U D I E N C E E N G A G E M E N T & S E C T O R D E V E L O P M E N T

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BULDING AUDIENCES FOR CONTEMPORARY DANCE THROUGH LIVE PERFORMANCE, PUBLIC EVENTS AND SOCIAL MEDIA A GROWING, ENGAGED AND ACTIVE SOUTH AUSTRALIAN, NATIONAL AND INTERNATIONAL AUDIENCE.

KPIs 2O15 RESULT• Over the period 2015-2019 South Australian audiences are

engaged and become loyal followers through:

• 2 Adelaide seasons per annum

• 2 Adelaide Embedded events per annum

• 2 metropolitan and/or regional SA seasons per annum

• 2 Adelaide performances as part of L by Mirramu

Dance Company and the 2015 Australian Dance Awards

• 3 Adelaide Embedded events

• regional SA season (Be Your Self Redux)

• SA, national and international touring is financially sustain-

able through partnerships and diverse income streams with

an annual aim to reach 80 performances per annum by 2019

(20% increase in performances per annum increase – current

ADT benchmark 34 performances per year)

• 38% increase in performances (from benchmark of 34

per year - 2015 total of 47 performances)*

*performances include 4 screenings of video intallation works

FACEBOOK LIKES2O13 : 5,514 2O14: 11,96O (217% INCREASE)2O15: 2O,471 (72% INCREASE)

TWITTER FOLLOWERS2O13: 1,4142O14: 1,685 (16% INCREASE)2O15: 1,9O3 (13% INCREASE)

INSTAGRAM FOLLOWERS2O13: 35O2O14: 1,OO9 (65.31% INCREASE)2O15: 3O5O (2O2% INCREASE)

YOUTUBE SUBSCRIBERS2O13: 162 (57.4O% INCREASE)2O14: 219 (26.O2% INCREASE)2O15: 396 (81% INCREASE)

A U D I E N C E E N G A G E M E N T & S E C T O R D E V E L O P M E N T

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L E A R N I N G

2015 was a defining year for our Learning Program, which underwent a review, was rebranded and saw a significant community engagement program come to fruition.

Under the directorship of ADT’s Associate Artistic Director, and with guidance from the ADT Board’s Learning Committee, the Learning Program exceeded in performance against all KPIs in 2015.

The program was rebranded to reflect the diverse and comprehensive program of activities that have been designed to enable the public to engage with the company on many levels. A comprehensive marketing document was developed to clearly define these various activities for the program’s specific target audiences.

Community engagement remained a strong focus of the Learning Program. A highlight of the year was a five-day visit to Western Eyre, a remote part of regional South Australia where ADT conducted a community engagement program, Dance Partners - City to Coast. Generously funded by the Regional Arts Fund through the Ministry for the Arts, Dance Partners - City to Coast primarily focused on developing the teaching and choreographic skills of the local dance instructors. Central to this project was a comprehensive workshops-in-schools program that provided every school student and staff member in the Ceduna and Streaky Bay areas the opportunity to watch the ADT dancers perform and to participate in a dance workshop. Partnering with local dance schools DanCeduna and Instep, ADT delivered 17 workshops to 930 participants across five days.

The impact of this project was strengthened by using social media (Facebook) as a tool to introduce the ADT dancers to the local community and to facilitate greater engagement before and after the project. A group of local students was also mentored through the making of a mini documentary that followed the project.

The success of this pilot program has encouraged the company to look at how we can broaden this activity and implement it as a recurring project across the State.

We continued to deliver our popular school dance workshops both in Australia and overseas. Seven workshops were delivered to eight schools in Adelaide. Our European tours included the

delivery of 17 workshops across The Netherlands, Austria, Belgium and the United Kingdom to 338 dance students. ADT also continued to engender a deeper understanding of contemporary dance through behind the scenes experiences such as open rehearsals in our studios during creative development periods and pre-performance talks while on tour.

Public dance classes have grown in popularity and the company is delighted to see many participants return again and again to classes. The company continues to explore ways in which to develop our program of classes and respond to the diverse range of experience and interests of our current and potential participants.

