News

Ausdance responds to ACARA’s review of the Australian Curriculum

The Ausdance National Education Committee, led by Dr Jeff Meiners and Sue Fox, has prepared a submission to the Australian Curriculum, Assessment and Reporting Authority (ACARA) in response to its review of The Australian Curriculum: The Arts.

The proposed revisions aim to declutter the content through improving the curriculum's clarity of structure and refine the content descriptions and achievement standards. This response relates specifically to Dance in the F-6 curriculum, as this is the identified focus of the review.

As Ausdance’s reps on the National Advocates for Arts Education (NAAE) Council, Jeff and Sue have also contributed to the NAAE's submission, which has reached a review consensus across all art forms.
 
We thank Jeff and Sue and the Ausdance National Dance Education Committee who contributed to Ausdance's submission, and who will continue to work with ACARA on next steps. 
 
Ausdance National Education Committee members are:

  • Rachael Bott (WA)
  • Trish Brown (ACT)
  • Sarah Calver (NT)
  • Peter Cook (NSW)
  • Megan Cooper (SA)
  • Julie Dyson (ACT)
  • Candice Egan (VIC)
  • Sue Fox (QLD)
  • Lesley Graham (TAS)
  • Julie-Anne Grant (QLD)
  • Rikki Mace (TAS)
  • Kate Maquire-Rosier (NSW)
  • Jeff Meiners (SA)
  • Helen Mullins (QLD)
  • Katrina Rank (VIC)
  • Amy Wiseman (WA)

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Notice of Special General Meeting

The Ausdance National Executive is calling a Special General Meeting (SGM) for Thursday 12 August 2021 at 7.30pm AEST via Zoom. This meeting will ratify proceedings of the AGM held on 27 June 2021, in the absence of a quorum of directors at that meeting, caused by the late apology of the National President.

Agenda: The purpose of this meeting is to achieve a quorum as per the Constitution in order to –

  • ratify the proceedings of the AGM, including the appointment of new directors and changes to the Constitution.
  • appoint new Public Officer.

The following motions will be put:

  • That the proceedings of the Annual General Meeting of the Australian Dance Council – Ausdance Inc., held via Zoom on 27 June 2021, be ratified.
  • That the new Public Officer be formally appointed to the Association

To RSVP, or if you require a proxy form, please email Lizzie Vilmanis. RSVPs and proxies are requested by 11 August 2021 to allow for preparation of the SGM.

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Notice of Ausdance National 2021 Annual General Meeting

Sunday 27 June 2021 at 12.30 pm

The Ausdance National 2021 Annual General Meeting will be held via Zoom on Sunday 27 June 2021 at 12.30 pm AEST.

The AGM agenda, 2020 AGM minutes, annual report and revised Constitution are available below.

Ausdance National, the peak organisation supporting dance professionals and the dance ecology at the national level, continues to work with the state and territory network, driving important advocacy to make dance a valued part in the lives of all Australians. This work is especially important in these unprecedented times with the COVID-19 pandemic.

Ausdance National continues to drive support for dance across all sectors and lobby for increased investment.
 
Elected Board Members at the 2020 AGM: 
President: Paul Summers (Vic); Vice President: Julie Dyson AM (ACT); Vice President: Lizzie Vilmanis (Qld); Treasurer: Sebastien Ananian-Cooper (SA); Council Directors: Dr Cathy Adamek (SA), Deborah Robertson (WA), Katy McKeown (Vic); Public Officer: Tamara McKee.

In 2021 there will be four board vacancies – nominations have been called for and received, as per the Constitution.

The Ausdance National Constitution will also be revised and voted on to reflect the organisation's current situation.

2021 Agenda Papers

AGM Meeting agenda
2020 President’s report
Minutes of 2020 AGM
Revised Constitution

Please RSVP to President Paul Summers if you are able to attend, or if you require a proxy form.

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2021 Ausdance National board—call for nominations

In accordance with the Constitution, Ausdance National calls for nominations to fill a maximum of three new board vacancies. The Annual General Meeting will be held via Zoom on 27 June 2021 at 12.30 pm.

When nominating, please consider the following:

  • Skills & experience—the board needs to include outstanding individuals that have demonstrated skills, experience and knowledge in specific areas and will contribute to good governance and the future development of Ausdance National and dance in Australia
  • Diversity—the board should reflect our wider community with an appropriate cultural diversity and gender mix, together with considerations of age. In particular, we encourage applications from First Nations people.
  • Location—the board should reflect the breadth of dance activity across Australia. Selection will not be based on location only.
  • Board nominees must be Ausdance members.

The following selection criteria will also be considered:

General criteria—all board members

  • A commitment to the development of Australian dance
  • A commitment to the mission and aims of Ausdance National
  • Proven ability to think strategically in a changing and dynamic environment
  • High-level skills, knowledge and experience that will significantly contribute to the good governance and future vision of Ausdance National and the Ausdance network.
  • A range of networks and contacts.

Additional criteria—President & Vice Presidents

  • Demonstrated leadership skills & experience.
  • An awareness of funding and arts sector structures and organisations.
  • Availability to support Ausdance network communications and policy development.

The board should attract:

  • A National Executive of outstanding leaders in the community with extensive networks and contacts. The Executive should include at least one individual who has experience in a senior role within the professional dance sector.
  • Senior dance artists, arts managers and producers
  • A qualified CPA or Chartered Accountant
  • Law professionals
  • Marketing, public relations and communications experts
  • Senior staff from the tertiary and/or education sector
  • Senior corporate and/or government (non-arts) representatives
  • Experts from areas including technology, human resources, business development.

Nominations must be received on the nomination form by Monday 31 May 2021. Please contact National President Paul Summers for further information and for the nomination form.

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International Dance Day Message 2021

In 1982 the Dance Committee of the International Theatre Institute founded International Dance Day to be celebrated every year on 29 April, the birthday of Jean-Georges Noverre (1727-1810), choreographer and creator of modern ballet. Every year a message from an outstanding dance artist is circulated throughout the world, and this year it marks the beginning of Australian Dance Week to be celebrated throughout Australia.

This year's IDD Message is by German dancer Friedemann VOGEL.

Everything starts with movement – an instinct we all have – and dance is movement refined to communicate. Much as flawless technique is important and impressive, it is ultimately what the dancer expresses inside the movement that is the essence. 

As dancers, we are constantly on the move, aspiring to create these unforgettable moments. Regardless of the dance genre, it’s what every dancer strives to achieve. So, when all of a sudden, we aren’t allowed to perform anymore, with theatres closed and festivals cancelled, our worlds come to a standstill. No physical contact. No shows. No audiences. Never in recent history has the dance community been so collectively challenged to stay motivated, to find our raison d’être.

Yet, it is precisely when something precious has been taken away from us that we truly appreciate how vital it is what we do, and how much dance means to society at large. 

Dancers are often celebrated for their physical prowess, when in fact we are sustained even more by our mental strength. I believe it is this unique combination of physical and psychological agility that will help us overcome, to reinvent ourselves to keep dancing, and to keep inspiring.                 
 

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Get Active Kids Voucher Program, Victoria

The Get Active Kids Voucher Program helps eligible families in Victoria get their kids involved in organised sport and recreation activities by reimbursing the cost of membership and registration fees, uniforms and equipment. Eligible children may be able to receive up to $200 each.

Children aged between 4 to 18 and named on a valid Health Care Card or Pensioner Concession Card and Medicare card to be eligible.

Dance is an approved activity on the program and you can redeem your voucher for dance via the terms of the program.

Contact Ausdance Victoria for details.

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Congratulations to Australian Dance Awards winners!

Congratulations to Australian Dance Award winners, announced online on Tuesday 8 December, spanning achievements across 2018 and 2019 in twelve categories. They celebrate the rich diversity and uniqueness of dance in Australia with national companies, performers and collaborating artists, dedicated studio, school and tertiary teachers, regional and remote artists, independents and astounding youth and community dance groups.

View the Awards ceremony again or watch for the first time on Ausdance National's Youtube channel.

The 2020 Australian Dance Award Winners are…

Lifetime Achievement Awards for 2019 and 2020 go to Jill Sykes AM and Janet Karin OAM.

2018 AWARD FOR OUTSTANDING ACHIEVEMENT IN COMMUNITY DANCE
Tracks Dance for In Your Blood, a joyous and exceptionally realised dance work performed in the Darwin Botanic Gardens as an exquisite celebration of tradition, family and the collective.

2019 AWARD FOR OUTSTANDING ACHIEVEMENT IN COMMUNITY DANCE
Fine Lines for The Right, an intergenerational mature dance collective that presented a serious work about sacrifice for the greater good, explored through the lens of contemporary politics.

2018 AWARD FOR OUTSTANDING ACHIEVEMENT IN YOUTH DANCE
FLING Physical Theatre for Body & Environment, an ambitious and surprising new work showcasing a high level of performance skills in this group of young artists, demonstrating a sense of confidence and maturity.

2019 AWARD FOR OUTSTANDING ACHIEVEMENT IN YOUTH DANCE
QL2 Dance for Filling the Space, an exceptionally mature performance that explored dimensions of space and its potent significance to the world of dance – physically, emotionally, and architecturally.

2018 AWARD FOR SERVICES TO DANCE EDUCATION
Karen Malek for her inspirational work as a dance teacher for over 40 years, and as the President of the Australian Teachers of Dancing as a pivotal figure in dance education in Australia.

2019 AWARD FOR SERVICES TO DANCE EDUCATION
Sue Fox for her role as co-writer of state and national arts curriculum documents, including The Australian Curriculum: The Arts, as a founder of the Ausdance Educators Queensland group, and as a key member of the National Advocates for Arts Education.

2018 AWARD FOR OUTSTANDING ACHIEVEMENT IN CHOREOGRAPHY
Narelle Benjamin & Paul White for Cella, a defining and moving work in a stunning meditation on the wonders of the human body.

2019 AWARD FOR OUTSTANDING ACHIEVEMENT IN CHOREOGRAPHY
Garry Stewart for South, a theatrical work that evokes Mawson’s tragic Antarctic expedition of 1912 performed by nine dancers with Stewart’s virtuosic movement

2018 AWARD FOR SERVICES TO DANCE
Valerie Lawson for her work as a Walkley Award-winning journalist who has devoted much of her life advocating for, and writing about, dance in Australia.

2019 AWARD FOR SERVICES TO DANCE
Philippe Charluet for over 30 years of filming Australian dance productions from some of the country’s most outstanding companies and choreographers, in particular for his documentation of the work of Graeme Murphy and Janet Vernon in his Heritage Collection.

2018 AWARD FOR OUTSTANDING ACHIEVEMENT IN DANCE ON FILM OR NEW MEDIA
RIPE Dance for In a Different Space, an inspirational dance film combining beauty, humour, serenity, and cheekiness in equal measure.

2019 AWARD FOR OUTSTANDING ACHIEVEMENT IN DANCE ON FILM OR NEW MEDIA
Samaya Wives for Oten, a film that speaks to an integral facet of human nature: our imperfections, yet the slow cadence and dreamy expressiveness of the text provide a moment of stillness, a chance to see the beauty in these so-called ‘flaws.’

2018 AWARD FOR OUTSTANDING ACHIEVEMENT IN COMMERCIAL DANCE, MUSICALS, OR PHYSICAL THEATRE
The Farm for The Tide, a work that explores the impact of climate change with two outstanding performers, Gavin Webber and Joshua Thomson, transforming a tough reality into a place of optimism and compassion.

2019 AWARD FOR OUTSTANDING ACHIEVEMENT IN COMMERCIAL DANCE, MUSICALS, OR PHYSICAL THEATRE
STRUT Dance for SUNSET, a major commissioned event that took audiences on a magical and haunting journey through one of Perth’s heritage listed buildings.

2018 AWARD FOR OUTSTANDING ACHIEVEMENT IN INDEPENDENT DANCE
Vicki Van Hout for plenty serious TALK TALK, a work that explores the consultative process in Indigenous art making, inviting the audience to appreciate the full complexity of negotiating culture across disciplines, genres, and eras.

