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ANNUAL REPORT 2018
TANDERRUM Photo: James Henry
M E S S A G E S F R O M E L D E R S I N R E S I D E N C E
As Elder in Residence, I’m proud to see younger faces in the company, both in the office and in the theatre. That ILBIJERRI is providing solid ground to stand on and giving our young people confidence is one the things I’m most proud of. Even though it is a small company, ILBIJERRI invests in future generations. With five trainees in the office, ten young people in the ILBIJERRI ensemble, four emerging creators being supported to develop new work, as well as attachments and mentorships embedded into all of our shows, ILBIJERRI is going above and beyond to ensure that our heritage isn’t thwarted by short-term thinking and short-term funding cycles. Our eye is on the long game and I am proud to be Elder in Residence of a company that is committed to strengthening our people, so we can tell our stories – our way.
Two or three years ago, ILBIJERRI, all of us, went for a camp and we discussed the next steps to make sure ILBIJERRI has a long-term, viable future. And we realised one of the lacking elements was bringing in the next wave of producers, writers and actors.
Over this last year we are seeing the new young writers, the new young producers and the new young actors come through successfully. Some of them are going on to produce their own shows, and are finding other young people to work with in collaborations.
As long as we keep giving them good solid grounding - they will continue to grow, and I look forward to being a really old man, invited to watch people on film and TV and in theatre productions.
And we also see these young people starting to mentor others coming through. Giving them that confidence to be able to mentor others, is one of the steps ILBIJERRI is taking that I, as Elder in Residence, am really proud of.
Our heritage is not about short term thinking. It’s about what happens after we’re gone.
Uncle Larry Walsh
N’Arweet Carolyn Briggs
D E A R F R I E N D S A N D F A M I L Y
Simultaneously, we have stepped up our commitment to being a First Nations company staffed by First Nations people. We are proud to be investing in the future of the wider performing arts ecology through the employment of five new First Nations staff members: Davey Thompson (Bidjara/Inningai/Wakka Wakka/Gubbi Gubbi), Emily-Anyupa Napangarti Butcher (Warlpiri/Pitjanjatjara/Luritja), Laila Thaker (Meriam Mir/Badulaig), Caleb Thaiday (Mer/Erub) and Daniel Riley (Wiradjuri).
As always, our achievements are both obvious and subtle, as we navigate the demands and blessings of making black theatre in a white industry.
Photos: James Henry
M E S S A G E F R O M T H E E X E C U T I V E
With the expansion of a wide range of artist and sector development programs and a dynamic slate of theatre, 2018 offered up a vibrant array of activities and achievements. We are particularly proud of the ILBIJERRI ENSEMBLE, BLACKWRIGHTS and the EXECUTIVE LEADERSHIP PROGRAM, alongside the commission of our two largest scale works to date, BAGURRK and BLACK TIES.
Looking back over our tracks in 2018 we are proud to have taken our stories across Australia and around the world. Our largest tour to date, WHICH WAY HOME, visited thirty venues across regional and urban Australia to critical acclaim.
The year also marked the ending of a beautiful chapter in the ILBIJERRI story as we were incredibly humbled to take JACK CHARLES V THE CROWN on its final swan song, to Auckland Festival (New Zealand) and Shizuoka Arts Centre (Japan), following a magnificent eight years of touring. Creating and touring this work has been instrumental to the success of ILBIJERRI and we are incredibly grateful to Uncle Jack for allowing us to be the guardians of his life story, which has now touched so many people around the globe.
One of our biggest achievements in 2018 has been the continuation of being the only First Nations funded company in Australia with a one-hundred percent First Nations run Board of Directors. We welcomed Erica McCallum (Ballardong) and Eugenia Flynn (Tiwi/Larrakia) to our board and have been blessed to work closely with them in strengthening our governance and strategic planning.
D E A R F R I E N D S
Gavin SomersPresident
Rachael MazaArtistic Director
/Co-CEO
Lydia FairhallExecutive Producer
/Co-CEO
M I S S I O N
W H A T W E V A L U E
V I S I O N
ILBIJERRI Theatre Company creates challenging and inspiring theatre by First Nations artists that gives voice to our cultures.
THE POWER OF FIRST NATIONS VOICESWe work with First Nations storytellers (writers, directors, actors, key creatives, theatre practitioners) to tell our stories through high quality theatre as a continuation of our culture.
FIRST NATIONS PROTOCOLS AND WAYS OF WORKING We respect our people, community and artists by working in accordance with the protocols of our own community and those whose country we are working on.