The company commenced an exciting new creative partnership with Adelaide College of the Arts (AC Arts), which facilitated closer connections between ADT, the dance students and faculty of the College. In 2015 ADT delivered 60 hours of repertory and specific skills by company dancers and the Associate Artistic Director. AC Arts students were also invited to view showings in the studio and dress rehearsals in the theatre as part of their unique exposure to the inside workings of the company. The company also continued its popular Secondment Week for tertiary and vocational dance students.

The ADT Youth Ensemble continued to be an integral part of our learning and development programs. The Youth Ensemble offers a year-long program of training and performance opportunities to talented young dancers, many of whom go on to train as professional dancers. As part of the ADT family, they gain valuable experience and insight into the profession and are better equipped to follow dance as their chosen career. A highlight for the 2015 cohort was their inclusion in the program for the Australian Dance Awards at Her Majesty’s Theatre, at which they performed a newly commissioned work by ADT choreographer and dancer, Scott Ewen.

2015 saw our biggest ever audiences for our choreographic program, Rough Draft - more than 340 people attended our studios at Hawthorn to view the work of the next wave of Australian choreographers. Rough Draft provides an opportunity for Adelaide-based choreographers and physical theatre makers to present new works in their initial stages of development in an

ADT STRIVES TO INSPIRE PEOPLE OF ALL AGES TO ENGAGE WITH ADT, UNDERSTAND THE WORK WE DO, AND CONNECT WITH CONTEMPORARY DANCE.

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informal studio showing, and we are delighted to continue to nurture this talent, as well as support the artistic development of our own company dancers, through this initiative. Our 2015 program included a partnership with The Mill’s Choreographic Futures Dance Residency to platform new work by six choreographers. ADT company dancers Scott Ewen and Thomas Fonua created work that was included in this program.

ADT’s interest in research continued with its involvement in an Australian Research Council (ARC) project, Thinking Bodies. This research, which focuses on embodied memory and shared creative cognition, affords a window into the way in which dancers process, create and remember dance. The research will introduce new paradigms for further research and has relevance beyond the arts. Five researchers and three ADT dancers were involved in a public forum, generously supported by The Adelaide Festival Centre, in which the findings of this fascinating research were made accessible to the general public.


KPIs 2O15 RESULT• A minimum of 15 Learning Program events per annum with

an annual increase of 10% participation• 37 Learning Program events • 1366 participants

• At least two events per annum that reach new audiences in public spaces or other accessible programs with strong social media branding

• 3 Adelaide Embedded events• 1 Community outreach event - Dance Partners - City to

Coast Total of 4 events

• The Learning Program continues revenue increases by 15% per annum through fees, trusts, foundations and sponsorship

• $84,977 up 24.08% from 2014 ($68,464)

Photo credit: Sofia Calado Photography

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O P E R A T I O N A L E X C E L L E N C E

2015 was a year of review, restructure and consolidation for the operations of ADT’s business.

Following the resignation of Julianne Pierce at the end of 2014, ADT’s Operations Manager, Paul Cowley, oversaw the company for much of the year as Acting Executive Director while the Board undertook a national recruitment drive to fill the position.

Following a four-month search, the Board announced Shaun Comerford, formerly of the Michael Cassel Group and Newtheatricals, as the new Executive Director.

Following Shaun’s commencement with ADT in November, the company undertook an organisational review of the company’s resources and needs. This review resulted in a restructure of operational staff, including the employment of a Producer & Program Coordinator to oversee national touring, funding initiatives and reporting, a redefining of the financial management, with a part-time Finance Administrator replacing the Finance Manager, and the position of Office Administrator being dissolved.

The company also finalised its 5 year Strategic Plan for 2015-2019 with a focus on sustainability, measured growth and diversification of income streams.

The company was thankful for the continued generous support of our partners – Beach Energy for their support of the Youth Ensemble, SA Power Networks, as a supporter of The Learning Program, Camlight Productions and E.T. Browne (Palmer’s Australia Cocoa Butter).

