50 YEARS OF DEFINING CONTEMPORARY DANCE
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50 YEARS OF DEFINING CONTEMPORARY DANCE
“It’s not every year that a Sydney icon celebrates its golden jubilee, which is why it’s a big deal that Sydney Dance Company is turning 50.” Time Out Sydney ii 2019 Impact Report 2019 Impact Report 1
Contents
2019 at a glance 4
Chair’s Report 6
Executive Director’s Report 9
Artistic Director’s Report 10
The Company 13
The Dancers 14
On Stage 16
New Breed 24
On the Road 28
Our Reach 30
A Golden Year 32
Wharf Renewal 37
Training the Future 38
PPY19 Revealed 40
Our Community 42
Your Impact 46
Thank You 48
Our Performance 50
Sydney Dance Company 2019 52
Our Partners 54
2 2019 Impact Report
2019 at
On Stage
15 works, 73 performances, National tour International tour
and 38,632 total attendances, 6 Australian states and territories, 4 countries, 12 performances
10 world premieres 12 Australian towns and cities
a glance 47,918 km travelled by
land and air
82 days on the road 1,950 hotel and apartment nights
437 Airline tickets 24 Coaches and hire cars 17 Choreographic and music
227 Taxis commissions
Training the Future Revenue
12,324 7 School Matinees with
4,321 attendances
Number of young people 2,792 Students from NSW,
and teachers engaged including 1,510 from
across Australia Western Sydney
Our online community YouTube views
Instagram, Facebook, YouTube,
Weibo, WeChat, LinkedIn
66.66%
of total revenue self generated
197,644 559.7K Work provided for 154 people
73% artists and 27% administrators
In 2019 we held a total of 3,669 adult classes, with a
total of 78,247 dance class attendees. The total face to
face engagement was 128,239 people.
4 2019 Impact Report 2019 Impact Report 5
Chair’s Report
Mid way through 2019 I was humbled to take over the pandemic and the future of the performing arts, along
reins as Chair of Sydney Dance Company in our 50th with many other industries, will be significantly impacted.
anniversary year, having served on the Board since 2015 Sydney Dance Company is positioned to withstand the
and as Deputy Chair since 2018. My sincere thanks go headwinds of this challenge, but it will certainly bring
to my predecessor Karen Moses, for her outstanding additional pressures throughout 2020 and into 2021.
leadership over the seven years she served on the My sincere thanks go to the NSW Government
Board and with three of those as Chair. Her clearsighted for their ongoing support of Sydney Dance Company.
guidance and stewardship has helped position us for the We are enormously grateful for the investment they are
challenges in front of us. making in Walsh Bay and in furnishing the Company with
Sydney Dance Company’s 50th birthday year temporary premises in this once-in-a-generation period.
was a milestone both on and off the stage. It gave us a The Australian Federal Government continues
moment to pause and take stock. To reflect on what has to support Sydney Dance Company through the Australia
been achieved over that time and to focus on what the Council for the Arts and we thank them for that valuable
future looks like. We undertook that 2019 would be a year assistance. Government support of the arts is vital for
that marked not just a celebration of the past 50 years, the cultural life of Australia to flourish and Sydney Dance
but an establishment of the foundations of the next five Company is proud to be a flag bearer as we tour the
decades. As the company celebrated its artistic legacy world. I was thrilled to be able to join the company in
with a diverse program of new Australian work, we were Europe and see first-hand the extraordinary response
also busy with ongoing activity around the renewal of our the dancers received. Standing ovations and sold out
home at Walsh Bay. performances at every stop!
The revitalisation of the Walsh Bay Arts Sydney Dance Company exists as a company
Precinct will be a landmark turning point for the driven to create new work as well as increase access
Performing Arts in Sydney. As one of the original tenants to dance to the broadest possible range of people.
in the precinct – who helped the area come alive and be Our efforts in the areas of commissioning new work,
synonymous with theatre, dance and music – we know education, outreach and training would not be possible
that our future will be bright and expansive from our re- without the support of the donor family and corporate
imagined home there. partners who share the vision with us. Thank you. This
A great number of people have rallied behind ongoing support is essential to the sustainability of this
that vision for the future and I do want to thank them for company and is truly and warmly appreciated.
their leadership as over the course of 2019 we continued To Anne and Rafael, the talented management,
detailed work on the development, in lock step with the staff and dancers of Sydney Dance Company, we do
NSW Government; The Neilson Foundation, Simon and not exist without your dedication, tenacity and creativity.
Catriona Mordant, The Wales Family Foundation, Jane and Thanks to your collective contribution, truly in 2019 our
Andrew Clifford, Carla Zampatti and Julian and Lizanne art reached new heights of international acclaim and Sydney Dance Company
Knights. Each has made a significant contribution to excellence. It has been a journey over many years to Board Directors 2019
our Capital Campaign and along with many others, their achieve these outcomes and Anne and Rafael are a
collective support means we look to a future where our formidable combination. This is an arts organisation of
artists will create their work in fit for purpose and world which all Australians should rightly feel proud. Brett Clegg (Chair)
class facilities. To my fellow Board members, I extend my Pamela Bartlett
Sydney Dance Company had a busy year sincerest gratitude. We are fortunate to have such a David Baxby (appointed 12/8/19)
across 2019 with an extensive performance schedule as diverse and capable set of individuals around the table, all Jillian Broadbent AC
well as the far-reaching education and access activities of whom demonstrate great commitment and passion for Peter Brownie (resigned 03/6/19)
which traverse the nation. Our open dance class advancing the cause of Sydney Dance Company. As we David Friedlander (appointed 14/10/19)
programs continue to provide a valuable participation confront the impacts from Covid-19 on our organisation, Kiera Grant (resigned 02/12/19)
pathway for thousands of attendees. Despite operating in the alignment and capability among this group is a Mark Hassell
temporary premises at Ultimo, the team has continued to great asset. All of us are committed to seeing through Sandra McCullagh (appointed 12/8/19)
ensure that Sydney Dance Company remains accessible the current period of disruption and protecting what is Catriona Mordant AM
for as many people as possible. special about Sydney Dance Company – so we can come Karen Moses (Chair - resigned 12/8/19)
It was pleasing to end the year with a surplus through to the other side shining, and as hungry as ever Beau Neilson (resigned 29/4/19
of $825,139 which is comprised of an annual operational to make Australia and the world that much more vibrant, Paris Neilson (appointed 12/8/19)
surplus of $10,850 in addition to a surplus result for the providing inspiration to our audiences at a time when it is Emma-Jane Newton
Capital Campaign, noting the bulk of our outflows for that never more needed. Chrissy Sharp
project will take place in 2020. It is sobering to note that Carla Zampatti AC
these results are being posted during the global Covid-19 Brett Clegg, Chair
6 2019 Impact Report 2019 Impact Report 7
Executive Director’s
Report
It was a great pleasure to lead Sydney Dance Company It is exciting to watch the progress of works and we are
into its 50th Anniversary and to work so closely with looking forward to returning to expanded premises at
Rafael and the Board to deliver a program that both the end of 2020. Our sincere thanks go to our Capital
reflected on the past and looked to the future. Rafael’s Campaign donors and the NSW Government for their
vision for the year focused on Australian voices on shared investment in Sydney Dance Company’s future.