2019 AWARD FOR OUTSTANDING ACHIEVEMENT IN INDEPENDENT DANCE
Laura Boynes for Wonder Woman, a work that draws attention to the potent presence of a solo female dancer whose less visible strengths and powers are celebrated in a staging of the ‘severalness’ of femininity.

2018 AWARD FOR OUTSTANDING PERFORMANCE BY A FEMALE DANCER
Narelle Benjamin for Cella, an extraordinarily moving and physically demanding performance with Paul White, in an exploration of how the human body can transform and evolve in the imagination.

2019 AWARD FOR OUTSTANDING PERFORMANCE BY A FEMALE DANCER
Marlo Benjamin for Skeleton Tree with Stephanie Lake Co., for a performance that was powerful and heartfelt with a rare combination of incredible technical prowess and a depth of feeling, strength and bravery.

2018 AWARD FOR OUTSTANDING PERFORMANCE BY A MALE DANCER
Kimball Wong for The Beginning of Nature with Australian Dance Theatre, for a brilliant demonstration of his innate ability to combine strength and technique with rich artistry and emotion in this symphony of overlapping rhythms of nature and life.

2019 AWARD FOR OUTSTANDING PERFORMANCE BY A MALE DANCER
Tyrel Dulvarie for 30 years of 65,000 by Bangarra Dance Theatre, in an outstanding performance celebrating Bangarra Dance Theatre’s thirtieth anniversary, especially for his transfixing dancing in Unaipon, the opening work on this triple bill program. 

2018 AWARD FOR OUTSTANDING PERFORMANCE BY A COMPANY
Australian Dance Theatre for The Beginning of Nature, a work full of intense theatricality, danced to an evocative score by Brendan Woithe, and with exceptional Indigenous references to the Kaurna language of the Adelaide Plains.

2019 AWARD FOR OUTSTANDING PERFORMANCE BY A COMPANY
Bangarra Dance Theatre for 30 Years of 65,000, a work that celebrated the company’s 30th birthday, immersing itself in magical choreography and the formidable challenge of Jiri Kylian's Stamping Ground in this unique homage to Indigenous culture.

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Australian Dance Awards – Lifetime Achievement announced for 2019 & 2020

The Lifetime Achievement Awards honour Australian dance people who have made outstanding contributions to the profession, raising the profile and prestige of dance in Australia for more than 40 years.

 The 2019 Lifetime Achievement Award goes to Jill Sykes AM, and the 2020 Lifetime Achievement Award goes to Janet Karin OAM.

The presentation of the Australian Dance Awards is a highlight of the Australian dance calendar, bringing together all sectors of the dance industry to celebrate the best and brightest of all forms and cultures of dance. The Awards will be presented online on Tuesday 8 December 2020 at 7.30 pm AEDT.

Jill Sykes AM

Jill Sykes has been writing about the arts, dance in particular, since 1960 when she began working as a cadet journalist in Adelaide with The Advertiser. She has been freelancing since 1979 and is respected as a dance writer and critic for the breadth of her outlook, which encompasses all forms of dance; for the honesty of her approach; and for the inspiration her reviews and articles generate for her readers.

Growing up in Adelaide, Jill saw her first dance performance when not quite six years old when the British company, Ballet Rambert, brought its production of Giselle to Adelaide. Her love of dance, and the arts in general, began then. Sykes travelled to London in 1965 and joined the reporting staff of The Evening News, eventually becoming one of that newspaper’s dance critics. Back in Australia, she was employed by The Sydney Morning Herald as a news reporter in 1972 and soon became its dance critic as well. Sykes left The Herald’s fulltime staff in 1979.

Since 1979 she has written a wealth of dance reviews and articles, which have appeared in newspapers, including regularly in The Sydney Morning Herald, and in a wide range of other newspapers, dance magazines and journals in Australia and overseas. She is the author of The Sydney Opera House: from the outside in and has contributed to the Currency Press Companion to Theatre in Australia and, most recently, Routledge’s Shaping the Landscape: Celebrating Dance in Australia, published in 2012 and updated in 2020.

Jill also writes about theatre, music and the visual arts and in 1995 was made a Member of the Order of Australia (AM) for her service to the arts. In 1997 she was the recipient of an Australian Dance Award for Services to Dance.

Janet Karin OAM

For over 60 years Janet Karin has been a significant force in the world of Australian dance. She has been respected as a dancer, teacher, artistic director, mentor, researcher and academic, and in each of those roles has shown a deep commitment to dance and an intelligent and searching approach to the growth of the art form.

Janet began her performing career with Laurel Martyn’s Victorian Ballet Guild, danced with the Borovansky Ballet in its final season, and joined The Australian Ballet as a founding member in 1962. She was promoted to principal in 1966. Memorable roles with The Australian Ballet include those in Melbourne Cup, Les Sylphides and Aurora’s Wedding, and she received exceptional reviews for her dramatic interpretation of Myrthe, Queen of the Wilis, in Giselle and Clytemnestra in Robert Helpmann’s Elektra.

After retiring from The Australian Ballet in 1967 Janet moved to Canberra and, with her then husband Bryan Lawrence, established the Bryan Lawrence School of Ballet, later to be renamed as National Capital Ballet School. In Canberra she initiated the Karin System of Ballet Training, which presented dance as both a means of personal enrichment and as an art form. Above all, it was never a static method of teaching and learning but was constantly evolving in response to new developments in science and the arts and in teaching methodology.

In 1997 Janet left Canberra to work for Ross Stretton, a former student who had been appointed as Artistic Director of The Australian Ballet. With Stretton she worked to enable the expansion of The Australian Ballet’s repertoire with new acquisitions from leading choreographers. Karin also taught at The Australian Ballet School from 2001 to 2016, in particular in the area of kinetic studies, where she worked on the application of neuroscience principles to elite ballet training.

Janet has served on the Dance Committee of the Australia Council; as President of the International Association for Dance Medicine and Science (IADMS); the Board of the Australian Society for Performing Arts Healthcare, and has published widely in internationally recognised journals. She was awarded the Medal of the Order of Australia in 1989; the Australian Dance Award for Services to Dance Education in 2014 and the 2015 IADMS Dance Educator Award.

(Citations prepared by ADA panel member Dr Michelle Potter)

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Ausdance submission to the Parliamentary Inquiry into Australia’s Creative and Cultural Industries

The the Parliamentary Inquiry into Australia’s Creative and Cultural Industries and Institutions recently called for submissions to address five Terms of Reference (TOR).

Ausdance National responded by directly addressing the TOR from a dance perspective, adding extensive references by Dr Anja Ali-Haapala to support the submission.

Terms of Reference

The direct and indirect economic benefits and employment opportunities of creative and cultural industries and how to recognise, measure and grow them.

Employment and economic benefits of the creative and cultural industries have already been comprehensively measured by the Cultural Ministers’ Council via the Australian Bureau of Statistics, the Australia Council and in A New Approach Insight Reports 1, 2, 3, 4 and 5, although studies have still been limited by the current level of recognition of roles and employment models in the arts.

Australia is without a Federal Government arts policy. Endorsement and meaningful support of First Nations arts and cultural activity must be central to a new arts policy to preserve their cultural knowledge and storytelling, and ensure the safety of First Nations Peoples. Without them we have no cultural, creative or innovative future, or any clearly-articulated Australian cultural identity. Policy at a federal level needs to provide clear vision to achieve recognised goals of national importance. 

Creating further opportunities in a growth industry and reaping the benefits of the resulting economic growth must rely on inclusive government policies that:

  • Acknowledge the arts and cultural industries as significant contributors to Australia’s health and wellbeing;
  • Acknowledge all sectors of the arts – and particularly First Nations artists – as being significant contributors, and include the unique cultural diversity of industry ecosystems in a multicultural society;
  • Acknowledge the arts and cultural industries as being worthy of significant investment as drivers of the economy (both directly and indirectly).
  • Eliminate the regressive efficiency dividend on cultural institutions;
  • Acknowledge the arts and cultural industries as requiring significant and inclusive vision in policy and long-term strategic planning across all levels of government and across departmental divides;
  • Acknowledge the interconnectedness of the education and training sectors – from local dance studio businesses, to arts in schools, communities and professional arts training institutions – when considering the arts policy ecosystem.
  • Acknowledge artists as legitimate workers and contributors rather than as hobbyists by recognising the Australian Taxation Office’s definition of a professional artist through the following business indicators in TR2005/01, i.e.

34. This business indicator may be demonstrated in a number of ways, for example:

  • industry and peer recognition as an artist;
  • qualifications (or equivalent experience as apparent from an artist's portfolio or body of work) typical of those in the relevant industry sector. (In some sectors of the arts industry formal qualifications are the norm. In others, especially in new and emerging types of art, it would be less usual for an artist to have any formal qualifications);
  • public recognition as an artist (for example, is the taxpayer described as such in the media? Is their opinion as an artist sought by the public? Is their art work used by others as examples for teaching purposes?);
  • meeting the eligibility and selection criteria for grants, awards and professional opportunities (for example, residencies) open to artists in the relevant industry sector (for example, individual applicants for grants from the Australia Council must be able to demonstrate that they are identified and recognised by their peers as a practising artist; in addition, the selection criteria for all grants from the Australia Council requires applicants to provide evidence of detailed planning and ability to execute the proposed project);
  • appointment to a position being contingent on the person's status as an artist (for example, being offered a position as a resident artist; where a teaching position is based on the employee's status as a professional writer; being appointed as a member of relevant boards or committees);
  • memberships of professional associations, including unions (that is, does the taxpayer's industry sector have any organisations that are dedicated to serving the professional needs and interests of artists? If so, is the taxpayer a member?);
  • reputation building in a manner consistent with others in the relevant industry sector;
  • methods of application and time commitment to activity consistent with others in the relevant industry sector; and
  • obtaining the advice or services of an agent, manager, legal or financial adviser, if it is common in the taxpayer's industry sector.

The non-economic benefits that enhance community, social wellbeing and promoting Australia's national identity, and how to recognise, measure and grow them

As noted in our response to Arts Minister, the Hon. Paul Fletcher, about the $250m arts funding package announced three months ago (and still to be distributed), ‘Unless outputs from the whole dance sector are maximised, many interacting or benefiting arts and non-arts business economies will be negatively affected. These include but are not limited to: 

  • First Nations independent artists
  • Disability and regional sectors
  • Mental health initiatives
  • Multicultural organisations and projects
  • Physical health management
  • Creative capacity building
  • Tourism and hospitality sectors.’

Ausdance is not resourced to measure these outputs, but many large government-funded organisations such as the ABS, the Australia Council and the Department of Communications & the Arts are available to take on this work if properly resourced. The work of Dr Jackie Bailey and the BYP group is also relevant here.

Accumulating research provides evidence that dance improves quality of life (see appendix for a list of recent academic, empirical studies). This is important work performed by the academic dance sector that is vital for maintaining high standards and relevant applications of process, engagement and delivery of dance to improve quality of life. This work is currently under threat from decreased university funding and fee increases.

The best mechanism for ensuring cooperation and delivery of policy between layers of government

The following questions are not easily answered without cooperation between layers of government:

  • What do the Covid-affected dance studio sector and the tertiary dance training sectors have in common?
  • Where do they fit into the Australian dance ecology?
  • Why are they not included in arts policy and funding strategies?
  • And why are they not recognised as integral to the wider dance industry by politicians and policy makers?

Ausdance Victoria’s Covid-19 Business Impact Survey (focusing on dance studios), and the Federal Government’s increase in tertiary fees in the Creative Arts illustrate the lack of understanding of the centrality of dance education and training to the Australian dance ecology, i.e. the training sector and the performance/creative sectors contribute to employment for both. Training is about making students ‘job ready’, providing the skills for them to forge new ground. Education and training do not happen in isolation but through the integration of the sectors.