Whilst we had high hopes that celebrating the significant milestone of 50 years in operation would attract more private donations to the company, we were unable to capitalise on the event with a significant increase in philanthropic earnings. This remains an area that the company must work on in order to improve sustainability.

In a year that saw some significant changes to the landscape of Arts funding in Australia, ADT finished the year in a much stronger position than was earlier forecast, and with a clear strategy for the years ahead. Cultivation of a supporter base of potential donors, corporate partners and private ancillary funds is a key focus moving forward, accompanied by resourcing the toolsto fully realise an ambitious but necessary development plan.

A SUSTAINABLE COMPANY MODEL FUNDED THROUGH STRATEGIC PARTNERSHIPS.

As a cultural ambassador for South Australia, the company’s global standing is of particular importance to the State’s economic priorities of international connections and engagement, growth through innovation and promoting Adelaide as the heart of the vibrant state. As part of our ongoing touring and collaboration strategy, we have looked to capitalise on future activity in regions of interest to both the state and national goals. Organisational stability, including the development and retention the administrative team, has been a priority in the second half of the 2015 and beyond.

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KPIs 2O15 RESULT• Organisational review 2014/15 to identify a redistribution of

resources that creates a sustainable business model.• Restructure of operational staff implemented in December 2015

following review of resources and roles

• A new home in Adelaide is secured by 2017 that is supported by government or gifted or purchased

• ADT continues to search for a new home. Currently the execu-tive team are in discussions about 4 different potential venues/locations. The State Government via Arts South Australia and Renewal SA have been approached to assist with discussions, and the aim is to secure and relocate to a new home prior to mid 2017.

• Ratio of government funding to reduce from 60% to 40% of turnover by 2019

• The projected ratio of Government funding of turnover in 2015 is 76%. We have factored in decreases in this percentage over the coming years, as other income streams are realised, and have conservatively forecast a position in 2020 where government funding comprises 63% of turnover for ADT. This position can be improved if sponsorship and fundraising targets are exceeded, which will be our aim in the coming years.

• Box office and/or performance fee set as a % of project cost • Box Office and performance fees for 2015 were 48.8% of project cost.

• 60% of productions running at a profit; 40% subsidised, 50% of productions in partnerships

• In 2015, of the 9 projects produced, 2 of these (22%) were run at a profit, however the loss on 3 projects was less than $1000 per pro-ject, which would constitute a negligible loss. Had the additional 3 projects broken even, the result would have been 55% of projects breaking even or at profit.


O P E R A T I O N A L E X C E L L E N C E

C O R P O R A T E G O V E R N A N C E S T A T E M E N T

It is the aim of ADT to meet best practice in corporate governance, with a framework designed to:

• Enable the board to provide strategic guidance for ADT and effective oversight of management

• Clarify the respective roles and responsibilities of board members and senior executives in order to facilitate board and management accountability to ADT and its stakeholders

• Ensure a balance of authority so that no single individual has unfettered powers

ROLE OF THE BOARD AND ITS MEMBERSHIP

The board is responsible for the corporate governance of ADT. It oversees the business and affairs of the company, approves the strategies and financial objectives to be implemented by management, and monitors standards of performance against those plans in achieving the company’s goals.

The membership of the board will be directed by the following requirements:

• The constitution of ADT specifies that there must be at least three directors and no more than ten. The board may determine the size of the board within those limits

• The board must consist of a majority of independent directors who satisfy the criteria for independence adopted by the board

• The Chairman of the board must be an independent director who satisfies the criteria for independence adopted by the board

• The board should, collectively, have the appropriate level of personal qualities, skills, experience and time commitment to properly fulfil its responsibilities or have ready access to such skills where they are not available

The board may also establish committees to assist it in carrying out its responsibilities. The board will adopt charters setting out the membership, administration, purpose, responsibilities and functions appropriate to each committee. In 2014, committees in operation were the Learning Committee, Governance & Nomination Committee and Marketing Committee.