the stage and it was wonderful to see 10 incredible Our thanks also go to the Federal
new choreographic commissions brought to life Government for its support through the Australia
across the year. Council for the Arts, who in partnership with the
The company delivered 73 performances NSW Government, provide a base of support for the
to audiences across Australia and Europe. Featuring company which we were able to leverage and grow to
a diverse range of choreographic and composition ensure we could deliver the breadth of activity the year
voices, the program absolutely shone a spotlight on encompassed. In the current climate of the Covid-19
the contemporary dance landscape in Australia. Over pandemic, the importance of Government support for
the course of the year Sydney Dance Company directly the Arts has never been more keenly felt.
employed 154 people, and contracted many more, to There are many people who work tirelessly
create and deliver performances ranging in scale from a behind the scenes at Sydney Dance Company to bring
250 seat theatre at Sydney’s Carriageworks through to every performance to life, to greet each class attendee,
international stages in halls of 2,000 seats. The activities to sell each ticket. I thank each and every one of them;
for the year generated a total revenue of $11,965,879 their dedication is endlessly inspiring. Of course not
which resulted in a total surplus result of $825,139, all of the people who work so hard are on our staff –
noting Sydney Dance Company is actively fundraising to many are volunteers and their efforts are driven by an
support the Capital works of the Wharf renovation. altruistic agenda and love of the company – a big shout
In reflecting on what makes Sydney Dance out here to the Dance Noir committee, co-chaired by
Company special, I am very proud of the fact that the Peter Reeve and Pam Bartlett. They, and the whole
Company delivers not only exceptional performances committee, worked day and night to deliver an event
by the exquisite dancers of the company, but also fun, which was not only fabulous fun, but the was the most
educational and quality opportunities to learn and successful fundraising event Sydney Dance Company
participate in dance. Sydney Dance Company’s reach in has ever hosted.
these areas is an impressive facet of our activities and My sincere thanks to Karen Moses for her
really goes to the heart of our belief that dance is for leadership and guidance during her time as Chair of
everyone. Our programs reach out to students studying the Board – it was always much valued. Thanks also to
dance across the country and to young people with no Brett Clegg who succeeded Karen in the role of Chair,
prior dance experience, where often a Sydney Dance taking up the position in August 2019 after serving
Company performance is the first time these kids have as Deputy Chair. My thanks also to the Directors of
ever seen contemporary dance. the Board, past and present – each have played a
Sydney Dance Company also serves part in Sydney Dance Company’s success and in our
young people with professional aspirations through 50th Anniversary year it was a pleasure to reflect
our training programs including our youth ensemble, and celebrate with them. As we navigate through the
professional intensives and our accredited Pre- challenges of 2020, and plot our recovery for the future,
Professional program where elite young dancers can it is reassuring to have the skills and leadership of our
gain valuable studio experience and either a diploma current Board on hand.
or an advanced diploma. Last but not least a big thank you to Rafael
Our open class program continued to deliver Bonachela and the dancers of the company – together
wonderful participation experiences to thousands of you create a world on stage for us to lose ourselves in
people across 2019. With attendances of over 80,000 each night in the theatre. That joy is sadly missed as
across our adult short courses, open classes and our we move through this strangest of times, waiting for the
school holiday programs, Sydney Dance Company is theatres to be full once more with audiences, together
very much a part of many people’s dance life. We thank in that shared experience, and artists to be on our
each audience member and dance class participant stages once again.
who has chosen to spend time with us.
Across 2019, our first full year located off the Anne Dunn, Executive Director
Wharf, all our rehearsals and in-studios programs took
place in our temporary home in our Wattle Street studios,
as work continued on the Walsh Bay Arts Precinct.
8 2019 Impact Report 2019 Impact Report 9
Artistic Director’s
Report
Looking back on 2019, our 50th anniversary and a performances in my home town, Barcelona. As any artist
remarkable year of celebration, it was my privilege to will attest, presenting work to family is a thrill and a true
curate a year of dance that reflected the past, celebrated privilege! I was also honoured that a duet from my work,
the present and looked to the future. As a contemporary ab[intra] was featured in the 350th anniversary gala of
company it was important to me that our community the Paris Opera Ballet in the Palais Garnier in September.
could both enjoy reflection and look to what lies ahead. Dancers Davide Di Giovanni and Charmene Yap
In celebration of this monumental year, it was accompanied me to Paris to teach the work to two Étoiles
important to me to commission a range of Australian of the Opera Ballet; an incredible experience.
voices in homage to the extraordinary investment that I was delighted that in July, 2018 guest
Sydney Dance Company has made in the cultural choreographer, Antony Hamilton was awarded the
landscape over five decades, and as a reflection of Helpmann Award for Best Choreography in a Ballet, Dance
contemporary dance in Australia today. 10 new works or Physical Theatre Production for his work Forever & Ever
were commissioned this year. for Sydney Dance Company, a fitting honour for such a
The first season saw Gabrielle Nankivell striking piece from our 2018 season.