Arts ministers, advisors, bureaucrats and other arts spokespersons must start to recognise that studio, school and tertiary dance education sectors are integral to the success of the wider dance ecology. The success of these sectors fuels the success of other, but our current world-class dance companies, performers, teachers and dance makers will continue to lose ground as they struggle to survive in a growing policy and funding deficit environment, increasingly seen as irrelevant by governments whose leaders see no votes in the sector.

Graduates are indeed job ready for careers in dance but there is room for expanding dance training to contribute to broader ‘job readiness’ in the future. The skills learned through dance are transferable and sought after in many careers outside the dance industry, as evidenced by the Australian Institute of Sport and Ausdance’s SCOPE for Dancers project, proving that dance skills have so many applications in other industries. As already evidenced in this project, recognising this and increasing funding to take advantage of dance artists’ training, would prove more effective for future employment of dance artists.

Our submission to the Senate Inquiry into the Government’s Higher Education Support Amendment Bill 2020 notes that –

Australia's arts industry is already in a precarious situation as a result of severely reduced government investment in artistic practice (as opposed to the ‘billions’ it invests in galleries, libraries and museums). There is also a complete lack of industry-based public policy.

Immediate consideration must also be given to:

  • Enhanced tax incentives to motivate private giving and investment in artworks and industry development.
  • Removal of the efficiency dividend on small-agency cultural institutions.
  • Prioritising artistic, creative and cultural outputs (including processes as well as products).
  • Relief for lease-holders in both government-owned and private tenancies well into 2021 to enable continued creativity and innovation whilst minimising unnecessary risk.
  • Investment in a public campaign to rebuild confidence in the dance and arts sectors, all of which are heading into a very uncertain year in 2021.
  • Expanding JobKeeper eligibility criteria to include casual freelance dance professionals employed on short-term contracts who have worked consistently in the 12 months prior to COVID-19, but who have had multiple employers. 
  • Providing employers in the dance sector the flexibility to determine levels of JobKeeper pay equal to the casual employment contract suitable for project work.
  • Extend JobKeeper beyond March to support dance businesses (including sole traders) who face ongoing disruption and impact on sustainability due to COVID-19. 
  • Adding direct financial investment to the current package to include support for restarting business activities (including generating live performance outcomes) for micro and small dance businesses. This means prioritising further continued support to rebuild the dance sector, so severely impacted by COVID-19. 
  • Continuing to engage with dance sector representatives across the dance industry, including peak organisations such as Ausdance and BlakDance, to inform equitable and relevant policies of support and assistance for the whole dance sector. 

The impact of COVID-19 on the creative and cultural industries

The Australia Council for the Arts

We are particularly concerned about the Australia Council’s reduced capacity to respond adequately to recovery of the arts sector into 2021, leaving many small companies, independent artists and organisations’ activities unsupported in an already-diminished funding environment.

As the Federal Government’s own peak arts funding and advisory body, the Australia Council’s funding must be substantially increased – many in the arts community are calling for its funding to be doubled (a proposal we support). Its present funding levels deprive it of being able to deliver on its charter to ‘support Australia’s arts through funding, strengthening and developing the arts sector’ and is leaving a huge pool of ‘unfunded excellence’ without support, well documented already by the Council.

The dance ecosystem is inter-dependent, and the Council must be adequately funded to strengthen and develop it. Policy settings should recognise that different dance sectors serve different purposes, from the major dance companies to youth dance companies, First Nations performers, independent artists, community dance practitioners across regional Australia, school and studio teachers, choreographers and producers.

The results of the Australia Council’s four-year funding for small to medium dance companies earlier this year highlighted the ongoing losses sustained by this sector of the dance profession. Only eight small dance companies and organisations in Australia are left with the ability to employ staff, plan for the future and create new work, while four other highly-regarded companies are left hanging by a thread, with one-year ‘transitional funding’.

The demise of companies such as Restless Dance and Tracks Dance will remove visibility and support for disability, remote and regional First Nations communities, and loss of employment, mental health and education opportunities in their communities.

Recognition that increased Australia Council funding is an investment in our future, and will be part of the recovery solutions, is vital. It is self evident that 2021 will require more than a thinly-spread Council funding strategy for the arts and cultural sectors to re-emerge as viable creative industries and important drivers of innovation and new thinking.

The dance industry’s loss of all self-generated income, and its inability to survive long months of shut-down and the road to recovery, is of major concern. Months of shut-down and an indefinite and unclear road to recovery place the dance industry’s future in limbo. It’s difficult to plan forward and restrictions to business operations are limiting self-generated income streams. 

There needs to be much more recognition of creative and cultural outputs to include processes and services as well as products. As a very big service industry, dance contributes significantly through the services provided directly and indirectly to communities. The positive degree to which this contribution impacts the daily lives of Australians and the subsequent savings made due to improved quality of life need further investigation to realise the value provided.

Employment of dance practitioners

Dance practice has largely been ignored during the Covid crisis, or confused with gyms, boot camps, fitness studios etc., leaving artists, companies and studio teachers without clear direction about the future of their arts businesses or even about their Covid-safe plans (acknowledged here as often jurisdiction-based regulations).

While JobKeeper supports individual jobs, resources are also needed to support the business costs involved in carrying out the multifarious projects those workers undertake to maintain a living wage. Freelance dance professionals, without any safety net, are therefore struggling to remain in an industry in which they are an essential element.

The business activities carried out by casual freelance professionals and micro and small dance businesses fulfil integral roles that support the business activities of the currently identified ‘sector significant organisations’. These are activities the ‘sector significant organisations’ are not positioned to undertake, but which are necessary to ensure effective, productive functioning of the dance ecology. 

Dance performance companies report extremely limited activities in 2020, with most in the small to medium dance sector unable to function at all as viable businesses. While some small businesses have been able to pivot their offerings (e.g. shifting dance classes online via Zoom), others have found it either unprofitable or an unsatisfactory way of teaching and learning in dance, an intensely physical artform requiring close supervision in order to comply with Safe Dance regulations.

Larger companies are reporting significant inroads into their reserves, unable to take risks without adequate guarantee against loss insurance, and the cancellation of almost all public classes which usually help to generate income, apart from the relatively few Zoom classes possible. Box office returns are almost nil because of social distancing requirements, and there have been significant losses with pre-paid bookings having to be returned to audiences. Philanthropic support has also almost dried up this year. However, companies have all reported that JobKeeper has kept them afloat, at least for now.

Supporting other sectors to carry out their roles will improve the outputs made by the industry at large. The rest of the industry isn't inferior to the major companies – practitioners in the small to medium and community arts sectors are not aiming to do the same things, but if they are, they do so for different purposes or for different populations. 

Private dance businesses, schools and tertiary institutions

Dance studio businesses number in their thousands in Australia, and the Ausdance Victoria impact survey found that millions of dollars had been lost in Victoria alone with forced closures, and yet most were not eligible for government assistance. As the report notes:

Most commonly, studios have only been able to access JobKeeper for the owner, part-time and full-time staff, leaving 80% of workers in the sector unsupported.

And –

92% of respondents expressed concern about their business surviving until the end of March 2021. … If these businesses collapse, thousands of independent dance artists and associated workers will lose their primary sources of income, and the cumulative effect on local economies, such as performance venues, dance suppliers, and related retailers, will be exponentially catastrophic.

As well as the financial impact, the role of dance studios in communities, the value of their work with young people (including artistic, physical, social and educational), and the impact of Zoom teaching as an unsatisfactory substitute for face-to-face teaching are important factors in considering the impact of Covid-19 on this sector.

Avenues for increasing access and opportunities for Australia's creative and cultural industries through innovation and the digital environment.

Dance is a highly-intensive physical activity that requires face-to-face creation, rehearsal, community participation and performance. While the digital environment is an important builder of audiences, its implementation is usually available to better-resourced companies.

There is a strong imperative to build incentives and funding for businesses (micro to major) to enable greater access to to their operations and business models. Digitisation of creative and cultural operations will require such incentives.

Live operations also need training and support to digitise their assets to improve access, e.g. language translations, closed captioning, physical infrastructure, support for workers with expertise, training for staff awareness and practical implementation, and opportunities to engage differently with sensory design elements etc. This design knowledge will be useful and valuable beyond the arts industry. 

Change language around ‘support’ to acknowledge the full value of contributions being made by all parties. Activities facilitated by the artist are ‘supported’ rather than ‘supporting’ artists themselves. Benefits extend both ways, but this reciprocal value is rarely acknowledged. 

Change trickle-down models of support, recognising the unique functions of different levels and parts of the industry and the different processes that will aid their functioning effectively, then design new support models that enable these processes to occur.

Decentralise of infrastructure: The majority is metropolitan centric, but investment in local infrastructure, including new regional hubs to attract business, making places desirable. 

Create venues that allow smaller scale productions and activities to support innovation in delivery, including digital formats, significantly improving visibility of the small to medium dance sector, including the large cohort of professional community dance practitioners.

Overhaul industry awards to acknowledge new roles, working across all industries to improve conditions specifically for casual workers and contractors who have been least supported during the pandemic. 

Restore ABS collection methods to reflect professional artists, teachers and other arts workers whose 'primary job' is an arts occupation, not always their primary source of income. 

Further recommendations:

  • Develop a federal Arts policy that endorses meaningful support to First Nations artists, and acknowledge the unique cultural diversity of industry ecosystems in a multicultural society as being significant contributors.
  • Incorporate First Nations knowledge to develop business protocols and plan creative activities that recognise and grow visibility of First Nations people and culture. 
  • Substantially increase the Australia Council’s funding, as the Federal Government’s own peak arts funding and advisory body, so that it can deliver on its charter to ‘support Australia’s arts through funding, strengthening and developing the arts sector’.
  • Diversify funding options and integrate arts incentives across government portfolios to provide more opportunities for creative and cultural partnerships that also aid government priorities.
  • Improve the scope of business-related support to include micro businesses and improve stability and sustainability for workers in the dance industry. Acknowledge the arts and cultural industries as being worthy of significant investment beyond mere sustenance.
  • Acknowledge the interconnectedness of the education and training sectors – from local dance studio businesses, to arts in schools, communities and professional arts training institutions – when considering the arts policy ecosystem.
  • Eliminate the regressive efficiency dividend on cultural institutions following significant job losses and redundancies in these small agencies.
  • Recognise the ATO’s definition of a professional artist through the business indicators in TR2005/01, i.e. acknowledge artists as legitimate workers and contributors rather than as hobbyists.
  • Provide enhanced tax incentives to motivate private giving and investment in artworks and industry development.
  • Provide specific support for creativity and innovation of arts in digital spaces.
  • Invest in a public campaign to rebuild confidence in the dance and arts sectors, all of which are heading into an uncertain year in 2021.
  • Expand JobKeeper eligibility criteria to include casual freelance dance professionals employed on short-term contracts who have worked consistently in the 12 months prior to COVID-19, but who have had multiple employers. 
  • Extend JobKeeper beyond March to support dance businesses (including sole traders) who face ongoing disruption and impact on sustainability due to COVID-19.

APPENDIX

Dance improves quality of life: Evidence

There is vast amount of research that indicates dance and dance therapy contribute to quality of life, across mental, cognitive, physical, social and identity domains. The research to date has reported these positive findings for specific populations, including people living with:

  • Chronic heart failure
  • Chronic back pain
  • Dementia
  • Depression
  • Fibromyalgia
  • Hypertension
  • Intellectual disability
  • Macular degeneration
  • Multiple sclerosis
  • Parkinson’s disease
  • Visual impairment

People experiencing/going through:

  • Cancer treatment, cancer survivors and partners
  • Cochlea implant rehabilitation
  • Obesity and being overweight
  • Stroke recovery

People who identify as:

  • Elderly
  • Ethnic minority groups
  • Independent older adults
  • Middle-aged people, women in particular
  • Primary and secondary-aged school children

Therefore, dance and dance therapy can increase quality of life for people in diverse life circumstances. Additionally, a recent systematic review and meta-analysis reported that “undertaking structured dance of any genre is equally and occasionally more effective than other types of structured exercise for improving a range of health outcome measures. Health practitioners can recommend structured dance as a safe and effective exercise alternative” (Fong Yan et al., 2018).