SELF-DETERMINATION We ensure First Peoples drive all key decision making processes within ILBIJERRI.
RESPECT We always give full respect to our people, Elders, culture and country – and to all peoples with whom we share our land.
DIVERSITY OF FIRST PEOPLES We respect, celebrate and embrace the cultural diversity of First Peoples, our stories, our culture and our experiences.
Our voices are powerful in determining the future of Australia. Our cultures are respected, celebrated and embraced.
BLACKWRIGHTS CREATION AND ACTIVATION MASTER LAB Photo: Tiffany Garvie
2 0 1 8 M A J O R A C H I E V E M E N T S
JACK CHARLES V THE CROWN
became our first production to tour
Japan and New Zealand.
WHICH WAY HOMEvisited 30 venues across Australia –
ILBIJERRI’s biggest tour yet.
BAGURRKwas supported by the inaugural Creative States Commission, the largest arts grant of the Victorian Government for a single project.
O U R W O R K
ILBIJERRI Theatre Company is Australia’s leading and longest running First Nations Theatre Company. We create,
present and tour powerful and engaging theatre by First Nations artists that gives voice to our cultures.
While we are making and presenting incredible theatre, we are also doing a lot of other important work for the future of
First Nations people, culture and country.
YARNING WITH THE WORLD
LISTENING WITH COMMUNITY
SHARING WITH COMMUNITY
NURTURING STORIES
NURTURING VOICES
GROWING UNDERSTANDING
STRENGTHENING SELF-DETERMINATION
BLACK TIES CREATIVE DEVELOPMENT Photo: Julie Zhu
W E A R E . . .
JACK CHARLES V THE CROWN Photo: Maria Baranova
Uncle Jack Charles is an Australian legend: veteran actor, musician, Koori elder and activist; but for a good portion of his seventy-four years he was also an addict, a thief and a regular in Victoria’s prisons.
JACK CHARLES V THE CROWN concluded its eight years of touring with this Asia Pacific tour, taking ILBIJERRI’s work to New Zealand and to Japan for the first time ever.
CREATIVE TEAMDirector Rachael MazaCo-Writers Jack Charles & John Romeril Performer Jack Charles Dramaturge John Romeril Set & Costume Designer Emily Barrie Lighting Designer Danny PettingillAudio Visual Designer Peter Worland Musical Director Nigel Maclean Percussion Phil Collings Bass Malcolm Beveridge
ASIA PACIFIC TOUR14 March 2018 - 06 May 2018 Performances: 7Audiences: 1363
The Asia Pacific Tour of JACK CHARLES V THE CROWN was assisted by the Australian Government through the Department of Communication and the Arts’ Catalyst Australian Arts and Culture Fund, as well as through the Australia Council for the Arts. The Japanese leg of the tour was also supported by the Department of Foreign Affairs and Trade, Australian Cultural Diplomacy Grants Program.
J A C K C H A R L E S V T H E C R O W N
Y A R N I N G W I T H T H E W O R L D
Jack Charles’ exceptionally engaging, well-told story is all his own. He has us spellbound as we sit around his campfire. In many ways too, it’s the story of Australia.
Just not the one we’re used to hearing.” - Crikey
WHICH WAY HOME Photo: Snehargho Ghosh
“A warmly affirming window on Indigenous family life” - Sydney Morning Herald
Tash and her Dad have hit the road and are headed home to country, where the sky is higher and the world goes on forever. It’s a long way from the wide streets and big old houses of Tash’s childhood, back when she was a black face in a very white suburb. Dad still thinks he’s the King of Cool, but he’s an old fella now. It’s time for Tash to take him home.
In 2018 WHICH WAY HOME toured nationally across six states and territories, bringing this warm, intimate, father-daughter story to the home towns and hearts of nearly 5,000 audience members.