and Melanie Lane present Neon Aether and WOOF, At the heart of everything that is Sydney Dance
respectively. Nankivell has worked with us over several Company is the dancers and I am proud of them all. All
years, most recently with Helpmann Award-nominated at the top of their game, they rose to numerous creative
Wildebeest. Neon Aether transported audiences to an challenges and exceeded my expectations. I particularly
ethereal dystopian world. Lane first brought WOOF to want to acknowledge the multi award-winning Charmene
New Breed in 2017. Leaving a lasting impression on the Yap, who stepped down from full-time performance in
audience, it was magnificent to see the work return to the 2019 after 10 years, taking up the newly created role of
stage and to tour across Australia. Rehearsal Associate, where her expertise is now directed
In the second season, Gideon Obarzanek’s Us to support the dancers. I also want to pay tribute to
50 brought together many elements of the essence of this Juliette Barton who returned to the stage this year after
Company. Obarzanek danced with the Company in the the birth of her first child. I concur with The Australian,
1990s and founded Chunky Move. His creative imperative which noted “Longstanding company member Juliette
for this piece truly touched me; dance lives in the bodies Barton has returned from maternity leave looking even
of the dancers and the minds of the audience. Us 50 more striking than before, if that were possible.”
explored how dance is communicated: 10 incredible I want to sincerely thank to all those whose
alumni dancers from the last five decades returned to creativity, passion and talent have brought Sydney
the stage to perform with the current Company and Dance Company to where it is now. To former Artistic
25 audience members each night. An incredible and Directors Suzanne Musitz, Jaap Flier, Tanja Liedtke,
emotional spectacle. Graeme Murphy AO and Janet Vernon AM for their
2019 saw two of my own works staged; a new vision and stewardship of the Company across the years;
creation, Cinco in Season One and 6 Breaths in Season to the donors and supporters of the Company whose
Two. 6 Breaths, a collaboration with composer the late investment in my creative vision is so greatly appreciated;
Ezio Bosso, was one of my first works for Sydney Dance to the generations of dancers and audiences; to both
Company when I was privileged to take up the position outgoing Chair Karen Moses, Chair Brett Clegg and
of Artistic Director 10 years ago, another milestone to the Board of Sydney Dance Company, whose support,
celebrate in 2019. It was a delight to work on Cinco with counsel and guidance I value enormously; and to Anne
regular collaborator Damien Cooper and the talented Dunn, Executive Director, and the staff of Sydney Dance
Australian fashion designer Bianca Spender. Company, whose collective drive and passion for the
The sixth edition of New Breed in December success of this organisation is unparalleled. It is an honour
saw outstanding new works from independent to work with you all.
choreographers Josh Mu, Lauren Langlois and our As I write this in the midst of the Covid-19 crisis,
dancers Davide Di Giovanni and Ariella Casu. The in what is a changed world, our Studios are closed, our
passionate support of The Balnaves Foundation and the performances postponed and our future is still uncertain.
partnership of Carriageworks continue to make this vital However, after five decades of exemplifying contemporary
program possible, for which I am very grateful. dance in Australia, I am confident that whatever the future
Touring is part of Sydney Dance Company’s holds for us all, Sydney Dance Company will continue
DNA. Having the opportunity to share our work with to play an essential role in the cultural life and creative
audiences across Australia and the globe is exhilarating. As expression of the nation for decades to come.
well as an extensive Australian tour this year, a European
tour to Austria, Poland, Finland and Spain concluded with Rafael Bonachela, Artistic DIrector
10 2019 Impact Report 2019 Impact Report 11
The Company
Australia’s leading contemporary dance company, Sydney to lead it for a remarkable 30 years. Murphy and his
Dance Company presents new works in Sydney, around collaborators created work that enthralled audiences
Australia and internationally, under the Artistic Direction in Australia and in extensive international touring. The
of Rafael Bonachela and the Executive leadership of Company moved into The Wharf, its Walsh Bay home, in
Anne Dunn. Over the last five decades, Sydney Dance 1986 and will return to this iconic building in 2021, on the
Company has forged a unique path in Australian dance. completion of extensive re-development and renovation.
Hundreds of thousands of people across the country and After the tragic death of incumbent Artistic
around the world have experienced the joy of watching Director Tanja Liedtke in 2007, Rafael Bonachela took on
exceptional dancers perform. the Artistic Directorship in 2009 and this year celebrated
2019 was Sydney Dance Company’s 50th his 10th year with the Company. Under Bonachela’s
anniversary: five decades of defining contemporary dance direction, the Company continues to build a rich
in Australia. Rising from a schools touring ensemble Ballet repertoire of outstanding dance, foster the Australian
in a Nutshell, The Dance Company (NSW) was founded choreographic talent of the future, and offer world-class
in 1969 by dancer Suzanne Musitz. From 1975-76 the tertiary-level training to young dancers. An ensemble of
Company was directed by Dutch choreographer Jaap 16 full-time dancers and one trainee share studio space
Flier, before the appointment of Australian choreographer in Sydney’s Ultimo with 25 Pre-Professional Year student
Graeme Murphy AO in 1976. In 1979 Murphy and his dancers, school and holiday workshop participants, and
partner Janet Vernon AM instituted the defining name almost 80,000 annual public dance class attendees.
change to Sydney Dance Company and proceeded
12 2019 Impact Report 2019 Impact Report 13
The Dancers
From a Dancer’s Perspective
I have been a dancer with Sydney Dance Company for the past whilst fully aware it was happening right there
almost twelve years now, and that is a statement I make in the present. It prompted me to think that although
with a genuine sense of pride. In 2019, Sydney Dance the body might change with time, become less agile
Company celebrated its 50th Anniversary and for me or mobile, the artistry within every performer, within
personally it was a moment to reflect on all that Sydney every dancer who has shared their gift with Sydney
Dance Company has meant to me. Dance Company’s audiences, lives on with vigour and
In early 2018 I fell pregnant and was vitality; and that is something to be remembered and
redeployed to the administrative team in order to celebrated. As I look back on my career with Sydney
ensure my safety during that time. One of my jobs was Dance Company, which spans just one fifth of its
researching and gathering information about the last glorious life-time, I feel humbled, grateful and proud to
50 years of Sydney Dance Company in preparation for belong here.
the 50th Anniversary year. As I set about this task, I saw
myself within the broader context of all that Sydney Juliette Barton, Company Dancer
Dance Company has been and I was overwhelmed with
gratitude to be a part of this community. A community
of artists, dancers, choreographers, composers and
leaders who have across the decades, given the best
parts of themselves to this company, fuelled by ambition,
dedication, loyalty and a hunger for excellence; a
community that has inspired future artists and ignited
the imagination of their audience for 50 years.