References

This is a selection of recent academic publications. There are many more studies on dance’s impact on quality of life. Australian studies are highlighted.

Adam, Dina, Ayiesah Ramli, & Suzana Shahar. (2016). Effectiveness of a Combined Dance and Relaxation Intervention on Reducing Anxiety and Depression and Improving Quality of Life among the Cognitively Impaired Elderly. Sultan Qaboos University Medical Journal, 16(1), 47–53. https://doi.org/10.18295/squmj.2016.16.01.009

Allet, L., Müller-Pinget, S., Punt, I., Edelsten, C., Ballif, A., Golay, A., & Pataky, Z. (2017). Dance therapy combined with patient education improves quality of life of persons with obesity: A pilot feasibility study for a randomised controlled trial. Obesity Research & Clinical Practice, 11(1), 79–87. https://doi.org/10.1016/j.orcp.2016.03.005

Aguiar, L., Da Rocha, P., & Morris, M. (2016). Therapeutic Dancing for Parkinson’s Disease. International Journal of Gerontology, 10(2), 64–70. https://doi.org/10.1016/j.ijge.2016.02.002

Anttila E., Svendler Nielsen C. (2019) Dance and the Quality of Life at Schools: A Nordic Affiliation. In: Bond K. (eds) Dance and the Quality of Life. Social Indicators Research Series, vol 73. Springer, Cham. https://doi.org/10.1007/978-3-319-95699-2_19

Azevedo, L., Watson, D., Haighton, C., & Adams, J. (2014). The effect of dance mat exergaming systems on physical activity and health - related outcomes in secondary schools: results from a natural experiment. Bmc Public Health, 14(1), 951. https://doi.org/10.1186/1471-2458-14-951

Barnet-Lopez, S., Pérez-Testor, S., Cabedo-Sanromà, J., Oviedo, G., & Guerra-Balic, M. (2016). Dance/Movement Therapy and emotional well-being for adults with Intellectual Disabilities. The Arts in Psychotherapy, 51, 10–16. https://doi.org/10.1016/j.aip.2016.08.002

Bearss, K., McDonald, K., Bar, R., & DeSouza, J. (2017). Improvements in balance and gait speed after a 12 week dance intervention for Parkinson’s disease. Advances in Integrative Medicine, 4(1), 10–13. https://doi.org/10.1016/j.aimed.2017.02.002

Blandy, L., Beevers, W., Fitzmaurice, K., & Morris, M. (2015). Therapeutic Argentine Tango Dancing for People with Mild Parkinson’s Disease: A Feasibility Study. Frontiers in Neurology, 6(MAY), 122. https://doi.org/10.3389/fneur.2015.00122

Bognar, S., Defaria, A., O’Dwyer, C., Pankiw, E., Simic Bogler, J., Teixeira, S., Nyhof-Young, J., & Evans, C. (2017). More than just dancing: experiences of people with Parkinson’s disease in a therapeutic dance program. Disability and Rehabilitation, 39(11), 1073–1078. https://doi.org/10.1080/09638288.2016.1175037

Bräuninger, I. (2012). The efficacy of dance movement therapy group on improvement of quality of life: A randomized controlled trial. The Arts in Psychotherapy, 39(4), 296–303. https://doi.org/10.1016/j.aip.2012.03.008

Bräuninger, I. (2014). Dance movement therapy with the elderly: An international Internet-based survey undertaken with practitioners. Body, Movement and Dance in Psychotherapy: Special Research Issue, 9(3), 138–153. https://doi.org/10.1080/17432979.2014.914977

Bräuninger, I. (2014). Specific dance movement therapy interventions—Which are successful? An intervention and correlation study. The Arts in Psychotherapy, 41(5), 445–457. https://doi.org/10.1016/j.aip.2014.08.002

Brustio, P., Liubicich, M., Chiabrero, M., & Rabaglietti, E. (2018). Dancing in the golden age: a study on physical function, quality of life, and social engagement. Geriatric Nursing (New York), 39(6), 635–639. https://doi.org/10.1016/j.gerinurse.2018.04.013

Carapellotti, Anna M, Rebecca Stevenson, & Michail Doumas. (2020). The efficacy of dance for improving motor impairments, non-motor symptoms, and quality of life in Parkinson’s disease: A systematic review and meta-analysis. PloS One, 15(8), e0236820. https://doi.org/10.1371/journal.pone.0236820

Corrêa, J., F. A. Cunha, T. H. Pires, Giani T, M. A. Ferreira, & E. Dantas. (2010). Effects of distinct physical activity and meditation programs on quality of life and depression levels in active elderly women. European Journal of Human Movement, 23. https://doaj.org/article/f9f3ebb7e412492da372e011c944ffae

Crane-Okada, C., Kiger, L., Sugerman, R., Uman, R., Shapiro, R., Wyman-Mcginty, R., & Anderson, R. (2012). Mindful Movement Program for Older Breast Cancer Survivors: A Pilot Study. Cancer Nursing, 35(4), E1–E13. https://doi.org/10.1097/NCC.0b013e3182280f73

Cruz Banks O., Jackson J. (2019) West African Dance and Spiritual Well-Being for African Americans. In: Bond K. (eds) Dance and the Quality of Life. Social Indicators Research Series, vol 73. Springer, Cham. https://doi.org/10.1007/978-3-319-95699-2_6

Dos Santos Delabary, M., Komeroski, I., Monteiro, E., Costa, R., & Haas, A. (2018). Effects of dance practice on functional mobility, motor symptoms and quality of life in people with Parkinson’s disease: a systematic review with meta-analysis. Aging Clinical and Experimental Research, 30(7), 727–735. https://doi.org/10.1007/s40520-017-0836-2

Dunphy K., Ware VA. (2019) Dance and Quality of Life for Indigenous Communities in Australia. In: Bond K. (eds) Dance and the Quality of Life. Social Indicators Research Series, vol 73. Springer, Cham. https://doi.org/10.1007/978-3-319-95699-2_28

Fong Yan, A., Cobley, S., Chan, C., Pappas, E., Nicholson, L., Ward, R., Murdoch, R., Gu, Y., Trevor, B., Vassallo, A., Wewege, M., & Hiller, C. (2018). The Effectiveness of Dance Interventions on Physical Health Outcomes Compared to Other Forms of Physical Activity: A Systematic Review and Meta-Analysis. Sports Medicine (Auckland, N.Z.), 48(4), 933–951. https://doi.org/10.1007/s40279-017-0853-5

Foster, E., Golden, L., Duncan, R., & Earhart, G. (2013). Community-based Argentine tango dance program is associated with increased activity participation among individuals with Parkinson’s disease. Archives of Physical Medicine and Rehabilitation, 94(2), 240–249. https://doi.org/10.1016/j.apmr.2012.07.028

García, C. (2018). Intervention Program with Rhythmic and Choreographic Activities (PIAFARC) in Obese Adults According to Nutritional Monitoring. Apunts. Educació Física i Esports, 134, 156–156. http://search.proquest.com/docview/2136407590/

Goldstein-Levitas, N. (2016). Dance/Movement Therapy and Sensory Stimulation: A Holistic Approach to Dementia Care. American Journal of Dance Therapy, 38(2), 429–436. https://doi.org/10.1007/s10465-016-9221-5

Gomes Neto, M., Menezes, M., & Carvalho, V. (2014). Dance therapy in patients with chronic heart failure: a systematic review and a meta-analysis. Clinical Rehabilitation, 28(12), 1172–1179. https://doi.org/10.1177/0269215514534089

Hackney, M., & Bennett, C. (2014). Dance therapy for individuals with Parkinson’s disease: improving quality of life. Journal of Parkinsonism & Restless Legs Syndrome, 4, 17–25. https://doi.org/10.2147/JPRLS.S40042

Hackney, M., Byers, C., Butler, G., Sweeney, M., Rossbach, L., & Bozzorg, A. (2015). Adapted Tango Improves Mobility, Motor-Cognitive Function, and Gait but Not Cognition in Older Adults in Independent Living. Journal of the American Geriatrics Society, 63(10), 2105–2113. https://doi.org/10.1111/jgs.13650

Hackney, M., & Earhart, G. (2010). Effects of dance on balance and gait in severe Parkinson disease: A case study. Disability and Rehabilitation, 32(8), 679–684. https://doi.org/10.3109/09638280903247905

Hackney, E., Hall, D., Echt, V., & Wolf, L. (2012). Application of Adapted Tango as Therapeutic Intervention for Patients With Chronic Stroke. Journal of Geriatric Physical Therapy, 35(4), 206–217. https://doi.org/10.1519/JPT.0b013e31823ae6ea

Hackney, E., Hall, D., Echt, V., & Wolf, L. (2013). Dancing for Balance: Feasibility and Efficacy in Oldest-Old Adults With Visual Impairment. Nursing Research, 62(2), 138–143. https://doi.org/10.1097/NNR.0b013e318283f68e

Heiberger, L., Maurer, C., Amtage, F., Mendez-Balbuena, I., Schulte-Mönting, J., Hepp-Reymond, M., & Kristeva, R. (2011). Impact of a Weekly Dance Class on the Functional Mobility and on the Quality of Life of Individuals with Parkinson’s Disease. Frontiers in Aging Neuroscience. https://doi.org/10.3389/fnagi.2011.00014

Ho, R., Fong, T., Cheung, I., Yip, P., & Luk, M. (2016). Effects of a Short-Term Dance Movement Therapy Program on Symptoms and Stress in Patients With Breast Cancer Undergoing Radiotherapy: A Randomized, Controlled, Single-Blind Trial. Journal of Pain and Symptom Management, 51(5), 824–831. https://doi.org/10.1016/j.jpainsymman.2015.12.332

Houston S., McGill A. (2019) Understanding Quality of Life Through the Experiences of Dancers with Parkinson’s. In: Bond K. (eds) Dance and the Quality of Life. Social Indicators Research Series, vol 73. Springer, Cham. https://doi.org/10.1007/978-3-319-95699-2_16

José Alípio Garcia Gouvêa, Mateus Dias Antunes, Flavio Bortolozzi, Andrea Grano Marques, & Sônia Maria Marques Gomes Bertolini. (2017). Impact of Senior Dance on emotional and motor parameters and quality of life of the elderly. Rev. RENE, 18(1), 51–58. https://doi.org/10.15253/2175-6783.2017000100008

Kiepe, M., Stöckigt, B., & Keil, T. (2012). Effects of dance therapy and ballroom dances on physical and mental illnesses: A systematic review. The Arts in Psychotherapy, 39(5), 404–411. https://doi.org/10.1016/j.aip.2012.06.001

Klink, B., Praetorius, M., Roder, S., & Hintermair, M. (2014). Dance projects as an integral part of CI rehabilitation and their impact on mental health: a pilot study. HNO, 62(7), 530–535. https://doi.org/10.1007/s00106-014-2866-9

Koch, S., Kunz, T., Lykou, S., & Cruz, R. (2014). Effects of dance movement therapy and dance on health-related psychological outcomes: A meta-analysis. The Arts in Psychotherapy, 41(1), 46–64. https://doi.org/10.1016/j.aip.2013.10.004

Koch, S., Mergheim, K., Raeke, J., Machado, C., Riegner, E., Nolden, J., Diermayr, G., Von Moreau, D., & Hillecke, T. (2016). The Embodied Self in Parkinson’s Disease: Feasibility of a Single Tango Intervention for Assessing Changes in Psychological Health Outcomes and Aesthetic Experience. Frontiers in Neuroscience, 10, 287. https://doi.org/10.3389/fnins.2016.00287