ROLE OF MANAGEMENT

The role and responsibility of management is to:

• Recommend the strategic direction, plans and options for the board’s consideration and translate the board’s approved strategic direction into the operations of the business

• Assume the day to day responsibility for ADT’s conformance with relevant laws and regulations and its compliance framework

• Achieve the performance targets set by the board• Develop, implement and manage ADT’s risk management

and internal control frameworks• Develop, implement and update ADT’s policies and

procedures• Be alert to relevant trends in the industry and ADT’s

operating environment and respond accordingly• Provide sufficient and relevant information to the board to

enable the board to effectively discharge its responsibilities• Act as a conduit between the board and ADT• Manage ADT’s human, physical and financial resources to

achieve ADT’s objectives

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Supporting touring and presentations

Supporting the Australian Dance Theatre Youth Ensemble

Providing expert technical support and production equipment

Long-term supporter of the company, providing probono audits

Providing ADT’s flooring

with Vitamin E

P A R T N E R S

GOVERNMENT PARTNERS

PRESENTING PARTNERS

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Supporting the Australian Dance Theatre Learning Program

All photo credit (unless otherwise stated) goes to:Chris Herzfeld - Camlight Productions

Supporting the Australian Dance Theatre Learning Program through provision of

equipment

Front cover original design by MASH design www.mashdesign.com.au


K I M B O E H M Chairman of the Board

Kim is Director of Talent Management and Marketing for the Clemenger Group, Australasia’s largest marketing communications company. He has previously held Managing Director positions with advertising agencies Clemenger Harvie Edge (Melbourne), Young & Rubicam (Melbourne) and Clemenger BBDO (Adelaide). Kim has previously been a board member of CARE Australia and Catherine House; a member of the school council for the Srathcona Girls School; Chairman of the Advertising Federation of Australia’s Chapters in both Adelaide; a member of the Adelaide University Media Advisory Board and a member of the UniSA MBA advisory board. F R A S E R B E L LNon-Executive Director

Fraser Bell is a partner at Thomson Geer Lawyers. He is a member of the Property & Environment team and the head of the Adelaide practice group focusing on the areas of environment, planning, climate change and contaminated land.

Fraser focuses on providing pragmatic, solution orientated,commercial advice on all transactions with an environmental aspect. Fraser works with a number of industry leaders in developing strategies to deal with a wide range of environmental issues.

A N N E C A R M A NNon-Executive Director (commenced February 2015)

Anne Carman BA, Grad Dip Psych, MHRM and Coaching, is an Organisational Development Consultant. She has considerable experience in strategic organisational development, operational review and change, leadership assessment and development, executive coaching, cultural change programs and talent and performance management. Anne works both strategically and operationally and has enacted substantive change for organisations, including having developed and implemented global strategies within the Asia Pacific region.

A N I T A E W I N GNon-Executive Director (commenced February 2015)

Anita is a senior solicitor at the Crown Solicitor’s Office with 11 years experience and brings her legal acumen to the Board. Anita works in-agency at the Office of the Public Trustee whichsees her principally engaged in civil litigation, appearing regularly at the District Court and Supreme Court of South Australia and also the South Australia Civil and Administrative Tribunal. Anita has provided high level advice to the government in the advising section of the CSO and has extensive experience advising in the health and medical sphere. She was engaged as a

Ministerial Advisor to the Minister for Health which, in addition to the political component to that role, saw her manage all legislation within the health portfolio through Parliament. Outside of the Public Service, Anita has also worked in the commercial section of a private law firm providing strategic business advice and drafting complex commercial documentation. She has also worked in-house as a taxation consultant in a chartered accountancy and business advisory firm which experience has furnished her with strong business understanding.

C H R I S T I N E L O C H E RNon-Executive Director (resigned June 2015)

Christine Locher is a business woman with over 30 years’ experience in building professional practice firms and has served on both NFP and Publicly listed Boards. Christine brings to the ADT board composition strong commercial acumen; sound corporate governance and Arts sector insight. Current Board appointments include:> Advisory Board to The University of Adelaide’s Business School> Public Trustee - Audit and Risk Management Committee> Business SA> Australian Dance Theatre> Chair of Think180.