This sense of gratitude really stuck with
me, so when I was given the opportunity to return from
maternity leave to a season in which I would share the
stage with 10 Sydney Dance Company alumni, 16 current
company dancers and 25 audience members, I jumped
at the chance. In September 2019, the returning alumni
and current company dancers convened in the studio
with choreographer and fellow Sydney Dance Company
alum Gideon Obarzanek to commence rehearsals for Us Dancers 2019, from top left
50. The camaraderie and mutual respect between old
and new was instant. Some of the alumni I had crossed
paths with already, such as Bradley Chatfield, who was in
his last of 18 years with the company the first year that I Juliette Barton Luke Hayward
joined, and some of them I had never met, however I felt
a sense of awe at being given the opportunity to create Alex Borg (Trainee) Dimitri Kleioris
and perform with these dancers. Together we were only a
small representation of the hundreds of dancers that have Ariella Casu Chloe Leong
graced stages with Sydney Dance Company over the
decades, but nevertheless it was a nod to the rich history Davide Di Giovanni Jesse Scales
of artistry and experience and an acknowledgement of
the value in it all. Holly Doyle Emily Seymour
In one of the early days of rehearsal we were
set a task to pair up two current company with one Janessa Dufty Mia Thompson
Sydney Dance Company alumni, then instructed to
create a dance sequence that was a ‘feel good groove’. Dean Elliot Charmene Yap
Current company then extrapolated that into a bigger
dance phrase, to be danced alongside the alumni Riley Fitzgerald Chloe Young
performing their ‘groove’. For me this was a highlight
of the whole experience, as we watched each group Jacopo Grabar Victor Zarallo
perform their little creation. The room was alive with
artistry, and I felt like I was granted special passage into Liam Green
14 2019 Impact Report 2019 Impact Report 15
On Stage Cinco
Choreography
Music
Rafael Bonachela
Alberto Ginastera,
String Quartet No.2 Op.26
Much of Bonachela’s oeuvre in his 10 years as Artistic
Director of Sydney Dance Company has explored and
played with numbers. Ginastera’s String Quartet No.2
Op.26, composed in five parts, presented a ready
name and approach for this new work in the Company’s
Recording by EnsŌ String Quartet 50th year.
Using five dancers, Bonachela explored the
Costume Designer Bianca Spender duality and opposition in the texture of the music. At
times melancholic and pensive and at others insistent
Lighting Designer Damien Cooper and urgent, the movement was paced to the emotive
states he encountered in listening to the work.
Cinco featured the design of long-term
String Quartet No.2 Op.26 by Alberto Ginastera is used Bonachela collaborator Damien Cooper and costume by
by permission of Hal Leonard Australia, exclusive agents renowned Australian fashion designer Bianca Spender,
for Boosey & Hawkes Music Publishers Ltd of London. who brought her defined sensibility to the stage,
clothing the dancers in twists and falls to match their
Cinco was supported by Sydney Dance Company’s own physical grace.
Commissioning Fund.
“Unflinchingly speedy choreography…a dazzling technical
display of flexibility.” The Sydney Morning Herald
“Showcases the inimitable, mature, magisterial Bonachela-
God-given gift to ignite spine-tingling lyricism with brazen
strength.” Sydney Arts Guide
40 Performances
16 2019 Impact Report 2019 Impact Report 17Neon Aether WOOF
Choreographer Gabrielle Nankivell Choreographed by Gabrielle Nankivell, an Australian Choreographer Melanie Lane “A stunning, wildly inventive work” (Limelight), WOOF was
performer and director with formative ties to Europe, created in 2017 for New Breed, Sydney Dance Company’s
Composer Luke Smiles Neon Aether was an ode to the burning intangibles that Music Chris Clark annual showcase of the work of emerging and independent
fuel imagination. Informed by a somewhat nomadic choreographers. A crowd pleaser from its first performance,
Costume Designer Harriet Oxley existence, Nankivell’s work is concerned with notions of Costume Designer Aleisa Jelbart the 2019 iteration of WOOF generated variations of
impermanence; the territory of sensations that seem to collective actions performed by a group. Lane’s imagined
Lighting Designer Damien Cooper be in and of the air, the ethereal, the un-pin-downable, Lighting Designer Verity Hampson future stole from renaissance imagery, pop culture and
the just beyond our grasp. science fiction, and re-invented community.
Neon Aether nodded to the material of With the contagion of crowd mentality, the
madness, of stars and magnetism, of space exploration WOOF was originally commissioned for Sydney Dance dancers were possessed by spontaneity, ferocity,
and love, of desire and the infinite unknown. Nankivell Company’s New Breed season in 2017, which was made absurdity and also the ecstasy, romance and heroism
explained “This seemed to me a kind of future nostalgia possible by The Balnaves Foundation. of primitive beings. In dialogue with Clark’s bold musical
— like heartbeats in glass jars or fireworks in outer space score, WOOF relentlessly forged a duality of instability
— like being compelled to move inextricably into the and empowerment, and harnessed the fantasy of a post-
future with a Polaroid from 1974 strapped to your chest. human collective spirit.
Just like science fiction and space time, this felt like a
projection of possibility – like a rocket ascending while “Like watching a haute couture calendar shoot in slow
humanity holds its breath." motion…intelligent, stimulating choreography – both very
artistic and hugely enjoyable, and showcases the discipline
“Breathtaking contemporary dance…an almost hypnotic and professionalism of the SDC ensemble.” Bachtrack
experience… the sensation of peering into different
alchemy chambers, each illuminated by a different- “Witty and fresh.” The Sydney Morning Herald
coloured light, and catching brief glimpses of scientific
explorations into the mysteries of the universe.” Bachtrack “The WOOF choreography was inventive and often tinglingly
exciting.” The Daily Telegraph
“Compelling, fascinating and full of frontiering spirit.”