Footscray Community Arts Centre Riverlinks Westside Altona Theatre The Bowery Theatre Latrobe Performing Arts Centre Esso BHP Billiton Entertainment Centre Forge Theatre & Arts Hub Capital Theatre Bunjil Place Theatre The Potato Shed Gasworks Arts Park Clocktower Centre The Lighthouse Mildura Arts Centre Centenary Hall Chaffey Theatre Nautilus Theatre Marion Cultural Centre The Arts Centre, Port Noarlunga Bunbury Entertainment Centre Albany Entertainment Centre Tuggeranong Arts Centre Orange Civic Playhouse Newcastle Civic Playhouse Seymour Centre Brisbane Powerhouse Tanks Arts CentreMaleny Community Centre
CREATIVE TEAMWriter Katie Beckett Director Rachael MazaPerformers Katie Beckett & Kamahi Djordon King Sound Designer Mark Coles Smith Set & Costume Designer Emily BarrieLighting Designer Niklas PajantiDramaturge Jane BodieProduction Manager Nick Glen & Jake Jobling Stage Manager Kellie Jayne Chambers
NATIONAL TOUR24 May 2018 – 18 August 2018Performances: 51Audiences: 4,948
The National Tour of WHICH WAY HOME was supported by the Victorian Government through Regional Arts Victoria and Creative Victoria and by the Australian Government through Australia Council for the Arts, Playing Australia, Regional Performing Arts Touring Fund.
W H I C H W A Y H O M E
Y A R N I N G W I T H T H E W O R L D
MY URRWAI Photo: David Charles Collins
Ghenoa Gela – little sister, daughter, granddaughter, comic, teacher, fighter, gold medallist, air guitarist, charmer, TV star, Torres Strait mainlander, walking political statement – has made a show.
This is your invitation into the complex political, social, colonial and cultural expectations she navigates every day.
Ghenoa is a recipient of both the renowned Keir Choreographic Award and the Deadly Funny Melbourne International Comedy Festival Award. Laughter and deep reflection go hand in hand in this unique and intimate story told through movement and words.
MY URRWAI, supported by a stellar team including director Rachael Maza and dramaturge Kate Champion, is a revealing reflection on and celebration of cultural and familial inheritance and an unflinching comment on race relations in Australia.
Co-produced by Belvoir & Performing Lines in association with ILBIJERRI Theatre Company and Sydney Festival.
CREATIVE TEAMCreator/Performer Ghenoa GelaDirector Rachael MazaDramaturge & Movement Consultant Kate ChampionComposer Ania ReynoldsLighting Designer Niklas PajantiSet & Costume Designer Michael Hankin
BELVOIR | SYDNEY FESTIVAL19 January 2018 - 04 February 2018
M Y U R R W A I
“It’s not so much a coming of age story of a young woman, it’s more of a coming of age story of all of us
and how far we have to go in our understanding of the First Peoples. Ghenoa knows herself; it’s the rest of us as
a nation that have the growing up to do.” - On the Town
Y A R N I N G W I T H T H E W O R L D
VIRAL Photo: Tiffany Garvie
“The only thing that can keep hep C viral is us and how we view it. We need to overcome it, instead of using it as
a weapon of judgment and shame.” - Excerpt from script of VIRAL
L I S T E N I N G W I T H C O M M U N I T Y
Ally lives up in the flats. Things aren’t the best right now but she has big plans. She just wants a better life for her baby.
Ally is ready to make a life-changing decision. But does she have the strength to see it through? And is her community ready to support her?
If life wasn’t complicated enough, Ally is being filmed for an explosive new documentary. One thing’s for sure – things are about to go viral.
VIRAL was created and delivered through a holistic engagement process including community workshops and yarning circles and toured community centres, schools and prisons throughout Victoria and South Australia.
Commissioned by the Victorian Government as a health intervention, VIRAL is a highly topical theatre work that deals with the complexities and nuances that exist for First Nations communities when dealing with hep C.
CREATIVE TEAMWriter Maryanne SamDirector Kamarra Bell-WykesPerformers Laila Thaker, Jesse Butler & Blayne WelshChoreographer Carly SheppardSet & Sound Designer small soundCostume Designer Jacinta KeefeProducer Davey ThompsonProduction Coordinator Caleb ThaidayStage Manager Mary QuinsacaraCommunity Consultation Facilitators Shiralee Hood & Kamarra Bell-WykesFacilitation Consultation & Training Free Theatre
COMMUNITY TOUR10 Sep 2018 – 27 Sep 2018 Performances: 17 Audience: 820
Development of VIRAL and Performances of VIRAL within Victoria were supported by: Victorian Government through the Department of Human Services and Hepatitis Victoria, the Lord Mayor’s Charitable Foundation and City of Melbourne. Performances of VIRAL within South Australia were supported by: the Victorian Government through the Department of Human Services and by Aboriginal Health Council of South Australia, Hepatitis SA and the Lord Mayor’s Charitable Foundation.ILBIJERRI would like to thank community members from Bendigo and District Aboriginal Co-operative (BDAC), Star Health and Loddon Prison Precinct for their vital contribution to the development of this project.