J E F F M E I N E R SNon-Executive Director

Jeff Meiners works at the University of South Australia’sDivision of Education, Arts and Social Sciences. He has taught extensively, directed movement for children’s theatre, and works with government arts and education organizations, dance companies and international dance projects.

Jeff was an Australia Council Dance Board Community Representative (2002–2007), 2009 Australian Dance Award winner for Outstanding Services to Dance Education and dance writer for the new Australian Arts curriculum Shape paper. Jeff’s research focuses on the construction of the dance curriculum.

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P E T E R S E L T S I K A SNon-Executive Director (commenced October 2015)

Peter is currently the Senior Manager, Asset Management for SA Water. In this role he leads the strategic, operational and capital investment planning for the Corporation’s $14bn of infrastructure assets. Peter has 20 years experience in the utility sector, first within Oil and Gas and more recently within the water industry. Peter has a strong commercial and operational background with a strategic mindset and has held many senior leadership roles driving business through significant change.

Peter holds an Engineering Degree with Honours and a Master’s In Business Administration. Peter is a fellow of the Governors Leaderhsip Foundation, a member of AICD, a past executive member of Engineer’s Australia Centre for Engineering Leadership & Management Committee in South Australia and a member of the Water Services Association of Australia Asset Management Committee. Peter is also a Non Executive Director of Australian Dance Theatre.

C H R I S T O O H E RNon-Executive Director

Christopher Tooher is the Executive Director of Sydney Festival, one of Australia’s best-loved annual events hosting an array of free and ticketed performances in Sydney in January.

Prior to Sydney Festival Christopher was the General Manager at Bell Shakespeare Company. His comprehensive career in the performing arts sector has also seen him working as a Producer at Sydney Opera House and Director/CEO of Illawarra Performing Arts Centre in Wollongong. He is well respected in the arts industry, especially for his dedication and commitment to a number of Boards. Present board memberships include Australian Dance Theatre, Riverside Theatre, and NSW Tafe.

D A V I D S T O B B E Non-Executive Director

David has a Bachelor of Business (Accounting) and is a member of CPA Australia with 15 years finance experience gained in the private sector utility industry. David has a strong business acumen, sound accounting proficiency in the areas of management reporting, budgeting and forecasting as well as knowledge of WH&S practices and policies. Through his other board appointments including sporting club and other non-for-profit organisations, David has accumulated expertise in both sponsorship and fundraising with a community focus. David joined the ADT in 2014 and Chairs the Governance and Nomination Committee.

D A N I E L L E T S O G A SNon-Executive Director

Danielle Tsogas is a strategically minded brand, marketing and communications professional who is well respected and networked in the South Australian market place. She has

developed and delivered long term, integrated strategic media and marketing plans for local, national and international brands across not-for profit, public and private sectors. With a Bachelor of Business Management majoring in Marketing and having completed the Institute of Company Directors course, Danielle has a passion for playing an active role in business success. Her portfolio spans a number of key industry sectors specialising in retail, entertainment, leisure, hospitality, FMCG, publishing and destination marketing.

T R I C I A W A L T O NNon-Executive Director (commenced February 2015)

Tricia Walton has been Chief Executive of Carclew since 2008. Her career includes Director of Arts Programs at Country Arts SA and Manager of Kurruru Indigenous Youth Performing Arts. At Community Arts Network SA Tricia was Training Manager, edited Artwork Magazine and she jointly developed the Graduate Diploma in Community Cultural Development.

Tricia currently chairs A>R>T (Arts Rich Together) a collective of artists, academics, education and local government leaders establishing new initiatives for creative learning for SA children. She is a member of the Boards of the SA Writer’s Centre and Australian Dance Theatre.Tricia has a BA in Literary Studies (Deakin University), a Grad Dip in Education and Training of Adults (UniSA), is a fellow of the SA Governor’s Leadership Foundation (2004) and a graduate member of the Australian Institute of Company Directors.

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photo credit - from the photography archives of jan dalman celebrating 50 years in 2015 a letter...

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