Kontos, P., Miller, K., Colobong, R., Palma Lazgare, L., Binns, M., Low, L., Surr, C., & Naglie, G. (2016). Elder-Clowning in Long-Term Dementia Care: Results of a Pilot Study. Journal of the American Geriatrics Society, 64(2), 347–353. https://doi.org/10.1111/jgs.13941

Look, M., Mabellos, T., Zhang, G., Yoshimura, S., Solatorio, C., Wills, T., & Seto, T. (2017). Cultural Dance Program Improves Hypertension Management for Native Hawaiians and Pacific Islanders: a Pilot Randomized Trial. Journal of Racial and Ethnic Health Disparities, 4(1), 35–46. https://doi.org/10.1007/s40615-015-0198-4

Malicka, I., Szczepanska-Gieracha, J., Jankowska, E., Wozniewski, M., & Rymaszewska, J. (2011). Physical activity, life satisfaction and adjustment to illness in women after treatment of breast cancer. Wspolczesna Onkologia-Contemporary Oncology, 15(3), 180–185. https://doi.org/10.5114/wo.2011.23011

Marquez, D., Bustamante, E., Aguiñaga, S., & Hernandez, R. (2015). BAILAMOS©: Development, Pilot Testing, and Future Directions of a Latin Dance Program for Older Latinos. Health Education & Behavior, 42(5), 604–610. https://doi.org/10.1177/1090198114543006

Mcrae, C., Leventhal, D., Westheimer, O., Mastin, T., Utley, J., & Russell, D. (2018). Long-term effects of Dance for PD (R) on self-efficacy among persons with Parkinson’s disease. Arts & Health, 10(1), 85–96. https://doi.org/10.1080/17533015.2017.1326390

Mcneely, M., Duncan, R., & Earhart, G. (2015). Impacts of dance on non-motor symptoms, participation, and quality of life in Parkinson disease and healthy older adults. Maturitas, 82(4), 336–341. https://doi.org/10.1016/j.maturitas.2015.08.002

Melhuish, R., Beuzeboc, C., & Guzmán, A. (2017). Developing relationships between care staff and people with dementia through Music Therapy and Dance

Movement Therapy: A preliminary phenomenological study. Dementia (London, England), 16(3), 282–296. https://doi.org/10.1177/1471301215588030Noice, T., Noice, H., & Kramer, A. (2014). Participatory Arts for Older Adults: A Review of Benefits and Challenges. The Gerontologist, 54(5), 741–753. https://doi.org/10.1093/geront/gnt138

Muller-Pinget, S., Carrard, I., Ybarra, J., & Golay, A. (2012). Dance therapy improves self-body image among obese patients. Patient Education and Counseling, 89(3), 525–528. https://doi.org/10.1016/j.pec.2012.07.008

Murillo-García, Á., Villafaina, S., Adsuar, J., Gusi, N., & Collado-Mateo, D. (2018). Effects of Dance on Pain in Patients with Fibromyalgia: A Systematic Review and Meta-Analysis. Evidence-Based Complementary and Alternative Medicine : eCAM, 2018, 8709748. https://doi.org/10.1155/2018/8709748

Ng, A., Bunyan, S., Suh, J., Huenink, P., Gregory, T., Gambon, S., & Miller, D. (2020). Ballroom dance for persons with multiple sclerosis: a pilot feasibility study. Disability and Rehabilitation, 42(8), 1115–1121. https://doi.org/10.1080/09638288.2018.1516817

Okafor, U.A.C., T.A. Solanke, S.R.A. Akinbo, & D.O. Odebiyi. (2012). Effect of aerobic dance on pain, functional disability and quality of life on patients with chronic low back pain. The South African Journal of Physiotherapy, 68(3), 11–14. https://doi.org/10.4102/sajp.v68i3.18

Philipsson, A., Duberg, A., Möller, M., & Hagberg, L. (2013). Cost-utility analysis of a dance intervention for adolescent girls with internalizing problems. Cost Effectiveness and Resource Allocation : C/E, 11(1), 4. https://doi.org/10.1186/1478-7547-11-4

Pinniger, R., Brown, R., Thorsteinsson, E., & Mckinley, P. (2013). Tango programme for individuals with age-related macular degeneration. The British Journal of Visual Impairment, 31(1), 47–59. https://doi.org/10.1177/0264619612470651

Pisu, M., Demark-Wahnefried, W., Kenzik, K., Oster, R., Lin, C., Manne, S., Alvarez, R., & Martin, M. (2017). A dance intervention for cancer survivors and their partners (RHYTHM). Journal of Cancer Survivorship : Research and Practice, 11(3), 350–359. https://doi.org/10.1007/s11764-016-0593-9

Punkanen, M., Saarikallio, S., & Luck, G. (2014). Emotions in motion: Short-term group form Dance/Movement Therapy in the treatment of depression: A pilot study. The Arts in Psychotherapy, 41(5), 493–497. https://doi.org/10.1016/j.aip.2014.07.001

Richard B. (2019) “Just Me and Daddy”. In: Bond K. (eds) Dance and the Quality of Life. Social Indicators Research Series, vol 73. Springer, Cham. https://doi.org/10.1007/978-3-319-95699-2_12

Richards J., Gardner S. (2019) Young People’s Experiences in Hip Hop Dance Participation. In: Bond K. (eds) Dance and the Quality of Life. Social Indicators Research Series, vol 73. Springer, Cham. https://doi.org/10.1007/978-3-319-95699-2_26

Rios Romenets, S., Anang, J., Fereshtehnejad, S., Pelletier, A., & Postuma, R. (2015). Tango for treatment of motor and non-motor manifestations in Parkinson’s disease: A randomized control study. Complementary Therapies in Medicine, 23(2), 175–184. https://doi.org/10.1016/j.ctim.2015.01.015

Rösch, A., Schulte, F., Lay, M., Grether, F., Handabaka, I., Trüper, M., Joos, I., Spöri, I., Kacan, S., Meyer, A., Gschwandtner, U., & Fuhr, P. (2018). PB2. Beneficial Effects of intensive speech-language therapy or virtual dance training on mobility deficits in patients with Parkinsons disease (PD). Clinical Neurophysiology, 129(8), e55–e55. https://doi.org/10.1016/j.clinph.2018.04.627

Rossmeissl, Anja, Soraya Lenk, Henner Hanssen, Lars Donath, Arno Schmidt-Trucksäss, & Juliane Schäfer. (2016). ZumBeat: Evaluation of a Zumba Dance Intervention in Postmenopausal Overweight Women. Sports (Basel), 4(1). https://doi.org/10.3390/sports4010005

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Serrano-Guzman, M., Valenza-Pena, C., Serrano-Guzman, C., Aguilar-Ferrandiz, E., Olmedo-Alguacil, M., & Villaverde-Gutierrez, C. (2016). Effects of a program of dance therapy on body composition and quality of life of Spanish older overweight women. Nutricion Hospitalaria, 33(6), 1330–1335. https://doi.org/10.20960/nh.791

Serrano-Guzmán, M., Valenza-Peña, C., Serrano-Guzmán, C., Aguilar-Ferrándiz, E., Valenza-Demet, G., & Villaverde-Gutiérrez, C. (2016). Effects of a dance therapy programme on quality of life, sleep and blood pressure in middle-aged women: A randomised controlled trial. Medicina Clínica (English Ed.), 147(8), 334–339. https://doi.org/10.1016/j.medcle.2016.11.016

Shanahan J, Morris ME, Bhriain O, Volpe D, & Clifford Am. (2017). Dancing and Parkinson’s disease: updates on this creative approach to therapy. Journal of Parkinsonism & Restless Legs Syndrome, 7, 43–53. https://doaj.org/article/576cf67a4e814879822e242d25a4edad

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The Australian Dance Awards return!

Announcement of the 2018 and 2019 shortlisted nominees

Ausdance has pleasure in announcing the return of the Australian Dance Awards for the first time since 2018.

In 2020 Ausdance National elected a new board, fully committed to supporting the dance industry with political advocacy and representation to government, information and advice, and specialist industry products such as AON insurance. The board also committed to returning the Australian Dance Awards to the annual dance calendar.

The Australian Dance Awards celebrate the rich diversity and uniqueness of dance in Australia with national companies, performers and collaborating artists, dedicated studio, school and tertiary teachers, regional and remote artists, independents and astounding youth and community dance groups.  

Ausdance has always championed the importance and visibility of cultural diversity in dance, and has continued to advocate for diverse voices, building on a strong commitment to an excellent and equal dance ecosystem.

The annual Awards recognise and honour professional Australian dance artists who have made outstanding achievements that raise the profile and prestige of dance in Australia. This year’s Awards span these achievements across 2018 and 2019.

Online event details

The Australian Online Dance Awards will be presented by Ausdance National on Tuesday, 8 December 2020 at 7.30 pm AEDT (6.30 in Qld, 7pm in SA & NT, 4.30 pm in WA).

Lifetime Achievement Awards for 2019 and 2020 have been announced.

SHORTLISTED NOMINEES:

2018 AWARD FOR OUTSTANDING ACHIEVEMENT IN COMMUNITY DANCE

Karma Dance for Bent Bollywood, a work that pushes the boundaries of classical Indian dance, capturing the depth and eloquence of its art and culture in this controversial work.

RIPE Dance for In a Different Space, a work that challenges notions of ageism, fear of ageing and body image, and featuring seniors aged 60 to 101 years dancing their stories in places of significance to them.

Emma Saunders for Austinmer Dance Project, an extraordinarily large-scale outdoor site-specific work of joy performed on New Year’s Day 2018 on Austinmer Beach, NSW.

Tracks Dance for In Your Blood, a joyous and exceptionally realised dance work performed in the Darwin Botanic Gardens as an exquisite celebration of tradition, family and the collective.

2019 AWARD FOR OUTSTANDING ACHIEVEMENT IN COMMUNITY DANCE

Chunky Move, Yellow Wheel, and Tasdance for SIMULCAST, a work that was visually beautiful and aesthetically satisfying, as young, old, trained and untrained dancers worked together to create this murmuration in Melbourne and Bendigo.

Rita Pryce and the Torres Strait Islanders Media Association & Torres Strait Performing Arts Festival for Dance My Story, a work made with community members in a theatrical performance exploring issues of domestic violence and how the cycle can be broken.

Fine Lines for The Right, an intergenerational mature dance collective that presented a serious work about sacrifice for the greater good, explored through the lens of contemporary politics.

Transit Dance for Hometown, a work designed to bring contemporary dance to regional areas, following a 4 day-workshop and choreographic experience for young people.

2018 AWARD FOR OUTSTANDING ACHIEVEMENT IN YOUTH DANCE

Ballet Theatre of Queensland for The Little Mermaid, an entertaining production choreographed by Timothy Brown, supported by outstanding set, costumes and lighting design.

FLING Physical Theatre for Body & Environment, an ambitious and surprising new work showcasing a high level of performance skills in this group of young artists, demonstrating a sense of confidence and maturity.

Merge Dance Theatre for Dis/Connect, an eye-opening and memorable performance that leaves audiences reflecting on the impact of technology and screen-time on our lives.

Stompin for Mirror Mirror, a work that looks into young peoples’ identity and sense of self through the filter of social media and self-reflection, and questions how often they see others in themselves.

2019 AWARD FOR OUTSTANDING ACHIEVEMENT IN YOUTH DANCE

Brooke Leeder & Dancers for RADAR, a work of scale that brought together five independent dancers and 23 student dancers from John Curtin College of the Arts in a production that exemplified best-practice in mentoring the next generation.

Emma Saunders for Encounter South, a work celebrating youth, diversity and inclusivity in a radical approach to youth dance-making that captured young dancers’ stories to help us to see the familiar in unfamiliar ways.

FLING Physical Theatre for My Black Dog, a powerful project designed to support the mental health of young people living in regional, rural and remote locations, seeking to break down stigma and generate conversation about the issue.

QL2 Dance for Filling the Space, an exceptionally mature performance that explored dimensions of space and its potent significance to the world of dance – physically, emotionally, and architecturally.