V I R A L
TANDERRUM 2018 Photo: James Henry
S H A R I N G W I T H C O M M U N I T Y
TANDERRUM is a ceremony bringing together the Wurundjeri/ Woiwurrung, Boon Wurrung, Taungurung, Wadawurrung and Dja Dja Wurrung language groups of the Eastern Kulin Nation— a ceremony of celebration that reaches across Aboriginal time.
This sacred ceremony had been hidden since European invasion, until six years ago the Eastern Kulin brought Tanderrum back to central Melbourne to open the Festival. Since then this cross-cultural moment has become an essential and living element of the Festival and a Welcome to Country for local and international artists and audiences.
ELDERSWurundjeri/Woiwurrung Aunty Di Kerr & Aunty Irene Morris
Boon Wurrung N’Arweet Carolyn Briggs & Aunty Fay Stewart-Muir
Taungurung Aunty Bernadette Franklin, Aunty Jacqui Stewart & Uncle Stephen Walsh
Wadawurrung Aunty Marlene Gilson, Aunty Judy Dalton-Walsh & Aunty Naomi Surtees
Dja Dja Wurrung Aunty Fay Carter & Uncle Tom Baksh
STEERING GROUPWurundjeri/Woiwurrung Aunty Di Kerr, Aunty Irene Morris & Mandy Nicholson
Boon Wurrung N’Arweet Carolyn Briggs
Taungurung Aunty Bernadette Franklin, Angela ten Burren, Uncle Mick Harding & Mark ten Buuren
Wadawurrung Tammy Gilson, Corrina Eccles & Barry Gilson
Dja Dja Wurrung Aunty Fay Carter, Wendy Berick & Kayla Baksh
LEAD SINGERS Wurundjeri/Woiwurrung Mandy Nicholson, Jacqui Wandin & Brooke Wandin
Boon Wurrung Jodie Seiuli & Bonnie O’Leary
Taungurung Uncle Mick Harding, Cory Harding Mitch Harding & Namarra Walsh
Wadawurrung Barry Gilson & Corrina Eccles
Dja Dja Wurrung Wendy Berick
MELBOURNE FESTIVAL3 October 2018Performances: 1 Participants: 193Audience: 3,500Livestream online audience: 5,500
TANDERRUM was presented by Melbourne International Arts Festival. TANDERRUM was supported by the Australian Government through the Indigenous Languages and Arts Program, as well as by Creative Victoria and City of Melbourne.
TANDERRUM was performed by five language groups of the Eastern Kulin Nations and directed by their Elders and the TANDERRUM Steering Group.
T A N D E R R U M
CREATIVE TEAMFinal Song Arrangement and Composition Dr Lou BennettNarrator Uncle Jack Charles Artistic Director Rachael Maza Producer Jermaine Beezley Production Manager Jake Jobling Assistant Production Manager Caleb Thaiday Stage Manager Brock Brocklesby
TANDERRUM 2018 Photo: James HenryHEART IS A WASTELAND DEVELOPMENT Photo: Neda Rahmani
N U R T U R I N G S T O R I E S
Following the success of a sold out 2017 Malthouse season, ILBIJERRI’s reimagined production of John Harvey’s epic love story will be directed by leader in First Nations theatre, Rachael Maza, with original songs by soulful songwriter Lydia Fairhall. This production of HEART IS A WASTELAND will build on all of the elements so deeply loved in its first iteration – the ability of the writer to show humanity as it is, engaging with universal themes of love and connection, without dismissing the essence of characters that are inherently and undeniably First Nations.
CREATIVE DEVELOPMENTSeptember – December 2018
H E A R T I S A W A S T E L A N D
CREATIVE TEAMWriter John Harvey Director Rachael Maza Dramaturg Mark PritchardSong Writer/Composer Lydia Fairhall
I N D E V E L O P M E N T I N D E V E L O P M E N T
A night of hilarious tragedy that only a killer humour can survive.
On the anniversary of their mother’s death, three estranged siblings – Kel, Cyn and Ray – are reunited to once and for all put their demons to rest. What ensues is a night of tragic comedy, where no one is quite sure who-done-it or who’s been done.
WHOSE GONNA LOVE ‘EM? explores the experiences of a First Nations Australian family, framed by legacies of intergenerational trauma, ongoing cycles of dysfunction and against-the-odds resilience. WHOSE GONNA LOVE ‘EM? searches for answers in the grey area of the crime scene where Blak and White Australia meet.