40 Performances The Daily Telegraph 40 Performances
18 2019 Impact Report 2019 Impact Report 196 Breaths Us 50
Choreographer Rafael Bonachela Premiered in Sydney in 2010, 6 Breaths was Bonachela’s Choreographer Gideon Obarzanek Choreographed by Sydney Dance Company alumni
second collaboration with Italian composer Ezio Bosso. and founding Artistic Director of Melbourne’s Chunky
Composer Ezio Bosso Inspired by the act of breath, the essential action for Assistant Choreographer Charmene Yap Move, Gideon Obarzanek’s Us 50 was a glorious and
life, 6 Breaths explores life, vitality and spirit translated heartfelt celebration of the power of movement. Inspired
Concept Rafael Bonachela & to dance, accompanied by Bosso’s six movements, Composer Chris Clark by the many hundreds of dancers who have graced
Ezio Bosso composed for six cellos and piano. the Company’s stage over the last five decades, Us 50
Since 6 Breaths was last seen in Sydney, the Costume Designer Harriet Oxley explored how making and performing dance is passed on
Video Artist Tim Richardson work has travelled to New York, London, Barcelona from one dancer to the other, and how the accumulation
and Germany. 6 Breaths was performed as part Lighting Designer Benjamin Cisterne of all the dancers’ individual styles have helped to shape
Costume Designer Josh Goot of the Venice Biennale Danza in Italy in 2010, the the Company’s identity.
first international invitation for the Company under Us 50 featured the return to the stage of 10
Lighting Designer Benjamin Cisterne Bonachela’s artistic directorship. Artistic Director’s Commissioning Partner: alumni dancers whose own personal histories represented
The 2019 iteration was presented in Sydney in The Naomi Milgrom Foundation five generations of significant contribution to the
November as a double-bill celebration of the Company’s Company’s body of work.
Sydney Dance Company thanks Rafael Bonachela for his 50th anniversary. We also thank the Naomi Milgrom Foundation for its Obarzanek brought 25 audience members to
generous support of the re-staging of 6 Breaths support of our Us 50 Education Program, enabling young the stage every night, directed live via earphones,
“6 Breaths …was danced thrillingly…particularly Riley people to access outstanding contemporary dance embodying how the history of an ephemeral art form
Fitzgerald and Dimitri Kleioris in the work’s central duet.” through performances and workshops with Sydney is passed on through the bodies of the dancers and
The Australian Dance Company. accumulated in the minds of the audience.
“Spellbinding combination of heart-stopping athleticism We would also like to thank Robert Albert AO and “An exhilarating, heart-warming piece that explores the
and riveting emotion.” Bachtrack Elizabeth Albert, Ian Galloway and Linda Treadwell, relationship between the dancers and the audience, and the
and Tony Jones for their support of the alumni joy that forms when a community gathers to share a piece
dancers featured in this work. of movement.” Limelight
10 Performances 10 Performances
20 2019 Impact Report 2019 Impact Report 21ab[intra]
Choreographer Rafael Bonachela Bonachela’s ab [intra], premiered in 2018 in Sydney
and toured Australia that year. An exploration of our
Original Music Nick Wales* primal instincts, impulses and visceral responses, it
takes audiences on a journey of intense emotion from
Lighting Design Damien Cooper tenderness to turmoil.
With music fusing a lush cello concerto with
Costume & Set Design David Fleischer ambient electronica, the dancers occupy a visually
arresting ethereal world.
ab [intra] enjoyed huge critical and audience
*Original compositions for ab [intra] by Nick Wales. acclaim on its premier and has become a touring
favourite for Sydney Dance Company. In 2019, it was
Additional Music from Klatbune by Peteris Vasks, with performed in St Pölten (Austria), Koupio Dance Festival
permission of Hal Leonard Australia Pty Ltd, exclusive (Finland), Łódź Ballet Festival (Poland) and at the Grec
agents for Schott Music Ltd of Mainz. Festival in Barcelona.
“ab [intra] ‘has to be seen to be believed’.
Don’t miss this electrifying journey showcasing
Australia’s best contemporary dancers.”
The Sydney Morning Herald
“A beautiful display of interconnected
athleticism…it’s a captivating journey” Daily Review
10 Performances
22 2019 Impact Report 2019 Impact Report 23New Breed New Breed
The sixth edition of New Breed in December saw Sydney “The program ends on a buzzing high; the world is on fire,
Dance Company conclude its 50th Anniversary program,
celebrating the best contemporary dance talent in
Australia. New Breed is an important incubator for the
but we still make art, and maybe that makes the art even
more urgent, even more beautiful.” Time Out
next generation of creative artists, and Sydney Dance “The showcase is creative, quirky, bold and, best of all,
Company takes great pride in fostering their development. experimental…the unique works are a testament to
Not only does New Breed provide an opportunity for the mentoring of the next generation of contemporary
dancers at Sydney Dance Company to explore their brilliance. It’s in good hands.” Bachtrack
choreographic ambition, it also gives two independent
Australian choreographers the stage to create and
present new work each year. This is only possible
with the visionary and long-standing support of
The Balnaves Foundation and the collaborative
partnership of Carriageworks.
The 2019 edition saw the four choreographers New Breed Principal Partner
explore a vastness of meaning from the joy of jazz music,
to the negotiation of our bodies in society, rehumanising
in a dehumanised world and the contemplation of
dystopian futures.
10 Performances
In Walked Bud Creeper
Choreographer Davide Di Giovanni Choreographer Lauren Langlois
Music In Walked Bud by Sound Designer Jason Wright
Thelonius Monk
Lighting Designer Alexander Berlage
Lighting Designer Alexander Berlage
Costume Designer Aleisa Jelbart
Costume Designer Guy Hastie
Arise Zero
Choreographer Ariella Casu Choreographer Josh Mu in collaboration
with dancers
Music Bab’ Azîz and Faces,
Armand Amar Composer Huey Benjamin
Composer Marco Cher-Gibard Lighting Designer Alexander Berlage
Dramaturg Bem Le Hunte Costume Designer Aleisa Jelbart
Lighting Designer Alexander Berlage
Costume Designer Aleisa Jelbart
24 2019 Impact Report 2019 Impact Report 25“Ensemble performance that opened a window on the infinite dynamic possibilities of the human body… the range and vibrancy of movement by the dancers was awe inspiring.” The Daily Telegraph 26 2019 Impact Report 2019 Impact Report 27
On the Road
Touring continues to play an integral role in the life of For the fifth year, the national touring off pretty fast and when it came to bows, the noise Barcelona also saw the Company joined by
Sydney Dance Company and 2019 was no exception. In program was enhanced by an extensive workshop emanating from the audience was amazing.” a number of donors and supporters from Australia and
addition to our three Sydney seasons, we shared our work program for young people, supported by the Thyne Sydney Dance Company is held in high across Europe, many of whom had made the journey
extensively across Australia and around the world, reaching Reid Foundation. This program sees teaching artists esteem as an international cultural leader and, as especially to see the performance. The Sydney Dance
31,302 people in Australia and 7,390 internationally. visit communities across Australia to deliver workshops an international representative of Australian arts, we Company family was honoured to be hosted by the
In 2019 the Bonachela / Nankivell / Lane to primary and secondary school students, in the run are delighted to be supported by the Department Australian Ambassador to Spain, who threw a post-
program which premiered in Sydney hit the road and up to the Company’s visit to the local theatre. In 2019, of Foreign Affairs and Trade (DFAT). 2019 saw an show reception on the opening night to celebrate all of
was performed in 11 Australian towns and cities, with 24 119 workshops were delivered to 2712 young people in extensive European summer festival tour, taking in St the Australian companies and artists performing in the
performances across five states and territories: Melbourne, regional Australia. Pölten, Austria; the Kuopio Dance Festival, Finland; Grec Festival.