2018 AWARD FOR SERVICES TO DANCE EDUCATION

Vicki Attard for her work as a former principal with The Australian Ballet who has since devoted her life to passing on her extraordinary artistic and technical knowledge as a teacher.

Meredith Blackburn for commitment to the value of dance education, challenging students to push boundaries and inspiring generations of young dance artists.

Karen Malek for her inspirational work as a dance teacher for over 40 years, and as the President of the Australian Teachers of Dancing as a pivotal figure in dance education in Australia.

Pepa Molina for her work in bringing a real sense of Flamenco to Australia, making the art form accessible to Australians with her passionate and deep knowledge of the form.

2019 AWARD FOR SERVICES TO DANCE EDUCATION

Sheru Bharadwaja for raising the profile of street dance in Australia, promoting an understanding of vernacular styles to dance educators and delivering engaging programs for dancers with disabilities.

Sue Fox for her role as co-writer of state and national arts curriculum documents, including The Australian Curriculum: The Arts, as a founder of the Ausdance Educators Queensland group, and as a key member of the National Advocates for Arts Education.

Katy McKeown for her role as Head of The Australian Ballet’s Education & Outreach Program, delivering high quality equitable dance experiences to children across the country and for the creation of the STEAMDANCE program.

Wendy Smith for her role as one of the pioneers of Skinner Release Technique, and for shaping dancers with a sense of anatomical awareness, so crucial for this pedagogy.

2018 AWARD FOR OUTSTANDING ACHIEVEMENT IN CHOREOGRAPHY

Narelle Benjamin & Paul White for Cella, a defining and moving work in a stunning meditation on the wonders of the human body.

Stephanie Lake for Colossus, an exhilarating and unforgettable contemporary dance work exploring relationships between the individual and the collective.

Alice Topp for Aurum, a compelling and captivating work of choreographic scope and diversity, establishing a powerful connection with the audience,  and a breathtaking performance by The Australian Ballet.

Anouk Van Dijk for Common Ground, an intricate choreographic game of chess for two extraordinary performers, and evoking dualism, equality and betrayal.

2019 AWARD FOR OUTSTANDING ACHIEVEMENT IN CHOREOGRAPHY

Rafael Bonachela for Cinco, a work that explores the musical texture of a Ginastera String Quartet with the gifted dancers of the Sydney Dance Company performing a technically complex and intricate work.

Stephanie Lake for Skeleton Tree, a riveting, hypnotic dance work that explores relationships between the individual and the collective, solitary striving and joyous union through dance, music and theatre in an emotional and nuanced work.

Garry Stewart for South, a theatrical work that evokes Mawson’s tragic Antarctic expedition of 1912 performed by nine dancers with Stewart’s virtuosic movement vocabulary and a challenging set of large moveable white cubes.

Marina Tamayo and Aitor Hernandez Sanzano for Emerald, a work choreographed for two bravura dancers combining traditional flamenco in a contemporary format in a dance of intensity, intricacy, and passion.

2018 AWARD FOR SERVICES TO DANCE

Erica Rose Jeffrey for her work in establishing Dance for Parkinson’s Australia in 2012 with over 40 class programs now existing around the nation.

Valerie Lawson for her work as a Walkley Award-winning journalist who has devoted much of her life advocating for, and writing about, dance in Australia.

Marina Tamayo for her work as a Spanish dance practitioner who creates opportunities for remote, urban and international community engagement in performance and education.

Paul Wakelam for his work in designing for Australian dance as a collaborator, curator, sponsor and passionate exponent of the boundless relationship between dance and architecture.

2019 AWARD FOR SERVICES TO DANCE

Philippe Charluet for over 30 years of filming Australian dance productions from some of the country’s most outstanding companies and choreographers, in particular for his documentation of the work of Graeme Murphy and Janet Vernon in his Heritage Collection.

Mark Dyson for excellence in lighting design, working between the spaces of light, dark and movement, enabling the choreographer to tell powerful stories on stage.

Sidney Saltner for his outstanding contribution to dance over three decades, and for his leadership as a benchmark for other First Nations peoples, enabling enduring social and cultural benefits for young people.

2018 AWARD FOR OUTSTANDING ACHIEVEMENT IN DANCE ON FILM OR NEW MEDIA

Lisa Maris McDonell for Softly Softly, a film based on journal entries by one of historic house Meroogal’s former owners.

Lucy Doherty for Reminiscence, the third instalment of an ongoing short dance film series exploring and unravelling her experience with loss and grief after losing her mother Jane in 2014.

Richard James Allen & Karen Pearlman for Digital Afterlives, a witty and whimsical meditation on free will, identity and the afterlife made through the collision of dance, digital code, and Franz Liszt.

RIPE Dance for In a Different Space, an inspirational dance film combining beauty, humour, serenity, and cheekiness in equal measure.

2019 AWARD FOR OUTSTANDING ACHIEVEMENT IN DANCE ON FILM OR NEW MEDIA

Sophia Bender for Endo Girl, a visually deluxe blend of dance and film, educating viewers on an important and unknown disease with beautiful scoring, colour grading and attention to detail in choreography that enhance the difficult commentary.

Jen Brown for Sky Song, capturing an extraordinary improvisational moment in a sensitive and evocative work at Mt Stromlo, where the burnt-out shell of the old observatory and moon map are integral to the dance and images.

Claire Marshall for SHIFT, an innovative film that is proof of her mastery of the art form, and for her ability to move an audience through choreography, direction, design and editing.

Samaya Wives for Oten, a film that speaks to an integral facet of human nature: our imperfections, yet the slow cadence and dreamy expressiveness of the text provide a moment of stillness, a chance to see the beauty in these so-called ‘flaws.’

2018 AWARD FOR OUTSTANDING ACHIEVEMENT IN COMMERCIAL DANCE, MUSICALS, OR PHYSICAL THEATRE

Circa Contemporary Circus for En Masse, a presentation of two visions of humanity at its extremes, conveying a powerful life and death struggle between group and victim.

Circa Contemporary Circus for Circa’s Peepshow, an exhilarating ride into the bizarre recesses of the mind in a mesmerising acrobatic performance of teetering towers of bodies and precarious aerials.

The Farm for The Tide, a work that explores the impact of climate change with two outstanding performers, Gavin Webber and Joshua Thomson, transforming a tough reality into a place of optimism and compassion.

2019 AWARD FOR OUTSTANDING ACHIEVEMENT IN COMMERCIAL DANCE, MUSICALS, OR PHYSICAL THEATRE

High Kix  for Frou Frou to Fruition, a colourful and energetic cabaret set in Lucky’s Speakeasy, created, and choreographed by Kym Degenhart in collaboration with the cast.

Opera Australia for West Side Story, for bringing back to the stage this classic dance musical and making it seem as relevant today as it did when we first saw it in Australia in the 1960s.

STRUT Dance for SUNSET, a major commissioned event that took audiences on a magical and haunting journey through one of Perth’s heritage listed buildings.

The Farm for Throttle, a piece created by Gavin Webber and Grayson Millwood that takes us on a tyre-squealing journey to a drive-in showground near you, complete with human road kill, the walking undead and zombies.

2018 AWARD FOR OUTSTANDING ACHIEVEMENT IN INDEPENDENT DANCE

Anything is Valid Dance Theatre for Dust on the Shortbread, a powerful and moving work that takes an intimate look at the impact of dementia on relationships.

Clare Dyson for ALONE TOGETHER, a work that focuses on themes of loneliness and being alone, placing the audience into moments of 'aloneness' to physically experience the work.

Liz Lea for RED, a brave and confronting work in a multi-media setting performed with strength, courage and clarity and showing the power of dance to transmit a very human message.

Vicki Van Hout for plenty serious TALK TALK, a work that explores the consultative process in Indigenous art making, inviting the audience to appreciate the full complexity of negotiating culture across disciplines, genres, and eras.

2019 AWARD FOR OUTSTANDING ACHIEVEMENT IN INDEPENDENT DANCE

Australian Dance Party for From the Vault, a powerfully danced production that was an immersive experience for the audience with exceptional creative input from the whole collaborative team, including dramaturgy, lighting, design, and music.

Laura Boynes for Wonder Woman, a work that draws attention to the potent presence of a solo female dancer whose less visible strengths and powers are celebrated in a staging of the ‘severalness’ of femininity.

Scott Elstermann for Act 2 Scenes 1-4, a wonderfully comic interpretation of Wes Anderson's 'Grand Budapest Hotel' and for its effective animation, capturing the cartoon-like nature of The Grand Budapest Hotel’s many fight scenes.

Lewis Major for Epilogue, a hypnotic performance where modernity and tradition interact in perfect harmony in a meditation on classicism and the role that beauty has played in the shaping of the Western canon.

2018 AWARD FOR OUTSTANDING PERFORMANCE BY A FEMALE DANCER

Narelle Benjamin for Cella, an extraordinarily moving and physically demanding performance with Paul White, in an exploration of how the human body can transform and evolve in the imagination.

Anca Frankenhaeuser for MIST, choreographed by Stephanie Burridge, for a truly remarkable performance in a duet with violinist Kailin Yong in which gesture and facial expression joined forces with movement and sound to create a stunning and intimate comment on life.

Carina Roberts for Dracula by West Australian Ballet, for a role that was exceptionally well-performed in the dual roles of Mina and Elizabeth, bringing softness and strength to the roles.

Charmene Yap for Ab(Intra) with Sydney Dance Company, for an exemplary performance, and for her ability, with maturity and emotional investment, to allow the audience to be swept up in the power and the beauty of the moment.

2019 AWARD FOR OUTSTANDING PERFORMANCE BY A FEMALE DANCER

Marlo Benjamin for Skeleton Tree with Stephanie Lake Co., for a performance that was powerful and heartfelt with a rare combination of incredible technical prowess and a depth of feeling, strength and bravery.

Niharika Senapati for Precipice by Rachel Arianne Ogle, for a performance in this challenging work that was dynamic and compelling, demonstrating her trademark mix of strength and fluidity.

Alexa Tuzil for Giselle by West Australian Ballet, for a performance that belied her youth in an emotionally charged and technically assured interpretation, especially in the ‘mad scene’ in which she oscillated between teary recollection and wild-eyed disbelief.

Josephine Weise for The Dinner Party by Australasian Dance Collective, for a role in which she danced with impressive strength, technique, and character as The Insecure Party Girl, in constant motion as her character gained confidence and control over the course of the work.

2018 AWARD FOR OUTSTANDING PERFORMANCE BY A MALE DANCER

Victor Estevez for A Midsummer Night’s Dream by Queensland Ballet, a thrilling manifestation of Shakespeare’s conniving King Oberon, commanding the stage and everyone on it through dazzling choreographic waves and cycles, and compelling acting.

Matthew Lehmann for Dracula with West Australian Ballet in an outstanding world premiere of flair, power and convincing personification of Young Count Dracula, revealing his inner turmoil, conflict and attempts to resist his dark urges.

Oscar Valdes for La Sylphide with West Australian Ballet, an elegant, authentic interpretation of the charming James in this 1836 classic tale of love and loss, filled with wonderfully crisp batterie and lofty allegro.

Kimball Wong for The Beginning of Nature with Australian Dance Theatre, for a brilliant demonstration of his innate ability to combine strength and technique with rich artistry and emotion in this symphony of overlapping rhythms of nature and life.

2019 AWARD FOR OUTSTANDING PERFORMANCE BY A MALE DANCER

Tyrel Dulvarie for 30 years of 65,000 by Bangarra Dance Theatre, in an outstanding performance celebrating Bangarra Dance Theatre’s thirtieth anniversary, especially for his transfixing dancing in Unaipon, the opening work on this triple bill program. 

Harrison Elliott for South with Australian Dance Theatre, an excellent performance in a challenging role as Antarctic explorer Douglas Mawson, demanding strength, dexterity in risky solos, alternately precise and explosive, expressing both strength and vulnerability.