Developed through an innovative First Nations practice of devising and site-specific creation, and accompanied by an original score, WHOSE GONNA LOVE ‘EM? merges text, ritual and movement to deliver a unique hybrid language of Australia’s contemporary First Nations diaspora and experience.
This creative development was supported by City of Melbourne, Arts House and the Australian Government through the Indigenous Languages and Arts Program.
This creative development was co-produced by ILBIJERRI Theatre Company and Brown Cabs.
CREATIVE DEVELOPMENTFebruary – December 2018
W H O S E G O N N A L O V E ‘ E M ?
CREATIVE TEAMWriter Kamarra Bell-WykesDramaturge Melodie Reynolds Dramaturge Alexis West
BLACK TIES CREATIVE DEVELOPMENT Photo: Julie Zhu
This Creative Development was a partnership with Te Rēhia Theatre and was supported by AsiaTOPA, Arts Centre Melbourne and the Australian Government through the Department of Communication and the Arts’ Catalyst Australian Arts and Culture Fund.
BLACK TIES is a collaboration between ILBIJERRI Theatre Company and Te Rēhia Theatre.
CREATIVE DEVELOPMENTOctober – December 2018
B L A C K T I E S
CREATIVE TEAMCo-Writers Albert Belz, John Harvey, Kamarra Bell-Wykes & Tainui TukiwahoCo-Directors Rachael Maza & Tainui TukiwahoProducers Nina Bonacci, Amber Curreen & Laila Thaker
I N D E V E L O P M E N T
Two families, two cultures... Too much!
When Māori corporate hotshot Hera and Aboriginal consultancy entrepreneur Bila locked eyes at a Cultural Awareness session, it was love at first sight. Ambitious, career focused and driven by their need for control, Bila and Hera have their perfect future all mapped out. But there is one thing they can’t control – their families…
Relatives are arriving from both sides of the ditch for the wedding and reality is sinking in – and sinking fast. Will this international love story bring two strong cultures together? Or will it divide their families and countries and blow Hera and Bila’s world apart?
N U R T U R I N G S T O R I E S
TANDERRUM 2018 Photo: James HenryPhoto: Cultural permission from N’Arweet Carolyn Briggs. Pictured: Louisa Briggs and child
This concept development is supported by the Victorian Government Through Creative Victoria: Creative States Commission.
B A G U R R K
T H E C R A B A N D T H E M A N G R O V E T R E E
( W O R K I N G T I T L E )
CREATIVE AND CULTURAL TEAMN’Arweet Carolyn Briggs, Caroline Martin, Rachael Maza, Lydia Fairhall & Kamarra Bell-Wykes
CREATIVE TEAMStory Facilitator John HarveyDirector Rachael MazaProducers Nancy Bamaga & Lydia Fairhall
Bagurrk is a major scale theatre production that uses one family’s story to illuminate lived experiences that are shared by First Nations people internationally. The story follows the matriarchal line of Boon Wurrung woman Louisa Briggs, merging the stories of her ancestors and decedents into a multi-generational women’s story of resilience that will contribute to contemporary conversations around colonisation, #MeToo and #BlackLivesMatter. First Nations women have always been leaders and trailblazers, fighting for justice and empowering their communities. Their stories of power and resilience are only now starting to be properly recognised in public discourse. Through national and international touring, Bagurrk will connect First Nations people across the globe, encouraging them to share stories of matriarchal resistance from their own families and communities.
ILBIJERRI Theatre Company is partnering with Brisbane-based Saibai Island Akas (Grandmothers), Black Drum Productions and Queensland Performing Arts Centre to create a new Torres Strait Islander children’s work. This show will speak about a young person living in the city and their connection back to their Homelands as shared through the stories from their Aka (Grandmother). Incorporating the Kala Kawa Ya language of Saibai Island, along with English, The Crab and The Mangrove Tree draws on traditional and contemporary stories and choral singing to create an immersive and interactive theatrical story space for children.
I N D E V E L O P M E N T
N U R T U R I N G S T O R I E S
TANDERRUM 2018 Photo: James HenryBABOOP-AL MOONDANI Photo: Tiffany Garvie
N U R T U R I N G V O I C E S
BABOOP-AL MOONDANI (Mothers Embrace) was a three-month long program of performing arts workshops that honoured First Nations artists who are also mothers. Monica McDonald, Elaine Crombie, Nazaree Dickerson and Eva Grace Mullaly were supported to write and develop their skills as theatre makers and had their work showcased with a reading and panel discussion held at the Northcote Town Hall on 31 July 2018. Two of the mothers supported in this program, Monica McDonald and Nazaree Dickerson, have subsequently been supported to further develop their work through the ILBIJERRI BlackWrights Creators Program.