Canberra, Adelaide, Darwin, Hobart, regional Nothern Łódź Ballet Festival, Poland; and the Grec Festival
Territory, regional Victoria and regional South Australia. “We are a regional school with a high level of Barcelona, Spain.
Executive Director Anne Dunn said of touring, disadvantage through unemployment, single It was an honour to be hosted by the
”As the country’s leading contemporary dance company, parent families, distance, drought affected, Australian Ambassadors in each location. In Finland,
we make it our mission to inspire and engage as many where the sun barely set, the Company was co-
people as possible through dance. We do this by bringing financial, refugee and indigenous. This hosted by the Australian Ambassador and the Finnish
our work to the smallest communities, regional centres opportunity was such an amazing experience. Australian Society, and guided through a sing-along
and all seven capital cities. We engage people of all We are still so amazed that you came all the of Bound for Botany Bay and I Am, You Are, We
ages with our work through performances, education way to Shepparton!!” Teacher, Shepparton Are Australian. Dancers of the Company and the
and outreach activities and professional development Ambassador sang together in good voice!
opportunities while on tour. It is also our responsibility For new Company dancer, Luke Hayward, The Ambassadors and delegates from the
to continuously evolve the artform, while extending our 2019’s Australian tour was a very special personal Embassies in Warsaw and in Vienna travelled to Łódź
reach and enabling more people to benefit from watching experience. “2019 was my first time touring with and St Pölten respectively for the performances and
and participating in it.” Sydney Dance Company and my favourite memory each hosted a post-show reception.
She continued, “We make a significant was performing for family and friends in Alice Springs. Barcelona was another family affair for
contribution to the Australian arts landscape through Many of them hadn’t seen me dance in 8 years! The Sydney Dance Company; as the home town of Artistic
the range of artists we commission and the new opening piece was Neon Aether by Gabrielle Nankivell, Director Rafael Bonachela, and dancer Victor Zarallo,
Australian works produced each year, by Rafael and which started with my solo. As soon as the lights came friends and family of both turned out in force. Victor
the next generation of dance makers. Our audiences on, dramatically revealing me onstage, everyone in the said “My parents told everyone they knew to come and
are always our most important collaborators. We want audience gasped and started whispering, “Oh it’s Luke!”, watch the show. I left home when I was 16 years old, so
them to come on the journey with us and we do this by “Is that Luke?”, “Is that the guy”, “Oh that’s the boy”, and having the opportunity to dance with my professional
conveying our message about dance while inspiring and “shhhhhh”! I went from feeling nervous, to sweaty feet company in my hometown, even if it was only once... it
challenging them.” and hands, and shaking. Thankfully, I shook the nerves was so worth it.”
28 2019 Impact Report 2019 Impact Report 29Our Reach
International
ab [intra]
Festspielehaus, St Pölten, Austria 7 June
Kuopio City Theatre Kuopio, Finland 12–13 June
Łodź Grand Theatre Łodź, Poland 18–19 June
Mercat de les Flors, Grec Festival Barcelona, Spain 2–4 July
Lux Tenebris
Kuopio Music Centre Kuopio, Finland 14–15 June
National
Season One: Bonachela / Nankivell / Lane
Roslyn Packer Theatre Walsh Bay Sydney, NSW 26 March–13 April
Canberra Theatre Centre Canberra, ACT 2–4 May
Arts Centre Melbourne Melbourne, VIC 8–11 May
West Gippsland Arts Centre Warragul, VIC 16 May
Frankston Arts Centre Frankston, VIC 18 May
The Capital BendigoVIC 22 May
Mildura Arts Centre Mildura, VIC 25 May
Darwin Entertainment Centre Darwin, NT 27 July
Araluen Arts Centre, Alice Springs, NT 31 July
Middleback Arts Centre Whyalla, SA 3 August
Adelaide Festival Centre Adelaide, SA 8–10 August
Theatre Royal Hobart, TAS 15–17 August
Season Two: Bonachela / Obarzanek
Roslyn Packer Theatre Walsh Bay Sydney, NSW 1–9 November
Season Three: New Breed
Carriageworks Sydney, NSW 28 Nov–7 Dec
PPY19 Revealed
Carriageworks Sydney, NSW 11–13 Dec
Poland Finland Sydney
2 performances, 1 work 4 performances, 2 works 39 performances, 13 works
Canberra
Austria 3 performances, 3 works
1 Performance, 1 Work Melbourne
6 performances, 3 works
Victoria
4 performances, 3 works
Northern Territory
2 performances, 3 works
South Australia
5 performances, 3 works
Spain Tasmania
3 performances 4 performances, 3 works
1 work
30 2019 Impact Report 2019 Impact Report 31A Golden Year
“A reminder of how audiences and arts dance. Ramon was one of the first people to be granted
a residency visa on compassionate grounds through the
companies are in a constant dialogue, but Gay Immigration Task Force when he moved to Australia
also the cultural phenomenon of dance from the Philippines in the 1980s.