Ryan Pearson for Stamping Ground with Bangarra Dance Theatre, a performance danced as if born to it, darting like a polymorphous creature, flick-flacking, or courting a female, his virtuosity, fluidity, and commanding presence were exhilarating.

Andrew Searle for The Line with Co:3 Australia, for outstanding artistry in a work echoing a racist and painful past, a riveting display of strength and conviction that suggests trauma is part of what drives people on.

2018 AWARD FOR OUTSTANDING PERFORMANCE BY A COMPANY

Australian Dance Theatre for The Beginning of Nature, a work full of intense theatricality, danced to an evocative score by Brendan Woithe, and with exceptional Indigenous references to the Kaurna language of the Adelaide Plains.

Bangarra Dance Theatre for Dark Emu, a performance that is nothing short of virtuosic, beautifully fluid and exploring the vital life force of flora and fauna in a series of dance stories inspired by Bruce Pascoe’s book of the same name.

Marrugeku for Le Dernier Appel, an extraordinary dance-drama work of daring solos and cluster dances that pour out grief and frustration with alarming ferocity, a harrowing call for freedom in this divided paradise of Noumea.

West Australian Ballet for Milnjiya, Milky Way – River of Stars in association with Perth Festival, a collaboration between Gary Lang NT Dance Company, Miku Performing Arts, and also starring Deborah Cheetham in a performance that was delicate and inspiring.

2019 AWARD FOR OUTSTANDING PERFORMANCE BY A COMPANY

Australian Dance Theatre for South, a work that was compelling and engrossing to watch, stunningly danced and brilliantly conceived: A major collaborative initiative using aspects of the Kaurna language and culture, with an exceptional original score.

Bangarra Dance Theatre for 30 Years of 65,000, a work that celebrated the company’s 30th birthday, immersing itself in magical choreography and the formidable challenge of Jiri Kylian's Stamping Ground in this unique homage to Indigenous culture.

Restless Dance Theatre for Zizanie, a work by Meryl Tankard in which the artists of Restless Dance Theatre celebrate the beauty of difference, full of good spirit, lively imagination, warm heart and sweet hope.

STRUT Dance for SUNSET, a work that took audiences on a magical and haunting journey through one of Perth's heritage listed buildings, with a sense of falling down a rabbit hole into a world of ghosts and memories.

Presenters

David McAllister AM, Artistic Director, The Australian Ballet
Wesley Enoch AM, Director of the Sydney Festival
Lucy Durack, star of musical theatre
Ella Havelka, dancer and choreographer, The Australian Ballet

Selection Panel

Ausdance thanks the ADAs selection panel, made up of dance professionals from all states and territories representing educators, independent artists, dance companies, writers and critics, administrators, and youth and community dance specialists.

Enquiries: Julie Dyson (0412 211 513) or Katy McKeown (0481 956 091)

The 2020 Australian Dance Awards is grateful for the support of our sponsors.

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Parliamentary Inquiry into Australia’s Creative and Cultural Industries and Institutions

A Parliamentary Inquiry into Australia’s Creative and Cultural Industries and Institutions has been called by the Minister for Communications and the Arts, the Hon Paul Fletcher MP.

Ausdance encourages you to make a submission by the closing date, 22 October 2020.

The Terms of Reference for the inquiry are:

  • The direct and indirect economic benefits and employment opportunities of creative and cultural industries and how to recognise, measure and grow them.
  • The non-economic benefits that enhance community, social wellbeing and promoting Australia’s national identity, and how to recognise, measure and grow them.
  • The best mechanism for ensuring cooperation and delivery of policy between layers of government.
  • The impact of COVID-19 on the creative and cultural industries; and
  • Avenues for increasing access and opportunities for Australia’s creative and cultural industries through innovation and the digital environment.

Your submission can take several different forms. You can write a letter, a short statement or provide a substantial paper. You can choose to fill out the committee survey or you can choose to share your thoughts in an audio-visual format. 

Every voice put forward helps to produce a more informed appreciation of public opinion. Information provided through your submission may be referred to and included in the report compiled by the parliamentary committee, whose members may use the findings to influence public policy and spur governments into action.

Do note that to make an influential parliamentary submission you will need to provide information that addresses the Terms of Reference. If your submission is irrelevant it is likely to be dismissed.

Remember, your  audience is the parliamentary committee. Arguments should motivate them to consider the positive potential of your suggestions through the perspective offered, and convince them to embrace the rationale that has shaped it. The submission should illuminate the opportunity they have to show leadership in government to benefit the people of Australia. 

A constructive submission won’t continue to list the problems of the past, but will offer ways to learn from them by suggesting how to shape a better future. Try to position your arguments to maintain the integrity of the situation, bearing in mind their relevance to the government's agenda. 

It’s not a requirement to address everything in the Terms of Reference. If you know of other people who would offer something relevant to the inquiry and further contextualise or support the arguments you’re making, let them know about it and encourage them to make a submission too.

Here are some helpful resources:

If you come across other resources that you find helpful, please do share them with others!

Act today to shape the future you want to see tomorrow!

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Joining the dots in dance education, training and practice to make meaningful dance policy

A meeting with Greens Arts spokesperson Senator Sarah Hanson Young

What do the Covid-affected dance studio sector and the tertiary dance training sectors have in common? Where do they fit into the Australian dance ecology? Why are they not included in arts policy and funding strategies? And why are they not recognised as integral to the wider dance industry by politicians and policy makers?

These are some of the questions discussed recently a meeting between the Greens Arts spokesperson Senator Sarah Hanson Young and Ausdance National VP Julie Dyson at Parliament House in Canberra.

Sarah had recently expressed interest in (and sympathy for) dance studio businesses in the COVID-19 environment, and so the publication of Ausdance Victoria’s Covid-19 Business Impact Survey,  (focusing on dance studios), and the Federal Government’s proposal to increase tertiary fees in the Creative Arts provided a perfect opportunity for us to ‘join the dots’ and advocate for dance education and training and their centrality to the Australian dance ecology.

Dance studio businesses number in their thousands in Australia, and the Ausdance Victoria impact survey found that millions of dollars had been lost in Victoria alone with forced closures, and yet most were not eligible for government assistance. As the report notes:

Most commonly, studios have only been able to access JobKeeper for the owner, part-time and full-time staff, leaving 80% of workers in the sector unsupported.

And –

92% of respondents expressed concern about their business surviving until the end of March 2021. … If these businesses collapse, thousands of independent dance artists and associated workers will lose their primary sources of income, and the cumulative effect on local economies, such as performance venues, dance suppliers, and related retailers, will be exponentially catastrophic.

As well as the financial impact, we discussed the role of dance studios in communities, the value of their work with young people (including artistic, physical, social and educational), and the impact of Zoom teaching as an unsatisfactory substitute for face-to-face teaching. We also noted that adequate correction and feedback is not really possible in an extended Zoom teaching environment.

Our suggestion that Sarah make a public statement in support of the studio sector was well received, but she also undertook to look into better financial support for these small businesses.

We also discussed the impact of proposed Creative Arts fee increases on courses such as those training dancers at WAAPA, and provided a list of dance course alumni back to 1983 with graduate jobs listed, contradicting the federal Education Minister’s statement that Arts graduates are not ‘job ready’.

Ausdance’s submission to the Senate Inquiry into the Government’s Higher Education Support Amendment Bill 2020 notes that –

Ausdance is well aware of the exceptional career pathways these courses offer their graduates, both in Australia and overseas. Australian dance companies and independent artists’ projects are almost entirely made up of graduates, and international companies look to Australian-trained dancers for technically and artistically mature artists.

Our submission to the Senate inquiry goes on:

Australia's arts industry is already in a precarious situation as a result of severely reduced government investment in artistic practice (as opposed to the ‘billions’ it invests in galleries, libraries and museums). There is also a complete lack of industry-based public policy.

Increasing fees for Creative Arts courses will severely exacerbate this situation, and we risk an imminent perfect storm for the $111b arts industry. The new fees proposal means that creative arts students will be squeezed from both ends – their opportunities within the course will be further reduced (due to university budget cuts) while the overall cost of their courses will increase.

Sarah noted that in the past she had left matters of arts education and training to the Greens’ education spokesperson, but that in fact she now appreciated the need to ‘join the dots’, and include dance studio teachers and tertiary dance educators in arts policies, rather than siloing them into education portfolios.

We agreed that these sectors must indeed be treated as an important part of the arts ecology, and that arts ministers, advisors, bureaucrats and other arts spokespersons must start to recognise the studio and tertiary dance education sectors as central to the wider dance ecology.

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Business and employment survey – COVID-19 government assistance

Ausdance National is surveying the dance sector to measure the effectiveness of government assistance during the COVID-19 crisis. The survey will close on Monday 5 October.

What is this survey about?

This survey seeks specific data from individuals and businesses working in the Australian dance sector about their access to programs such as JobKeeper, JobSeeker and the Temporary Cash Flow Boost that have been provided by the Australian Government in response to COVID-19.

Who should complete the survey?

Anyone who runs a business or organisation, or who is an employee, or who is working in the Australian dance sector. You do not need to be an Ausdance member to complete this survey.

Why?

Ausdance National – Australia's peak body for dance – seeks to strengthen arguments with specific data to better support the dance sector. This data will enable us to present clear evidence to decision makers.

It's important that the requests Ausdance puts forward reflect the experience of the dance sector we represent. It is a most crucial time for focused advocacy so that relevant programs, support, subsidies and new systems can be shaped to benefit the dance sector, not only through the current crisis of COVID-19, but also beyond.

How will my responses be used?

The responses collected through this survey will provide dance sector-specific data to identify gaps in the current provision of COVID-19 related assistance from the government for Australian dance industry workers and businesses. These gaps (backed up by evidence) can then be brought to the attention of local, state and federal Government bodies to lobby for changes to existing schemes, and for future support packages that more effectively support the dance sector.

Storage and privacy

Raw data collected through this survey will be stored in a secure cloud file only accessible by Ausdance National board members. By submitting your survey you grant Ausdance National permission to share your responses according to the purposes outlined above. Any information shared from this survey will remove individually identifiable data so that you remain anonymous.

Please contact Ausdance National if you have questions or require assistance to complete this survey.

Go to the survey.

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Fee increases for creative arts & humanities courses

With so many artists excluded from both JobKeeper and JobSeeker during the Covid-19 crisis, the sector suffered another blow with the announcement by the Federal Education Minister, Dan Tehan, that tertiary fees would be substantially increased for Humanities and Creative Arts courses.

The Minister's announcement did not contain much detail, so we asked whether he would clarify the percentage increase for the Creative Arts. 'We understand fees for ‘creative arts’ will rise by 13%, from $6804 to $7700 over three years, but we are unable to find more accurate information in the Minister’s speech to the National Press Club. However, it is clear that Humanities & Social Science degrees will rise by 113%'.

We also asked the Minister to define ‘creative arts’, i.e. did it mean arts training courses such as those offered in Dance at QUT and the University of Melbourne (VCA)?

We now have a response from the Minister, and will be following up shortly with input from dance course directors and the Ausdance network.

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$250m Arts Funding Package: Ausdance responds

8 July 2020

The Hon. Paul Fletcher MP
Minister for Communications, Cyber Safety and the Arts
Parliament House
CANBERRA ACT 2600

Dear Minister Fletcher,

$250m arts, entertainment & screen industry package: Maximising investments in the dance sector for rebooting Australia’s creative economy

Ausdance National recognises that whole-of-economy support and assistance measures are necessary to restart Australia’s economy and secure sustainability for the future.

The association welcomes the $250m arts, entertainment and screen industry package announced by the Prime Minister last week. Financial investment to stimulate and support businesses in the dance sector is necessary to restart activities and build their long-term sustainability.

For dance businesses with access to the resources provided through this support package, it will assist in saving jobs and driving job creation as the sector rebuilds from the impact of COVID-19. 

However, Ausdance National and its professional network* across the nation have identified that further tailored support measures are needed to enable the full scope of dance businesses to return to work, and to do so efficiently. 