BABOOP-AL MOONDANI was supported by City of Darebin.
B A B O O P - A L M O O N D A N I
( M O T H E R S E M B R A C E )
BLACKWRIGHTS is an artist development program aimed at bringing new First Nations work to the stages of Australia. The program, initiated in 2018, creates a culturally safe and nurturing space that empowers First Nations artists to share our stories through theatre. BLACKWRIGHTS consists of two program streams - the Creators Program and our Master Labs series.
This program was supported by the Australian Government through the Indigenous Languages and Arts Program and City of Melbourne.
CREATORS PROGRAMThe BLACKWRIGHTS Creators Program is a paid opportunity for First Nations artists to develop new work with intensive support from ILBIJERRI over a twelve-month period.
BLACKWRIGHTS MASTER LABSThe BLACKWRIGHTS Master Labs are a series of hands-on theatre workshops for First Nations artists and creatives. Master Labs in 2018 were facilitated by Richard Barber and Pongit Saphakhun of Free Theatre Melbourne and Dramaturge extraordinaire Louise Gough.
B L A C K W R I G H T S
P R O F E S S I O N A L D E V E L O P M E N T P R O G R A M S F O R F I R S T N A T I O N S A R T I S T S
TANDERRUM 2018 Photo: James HenryLIYAN Photo: Melbourne Fringe 2018, Duncan Jacob
N U R T U R I N G V O I C E S
Co-produced by ILBIJERRI Theatre Company and Melbourne Fringe Festival.
Deadly Fringe unearths and nurtures brand new works by First Nations artists. In its second year (2018), Deadly Fringe featured new work from three outstanding First Nations artists: Declan Furber Gillick (Arrernte), Sandy Greenwood (Gumbaynggrir, Dunghutti and Bundjalung) and Sermsah Bin Saad (Nyikina) supported by two deadly First Nations producers: Caleena Sansbury (Narrunga, Ngarrindjeri and Kaurna) and Laila Thaker (Badulaig, Meriam Mir).
D E A D L Y F R I N G E
LIYANCreator and Performer Sermsah Bin Saad
In association with Theatre Research Institute
What is your next destination and how are you going to get there? What will guide you?
This performance explored the idea of following the stars – through the medium of dance, theatre, song and poetry – and is about the trials and tribulations of getting lost and finding yourself.
We as Aboriginal people have followed the stars for 100,000 years but today most people rely on a GPS. We get lost when the system breaks down and as humans we forget to trust our own natural navigation instincts and knowledge from the system that has always been embedded in our bodies.
MATRIARCHWriter and Performer Sandy Greenwood
Director Oliver V. Cowley
Matriarch is a dynamic one woman show that illuminates the strength and resilience of four generations of Gumbaynggirr women from the 1940s to the present day. Indigenous actress, Sandy Greenwood, weaves a compelling story that explores cultural identity, the intergenerational effects of the Stolen Generation and what it means to be a fair-skinned black woman in modern Australia.
BIGHOUSE DREAMING Writer and Performer Declan Furber Gillick
Director Mark Wilson
Mr. Anand – has your client spent what could reasonably be called a significant portion of any one week of the last two years at school? Or is it the case that your client attends school when he feels like it, to utilise the free lunch service when none of his so-called family will house, feed or clothe him?
RACE. CLASS. SEX. DRUGS. VIOLENCE. INCARCERATION. POVERTY.
THE PSYCHIC MAELSTROM OF COLONISATION.
Also presented as part of Critical Mass.
P R O F E S S I O N A L D E V E L O P M E N T P R O G R A M S F O R F I R S T N A T I O N S A R T I S T S
TANDERRUM 2018 Photo: James HenryILBIJERRI ENSEMBLE Photo: Darren Gill
N U R T U R I N G V O I C E S
P R O F E S S I O N A L D E V E L O P M E N T P R O G R A M S F O R F I R S T N A T I O N S A R T I S T S
The ILBIJERRI Ensemble, initiated in 2018, is a program of participatory theatre workshops open to First Nations young and emerging artists in metropolitan Melbourne. Based at the Arts Centre Melbourne and delivered by ILBIJERRI Theatre Company, the program created opportunities for participants to learn a range of performance and theatre skills whilst connecting with their peers and building self-confidence. The workshops culminated in a showcase performance at The Channel, Arts Centre Melbourne.