extending beyond what we see on stage. It’s
central to our culture in ways we can’t fully “My inspiration is the people – all the students
understand.” Time Out Sydney who come to our classes, the Company dancers,
the creative team, the administrative team and
For a contemporary dance company to reach the
milestone of 50 years is a major achievement; Sydney the people who support us. They are all included
Dance Company has existed almost as long as the in the float. It’s been so rewarding to see them all
artform itself, and has defined contemporary dance in dancing together and of course, to celebrate the
Australia since its inception. Turning the big 5-Oh saw a 50th Anniversary of the Company by wearing
series of special events in celebration. gold! My idea of fun is dancing, inclusion, diversity
In February, the Company was deeply
honoured to be hosted by the Governor-General, and team work.” Ramon Doringo
His Excellency General Sir Peter Cosgrove and Lady
Cosgrove at Admiralty House at a reception for 90 guests. A specially commissioned project, 50 Years, 50 Memories
On a late-summer evening, Sydney Dance was posted weekly on the Sydney Dance Company
Company founder Suzanne Davidson (nee Musitz), website across the year, and widely shared on social
former Artistic Director Graeme Murphy AO and his media. A series of moments and milestones across
creative associate Janet Vernon AM, members of the years was captured and the posts jogged many
government, current and former Board Directors, memories for alumni, our community and audience
and Sydney Dance Company staff gathered with the members alike. It was delightful to hear personal stories
Governor-General and Lady Cosgrove to enjoy a cocktail from so many people.
reception and an elegant evening of celebration, a fitting The choreographic year, celebrating the future
tribute to the esteem in which the Company has been of dance in Australia, culminated with the second season
held over its illustrious history. in Sydney. A double bill featured Rafael Bonachela’s early
In recognition of the Company’s long-held work for Sydney Dance Company, 6 Breaths and Us 50,
commitment to inclusion and diversity, a float bedecked an unique, once-in-a-lifetime work, choreographed by
in gold glitter was built for the Company’s first ever former Company dancer Gideon Obarzanek and paying
appearance in the annual Sydney Gay and Lesbian tribute to the ephemeral way in which we experience and
Mardi Gras Parade. Company dancers, staff, donors, pass down contemporary dance.
board members and studio class participants donned
gold lame shorts, picked up their pom-poms and “The history of Sydney Dance Company is
marched down Oxford Street. A sight to treasure, with embedded in the dancers’ bodies and the
one truck, one drag-queen, two go-go dancers, and
80 dancers, Sydney Dance Company won the award memories of audiences...the real detail and
for Best Choreography, curated by the incomparable nuance of dance works – the movement, the
Ramon Doringo, Dance Class Manager of Sydney style – has always been passed from one
Dance Company studios for the past three decades! dancer to another.” Gideon Obarzanek
Ramon’s inspiration for the 2019 Mardi Gras Parade
choreography was a celebration of diversity through
32 2019 Impact Report 2019 Impact Report 33Obarzanek explored this concept through a grand was the first time see contemporary dance live and it
scale work which featured 10 alumni dancers who was wonderful to see the growth in their understanding
returned to the stage, some after many decades. of dance.” And as a student said “Loved it! Can we go
From the cohorts of the 1970s, 80s, 90s, and 2000s, again next year?”
and ranging in age from 44–64, Bradley Chatfield, Sydney Dance Company commissioned
Kathryn Dunn, Lea Francis, Kip Gamblin, Stefan a celebratory film, documenting the Company’s on-
Karlson, Wakako Asano, Bill Pengelly, Linda Ridgeway stage history, which was screened at the top of each
Gamblin, Nina Veretennikova and Sheree Zellner performance during Season Two. Created from footage
returned to the rigours of the rehearsal studio and shot over the decades by Pedro Greig, who has filmed
nightly performance. all of the Bonachela-era performances, and Graeme
The current and alumni dancers were joined Murphy’s long-term collaborator, filmmaker Philippe
on stage each night by 25 members of the audience, Charluet, the 8-minute film, 50 Years of Defining
who were instructed in the choreography by Rehearsal Contemporary Dance featured many of Murphy and
Associate Charmene Yap, whose dulcet tones and Bonachela’s most renowned and critically acclaimed
clear instructions came through hidden ear-pieces. works. This film drew gasps of delight each night as
With almost 250 participants across the season, the audiences remembered favourite works and dancers
youngest in their early teens and the oldest in their and appreciated the depth of the creative legacy that
80s, this was a unique production and a glorious Sydney Dance Company has had on Australian culture
celebration of the dance community. over the last five decades.
“I can’t even begin to describe to you the
impact this had on those who participated.
The energy of cultural exchange, history,
memory and physical presence was so
strong... It felt GREAT.” Us 50 audience
participant
The Naomi Milgrom Foundation generously supported
the creation of Us 50 as the inaugural Artistic Director’s
Commissioning Partner and gave additional support
for a complementary education project which saw 440
school students participate in workshops and attend
school matinees. In an unforgettable experience, 50
students took on the roles of audience participants
in both school matinees, and performed on stage
with the alumni and Company dancers. The feedback
from teachers and students was heartening. A
teacher reported that “Students that I teach are in an
Intensive English Centre and most are from refugee
backgrounds. As such these students have often had
trauma in their lives and not much opportunity to visit
the theatre and see live performance. For many this
34 2019 Impact Report 2019 Impact Report 35Wharf Renewal
Nestled under the Harbour Bridge, Pier 4 has been our corporate meetings, small dance classes and rehearsals
home since 1985. A unique space hewn from Sydney’s and streaming virtual classes to the world.
industrial heritage, our studios have been home to The new wellness Studio will allow dancers
generations of renowned dancers and the foundation and the public alike to undertake specialist Pilates and
of performances that have brought worldwide acclaim yoga training and a new recovery and treatment room
for Australian culture. Over that time we have taught will ensure our dancers receive the best care available.
hundreds of thousands of people to dance in our The reconfigured café space will be opened up to the
studios. The quirky, creaky, historic Wharf has become magnificent location and provide a buzzing meeting
synonymous with Sydney Dance Company. spot for the neighbourhood.
Our vision for the future sees Sydney Dance Sydney Dance Company spent 2019
Company cement its position as one of the world’s operating from temporary studios at Ultimo as work
leading contemporary dance companies, expanding continues on the Wharf and whilst we love our
our reach and inspiring Australians’ love of dance. temporary home, we are very much looking forward
We will commission and create more new work. We to getting back to Walsh Bay where our hearts lie,
will enhance our development program for young being able to spread our wings and stretch ourselves
choreographers. We will deepen our engagement in with new initiatives.
the communities of Australia. We will reach more young Our sincere thanks go to the NSW
people and nurture the talent of the future. We will train Government for their visionary support of the Walsh
more extraordinary dancers and we will be a national Bay precinct redevelopment. They are investing not just
and global home for contemporary dance. We have in Sydney Dance Company, but in all of the co-located
made a promise for the future to perform at our peak, to performing arts companies and the thousands of people
inspire and educate and to share dance with everyone. who attend their classes and performances.