This program was supported by Helen Macpherson Smith Trust, Annamila Foundation, Arts Centre Melbourne and the Lord Mayor’s Charitable Foundation.
I L B I J E R R I E N S E M B L E
G R O W I N G U N D E R S T A N D I N G
A R T S I N E D U C A T I O N
In 2018 ILBIJERRI’s long running MARGUK program delivered educational resources to accompany the VCE Playlist-listed WHICH WAY HOME national tour, as well as educational resources tailored to international school students watching JACK CHARLES V THE CROWN at Auckland Festival and Australia Now Festival in Japan. Workshops were delivered in response to demand in Cairns, Canberra, Geelong and Melbourne.
ILBIJERRI creatives also continued to deliver a range of advocacy in the First Nations Arts in Education space, including guest lectures at VCA and working closely with Monash University Drama Unit and Drama Victoria on a Protocols Document to inform delivery of First Nations cultural content by drama teachers in high schools.
MARGUK was supported by Gandel Philanthropy and the Lord Mayor’s Charitable Foundation.
M A R G U K
TANDERRUM 2018 Photo: James HenryBLACKWRIGHTS DRAMATURGY MASTER LAB Photo: Tiffany Garvie
EXECUTIVE LEADERSHIP PROGRAMAt the core of ILBIJERRI’s mandate is to mentor and develop the next generation of First Nations artists and arts administrators who can then take up leadership positions across the sector. This is an exciting and unique opportunity for First Nations emerging producers wishing to progress their career and leadership skills to the next level.
Included is a structured professional development program where two Associate Producers have received:
1. A paid opportunity to work over an extended period under the guidance of leading producers with outstanding skills and relationships.
2. Fully-paid fees to complete Company Institute of Directors Course.
3. Attendance at key national and international markets.
4. One-on-one external mentoring tailored to individual professional needs.
5. Participation in five skills labs and workshops in arts law, networking, Excel, financial management, grant writing and management.
This program is supported by Ian Potter Foundation and the Victorian Government through Creative Victoria.
S T R E N G T H E N I N G S E L F - D E T E R M I N A T I O N
ELDERS IN RESIDENCE PROGRAM In 2018 ILBIJERRI began our inaugural Elders in Residence program. Our Elders, N’Arweet Carolyn Briggs and Uncle Larry Walsh, contribute to ILBIJERRI’s strategic, artistic and cultural direction, with a particular focus on nurturing future generations.
GLOBAL FIRST NATIONS RELATIONSHIPSIn 2018 ILBIJERRI maintained and strengthened its connection, relationships and strategic activity within a global First Nations context including:
1. Attending First Nations dialogues at APAM, Kia Mou and First Nations Dialogues in New York City.
2. Commencing an international First Nations to First Nations collaboration with Te Rēhia Theatre, on the work BLACK TIES.
Attendance at CINARS in Montreal, ISPA and First Nations Dialogues in New York was supported by the Australian Government through Australia Council for the Arts. Attendance at APAM in Brisbane was supported by the Australian Government through Australia Council for the Arts as well as the Victorian Government through Creative Victoria.
TANDERRUM 2018 Photo: James HenryTANDERRUM 2018 Photo: James Henry
F I N A N C I A L S
INCOME &EXPENDITURESTATEMENT
STATEMENTOF FINANCIALPOSITION
INCOMEEvent IncomePhilanthropy & DonationsOther IncomeGovernment GrantsFunds Received & TransferredTOTAL INCOME
EXPENSESSalaries, Wages & FeesPresentation & TouringOther ProgramsMarketingInfrastructure CostsTOTAL EXPENSES
NET SURPLUS
CURRENT ASSETSCash & Cash EquivalentsTrade & Other ReceivablesOther Current AssetsTOTAL CURRENT ASSETS
TOTAL NON-CURRENT ASSETSTOTAL ASSETS
CURRENT LIABILITIESTrade & Other PayablesShort-Term Provisions PayableIncome in AdvanceTOTAL CURRENT LIABILITIES
TOTAL NON-CURRENT LIABILITIESTOTAL LIABILITIES
NET ASSETS
EQUITYRetained EarningsCurrent EarningsTOTAL EQUITY
2018$
456,95063,94817,828
1,114,2850
1,653,011
1,095,605232,530131,44861,835
125,8511,647,269
5,742
2018$
1,927,408437,099
38,5122,403,019
02,403,019
44,859202,717
1,866,3392,113,915
02,113,915
289,104
283,3625,742
289,104
2017$
570,86284,33040,149
964,21640,000
1,699,557
1,156,962312,92767,90942,446110,003
1,690,247
9,310
2017$
1,003,427111,77020,995
1,136,192
01,136,192
67,35577,475
708,000852,830
0852,830
283,362
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TANDERRUM 2018 Photo: James Henry
B O A R D & S T A F F
N’Arweet Carolyn Briggs Uncle Larry Walsh
President Gavin Somers
Secretary Kareena Gay
Treasurer Tony McCartney
Director Erica McCalman
Director Eugenia Flynn
Director Glenn Shea
Director Lisa Maza
Artistic Director/Co-CEO Rachael Maza
Executive Producer/Co-CEO Lydia Fairhall
General Manager Kathy Morrison
Creative Director Kamarra Bell-Wykes
Senior Producer Nina Bonacci
Associate Producers Daniel Riley, Davey Thompson, Emily Butcher & Laila Thaker
Production Coordinator Caleb Thaiday
Business and Development Manager Iain Finlayson
Marketing Manager Kendra Keller
Finance Manager Jon Hawkes
We would like to thank all members of the 2018 ILBIJERRI team including Fred Chuang (Marketing Coordinator), Jermaine Beezley (Associate Producer), Lisa Parris (Producer)
and Lea Rumwaropen (Office Assistant), as well as the many artists, community members and contractors with whom we have worked closely.
E L D E R S I N R E S I D E N C E
B O A R D O F D I R E C T O R S
S T A F F
Graphic Design Tom William Francis Cover Photo Bindi Cole
2 0 1 8 A N N U A L R E P O R T
BLACKWRIGHTS CREATION AND ACTIVATION MASTER LAB Photo: Tiffany Garvie
MELBOURNE IS A CREATIVE CITYThe City of Melbourne proudly supports major and emerging arts organisations through our 2018–20 Triennial Arts Grants Program
African Music and Cultural Festival
Aphids
Arts Access Victoria
Australian Art Orchestra
Australian Centre for Contemporary Art
BLINDSIDE
Chamber Made
Circus Oz
Craft Victoria
Emerging Writers’ Festival
Human Rights Arts & Film Festival
ILBIJERRI Theatre Company
KINGS Artist-Run
Koorie Heritage Trust
La Mama
Liquid Architecture
Lucy Guerin Inc.
Malthouse Theatre
Melbourne Festival
Melbourne Fringe
Melbourne International Comedy Festival
Melbourne International Film Festival
Melbourne International Jazz Festival
Melbourne Queer Film Festival
Melbourne Symphony Orchestra
Melbourne Writers Festival
Multicultural Arts Victoria
Next Wave Festival
Polyglot Theatre
Speak Percussion
St Martins Youth Arts Centre
Victorian Youth Symphony Orchestra
West Space
The Wheeler Centre
Wild@Heart Community Arts
melbourne.vic.gov.au/triennialarts
P A R T N E R S & D O N O R S
K E Y P A R T N E R S
P R O J E C T P A R T N E R S
D O N O R S
Aboriginal Health Council of South Australia Annamila Foundation
Arts Centre MelbourneArts HouseAsiaTOPA
Australia Council for the Arts Australian Government, Department of
Communication and the Arts Australian Government, Department of
Foreign Affairs and TradeBelvoir
Brown CabsCity of Darebin
City of MelbourneCreative Victoria
Gandel PhilanthropyHelen Macpherson Smith Trust
Hepatitis SAHepatitis Victoria
Indigenous Languages & Arts ProgramLord Mayor’s Charitable Foundation
Melbourne International Arts FestivalMelbourne Fringe Festival
Performing LinesPlaying Australia
Regional Arts VictoriaSydney FestivalTe Rēhia Theatre
Victorian Government Victorian Government, Department of
Human ServicesYalukit Marnang
Patricia Cornelius Deb Dean
Wesley Enoch Bruce Fisher
S Fong
Christina Gebhardt Christine Kirkpatrick
Patrick McCarthy Marc Pearson Samara Pitt
Craig Semple Students of Trinity College,
University of Melbourne Cathy Truong
T +61 3 9329 9097
F +61 3 9329 9105
ilbijerri.com.au
facebook.com/ilbijerri
@ILBIJERRI
ILBIJERRI Theatre CompanyMeat Market
5 Blackwood Street
North Melbourne
VIC 3051
AUSTRALIA