In 2019, we continued on our pathway to We also want to thank each and every one
achieving our vision, with work well and truly underway of our Capital Campaign donors for their belief in our
at the Wharf. Our harbour-side home is being vision for a future for Sydney Dance Company.
transformed as part of a unique cultural district, an
iconic waterfront destination for both the city and the
nation, cementing Sydney’s reputation as an innovative,
dynamic and creative city and drawing in local, national
and global audiences. As one of the longest tenured
residents, we are playing a pivotal role in this incredibly
exciting project.
The rejuvenation of our home at the Wharf
will provide significant upgrades to our four rehearsal
studios with new sprung floors, new acoustic treatments,
new heating and cooling systems and improved
customer amenities. A brand new fifth Studio will be
unique, purpose-built and overlooking Sydney Harbour
Bridge; a multi-purpose space for artistic endeavour and
community outreach with a retractable seating bank
for intimate showings and small-scale performances,
complete with its own entrance and foyer space. A
new sixth Studio will be a flexible space suitable for
36 2019 Impact Report 2019 Impact Report 37Training the
Future
“It’s an edgy picture … invigorating to watch Orfeo ed Euridice, Leah Marojevic’s Homage,
because of the vitality, commitment and skill of The Consumerist Spectacle by Vicki Van Hout and an
the dancers.” The Sydney Morning Herald excerpt from Rafael Bonachela’s Lux Tenebris. PPY19
Revealed was generously supported by Hermès Australia.
2019 marked the sixth year of Sydney Dance
Company’s Pre-Professional Year program and the “It has been a delight to be involved in the
strength, skill and maturity of the graduating ensemble creative growth of these amazing dancers
was a testament to the way the course has developed over the past year and I am overjoyed to see
and flourished since its inception. It has become a
critical element of the advanced training and education them performing an excerpt from my own
programs at Sydney Dance Company and a unique, yet work, Lux Tenebris; they really have brought it
integral part of the dance training ecology in Australia. to life!” Rafael Bonachela.
The 2019 PPY ensemble consisted of
26 dancers, who worked with 29 Australian-based Earlier in the year PPY participated in the
guest teachers and choreographers, as well as seven creation of Sydney Dance Company commissioned
international guest choreographers from across the globe: dance-film project On The Edge, directed by
Greece, Israel, U.K, Canada, Spain and Belgium. Four choreographer and film-maker Sue Healey. The week-
of the 2019 cohort were supported in their studies by long dance film project concluded with a shoot day
scholarships from Stephen and Julie Fitzgerald, the Doug at Leura, in the Blue Mountains, where the dancers
Hall Foundation, the Wales Family Foundation and Mary interacted with the breath-taking landscapes.
Zuber. The Hepzibah Artist Development Program, which The well-established relationship with
supports the next generation of Australian artists, helped NAISDA Dance College continued in 2019, with two
to ensure that professional development opportunities days of workshops and a mock audition experience for
were afforded to both emerging, visiting choreographers the students. Force Majeure Artistic Director Danielle
and creatives and the PPY dancers themselves. Micich and independent choreographer Victoria Hunt
PPY19 dancers studied for Advanced led the workshops. The collaboration concluded with
Diplomas and Diplomas of Dance. Key body practices PPY students traveling to NAISDA in Wyong where they
exercised by the young dancers included Yoga and learned dances unique to indigenous culture with the
mindfulness with Jolie Brook; Pilates with Ingrid Shaw; NAISDA cohort.
Ballet mechanics and functionally efficient movement In a step away from the physical, the dancers
with Head of Training Linda Gamblin and Company were taught by former Company Dancer and renowned
Exercise Physiologist Annie Jefferies; injury prevention educator Shane Carroll in the skills required for project
and safe practice with Company Physiotherapist proposals for fundraising and grant applications. The
Ashley-Mary Cohen; resilience and self-care lectures dancers created their own mock funding project which
and workshops with ‘Balance’ EAP psychologist Sallie they presented and discussed in the studio in front of
Grey; and conscious and safe movement with Course industry guests in order to simulate the experience. “The transformation
Coordinator Omer Backley-Astrachan. Overall, the calibre of dancers emerging
Through the course ethos of collaborating in from PPY continues to rise and their post-training career I’ve experienced this year
a co-creative environment, the dancers navigated their trajectories continue to impress. Telea Jensen graduated
way through 2019 with curiosity and intrigue, culminating from PPY 2019 in the knowledge that she would be has been incredible.”
in a successful PPY19 Revealed season; a quadruple-bill joining the Sydney Dance Company ensemble as the
performed over three performances at Carriageworks in company trainee for 2020. Telea Jensen (PPY 2019)
December. The season included Idan Cohen’s
38 2019 Impact Report 2019 Impact Report 39PPY19
Revealed
Orfeo ed Euridice The Consumerist Spectacle
Choreographer Idan Cohen Choreographer Vicki Van Hout in
collaboration with the
Music Orfeo ed Eurydice performers
Overture Orfeo and
Eurydice Coro Act 1 Concept and Direction Vicki Van Hout
and Scene 1 C.W Gluck
Sound Designer Phil Downing
Lighting Designer Alexander Berlage
Music Siobhan Lynch, Soleil
Costume Designer Fiona Holley Harvey and Vicki Van Hout
A Prequel Journey Me-Lee Hay Text Vicki Van Hout
Opal Russell
Wiradjuri Language Henrietta Baird and
Translation Vicki van Hout
Homage
Recorded Narrative Imogen Chen
Narration
Concept and Direction Leah Marojević
Lighting Designer Alexander Berlage
Sound Designer Samir John Kennedy
Costume Designer Fiona Holley
Lighting Designer Alexander Berlage
Costume Designer Fiona Holley and dancer
Lux Tenebris
Choreographer Rafael Bonachela
Composer Nick Wales
Costume Designer Alesia Jelbart
Lighting Designer Alexander Berlage
40 2019 Impact Report 2019 Impact Report 41You can also read