We reiterate that reforms to current support measures can maximise job saving and job creation in the dance sector, and reduce the burden on the Federal Budget.

  • Currently, sole traders who run micro dance businesses, along with other smaller dance businesses, are being left without the necessary means to successfully carry out their business activities. JobKeeper supports individual jobs, but resources are also needed to support the multifarious projects those workers undertake.
  • Employers in the dance sector are seeing business productivity and profitability affected. They are being forced to prioritise giving shifts to casuals who have been employed by their businesses for 12 months or more, whether or not they are relevant to ongoing business needs. 
  • Employers cannot support their other casuals left without JobKeeper. As a result, they are finding that they are unable to retain and support uniquely skilled casual staff who provide the specific expertise required because they work on short-term contracts across multiple businesses. 
  • Freelance dance professionals, without any safety net, are struggling to remain in an industry in which they provide an essential element. A large majority of these workers have been omitted from JobKeeper because they have not worked for one employer for the length of time deemed necessary to meet eligibility criteria, yet as workers who have been consistently engaged by multiple employers in the 12-month period prior to COVID-19 they may have earned too much to meet JobSeeker eligibility. 
  • The business activities carried out by casual freelance professionals, and micro and small dance businesses, fulfil integral roles that support the business activities of the ‘sector significant organisations’ the Government has already identified. These are activities the ‘sector significant organisations’ are not positioned to undertake, but which are necessary to ensure effective, productive functioning of the dance ecology. 

Unless outputs from the whole dance sector are maximised, many interacting or benefiting arts and non-arts business economies will be negatively affected. These include but are not limited to: 

  • Disability and regional sectors
  • Mental health initiatives
  • Physical health management
  • Creative capacity building
  • Tourism and hospitality sectors

Consideration must also be given to:

  • Enhanced tax incentives to motivate private giving and investment in artworks and industry development.
  • Removal of the efficiency dividend.
  • Specific support for innovation. 
  • Relief for lease holders in both government-owned and private tenancies.
  • Investment in a public campaign to rebuild confidence in the dance and arts sectors.

Australia is without a Federal Government arts policy. Endorsement and meaningful support of First Nations arts and cultural activity must be central to a new arts policy to preserve First Nations cultural knowledge and storytelling, and ensure the safety of First Nations Peoples. Without them we have no future. Policy at this level needs to provide clear vision to achieve recognised goals of national importance. 

With this knowledge, and with the goal of supporting the dance sector to secure future sustainability within the creative economy, Ausdance urgently requests governments to: 

  • Expand JobKeeper eligibility criteria to include casual freelance dance professionals employed on short-term contracts who have worked consistently in the 12 months prior to COVID-19, but who have had multiple employers. 
  • Provide employers in the dance sector the flexibility to determine levels of JobKeeper pay equal to the casual employment contract suitable for project work.
  • Extend JobKeeper beyond September to support dance businesses (including sole traders) who face ongoing disruption and impact on sustainability due to COVID-19. 
  • Add direct financial investment to the current package to include support for restarting business activities (including generating live performance outcomes) for micro and small dance businesses. This means prioritising further continued support to rebuild the dance sector – part of the greater arts industry that employs more than 645,000 Australians and is so severely impacted by COVID-19. 
  • Increase funding to the Australia Council for the Arts. Dance is severely under-resourced at present, and it must be enabled to rebuild its programs of innovative performance, its contribution to health and wellbeing, and its ongoing development of the sector as part of the solution to COVID-19 recovery.
  • Invest in development of a national arts policy through consultation with the arts sector that recognises and acknowledges First Nations Arts and Culture, with custodians providing direction and leadership in the shaping (and decolonising) of our cultural context and frame. 
  • Continue to engage with dance sector representatives, including Ausdance and BlakDance, to inform equitable and relevant policies of support and assistance for the whole dance sector. 

Ausdance National is confident that implementation of these measures will maximise the return on taxpayer-funded investment by enabling a highly skilled and innovative dance workforce to help facilitate rebooting Australia’s creative economy. Dance businesses help stimulate the economy beyond the creative sector, by contributing to the health, wellbeing and vibrancy of Australian communities, thereby helping to drive the regeneration of the broader Australian economy. 

We look forward to your response to these suggestions, and to your further support of Australia’s vibrant, highly-skilled and diverse dance sector.

Yours sincerely,

Paul Summers, Ausdance National President

c.c. The Hon. Scott Morrison, Prime Minister

*Ausdance network:

  • Ausdance NSW
  • Ausdance Victoria
  • Ausdance Qld
  • Ausdance ACT
  • Ausdance SA
  • Ausdance WA

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Ausdance National welcomes $250m arts, entertainment and screen industry package

Ausdance National welcomes the $250m arts, entertainment and screen industry package announced by the Prime Minister last week.

Of this, $110m of seed and sustainability funding will be available to the arts, including dance, visual arts, First Nations arts, music, literature and theatre ‘for important and successful companies, large and small’.

However, Ausdance National has major concerns about the significant number of casual, freelance dance workers who are still without any safety net.

Ausdance National President, Paul Summers said: ‘Ausdance consultations reveal that there are hundreds of casual freelance dance professionals employed on short term PAYG contracts who are not supported through the current Government support measures. Without urgent direct assistance they face losing their livelihoods, and without creators, the tradies mentioned by the Prime Minister have no work in the arts.’

Ausdance National Vice-President and independent dance professional, Lizzie Vilmanis, said: ‘Freelance casuals, as well as micro dance businesses, need to be included with direct and relevant access to investment from support packages. Their business activities fulfil integral roles that currently- classified ‘sector significant organisations’ are not positioned to undertake.’

Ausdance National requests:

  • The expansion of JobKeeper eligibility criteria to include casual freelance dance professionals employed on short-term PAYG contracts who have multiple employers.
  • The extension of JobKeeper beyond September to support sole traders facing sustainability disruption due to COVID-19.

Ausdance National believes these measures would maximise the return on taxpayer-funded investment and improve the ability of a highly-skilled dance workforce to help facilitate rebooting Australia’s creative economy.

Email Ausdance National President Paul Summers or call on 0417 925 292 for further comment.

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Notice of Ausdance National 2020 Annual General Meeting


Sunday 28 June 2020 at 12.30 pm

The Ausdance National 2020 Annual General Meeting will be held via Zoom on Sunday 28 June 2020 at 12.30 pm AEST.

The AGM agenda, 2019 AGM minutes, 2019 financial statements and annual report are available below.

Ausdance National, as your peak sector organisation, continues to drive important advocacy work to support the sector, especially as we face unprecedented conditions for the arts industry with the COVID-19 pandemic.

While much of the work we do is unseen, Ausdance National continues to drive support for dance across all sectors and lobby for increased investment.
 
Elected Board Members at the Special General Meeting (4 December 2020): 
President: Paul Summers (Vic) Vice President: Julie Dyson AM (ACT) Vice President: Lizzie Vilmanis (Qld) Treasurer: Tamara McKee (ACT) Ordinary Council Members: Dr Cathy Adamek (SA), Sebastien Ananian-Cooper (SA)

All board positions will be declared vacant at the AGM (see call for board nominations).

2020 Agenda Papers

Please RSVP to President Paul Summers if you are able to attend, or if you require a proxy form.

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Dance education & training: Australia’s dance teaching excellence

An open letter to the National Cabinet

Ausdance National and the Ausdance Network respectfully bring to your attention the qualifications status of dance studio teachers and their businesses across Australia.

These thousands of businesses closed their doors on 24 March, demonstrating a shared responsibility to flatten the curve, despite never having been listed as a restricted business by the National Cabinet, and without any consultation.

We acknowledge that the National Cabinet has been careful to take account of the plight of gym owners, fitness studios, boot camps and other businesses whose primary concerns are physical activities. However – apart from an unfortunate comment by a state premier that implied dance studio teachers were not qualified – dance has been left out of the conversation.

The perception that dance studio teachers are not qualified is inaccurate – 96% of dancers and choreographers have received recognised formal training and 86% of dancers and choreographers supplement this with private training (An Economic Study of Professional Artists in Australia published by the Australia Council in 2017). Dancers at their peak are as highly trained and nuanced in their physical capabilities as elite athletes.

In the meantime the Ausdance Network has produced a comprehensive, national Return to Work Framework for post-Covid-19 recovery. The Ausdance Network is also conducting a national Covid-19 Impact Survey which is demonstrating the extent of economic and mental health impacts caused by the shutdown.

Ausdance offers the following information to assist the National Cabinet to understand the high quality of dance teaching that takes place in our communities, including First Nations teachers and choreographers.

Ausdance and the Australian dance sector introduced Dance Teaching Standards and Ethical Guidelines several decades ago, and these formed the bedrock of the rigorous vocational training programs dance teachers now engage in to ensure safe, methodogically sound and progressive dance teaching practice.

In addition to tertiary degree programs which train dancers in performance and teaching in community and school contexts, there are numerous professional membership bodies whose sole focus is the training and professional development of community dance teachers.

Organisations such as the Royal Academy of Dance (RAD), Australian Teachers of Dancing (ATOD), Cecchetti Ballet of Australia, Comdance and others, including various ballroom associations, have pointed to their long-standing commitment to rigorous examinations and registration systems. There is also a range of professional qualifications specific to dance in the community such as dance and disability, community cultural development and dance for Parkinson’s.

This excellence of training is evident in Australia’s professional dancers, many of whom are the beneficiaries of training by dance studio teachers in suburban schools and full-time training courses.

We acknowledge that opening a dance studio does not require formal qualifications, as there is no government regulatory body for dance. However, there is a range of pathways and training for professional teachers, including for those who have had careers as professional dance artists, and First Nations teachers who not only have formal dance training but who have inherited thousands of years of dance traditions.

Ausdance has worked for more than four decades alongside the teaching organisations and artists by providing research, information, guidelines, publications, workshops and seminars to ensure that Australia has the highest quality community dance teaching anywhere in the world.

We have:

  • Produced four Safe Dance reports (1990-2018), detailing the latest research into injury prevention and management.
  • Published research papers to support Safe Dance practice, and made comprehensive recommendations affecting the syllabi and choreographic practices that are now widely recognised by teachers everywhere.
  • Produced a Code of Ethics with dance teachers (first published in 1987), and a code for parents.
  • Developed competency standards and skills sets with the sector, and encouraged teaching societies to incorporate these Safe Dance and ethical practice standards into their own curricula.
  • Chaired a review of VET competency standards required for Certificates, Diplomas and Advanced Diplomas, opening pathways for dance teaching societies and companies to become Registered Training Organisations.
  • Founded the Tertiary Dance Council of Australia in 1985, whose professional dance leaders have produced the current generation of choreographers, dancers, artistic directors and teachers, making this the most highly qualified dance teaching sector in history (see statistics above).
  • Developed fact sheets and guidelines for studio teachers and their businesses, including access to tailor-made insurance, music copyright licences, etc.
  • Provided workshops, seminars, conferences, and international and national research to aid communication and knowledge across the sector.
  • Introduced a category into the Australian Dance Awards that recognises best practice in dance education in schools and communities.
  • Encouraged professional artists-in-schools programs to complement the work of primary and secondary dance teachers (many of whom are not specialist dance teachers, particularly in primary schools where teachers are trained as generalists).
  • Led the development of the Dance curriculum in The Australian Curriculum: The Arts and devised strategies for implementation that involved teaching artists from dance companies, studios and communities, as well as supporting registered primary and secondary teachers.
  • Produced biennial Australian Youth Dance Festivals that provide students and their teachers with creative learning opportunities in dance for young people.
  • Worked with the Australian Institute of Sport to create after-school dance programs for children that provide creative alternatives to sport.

Ausdance also made a submission to the Royal Commission into Institutional Responses to Child Sexual Abuse and developed guidelines for both dance education and studios that have been taken up across the sector.

It's also important to note that the AusPlay Focus Children’s Participation in Organised Physical Activity Outside of School Hours (April 2018) records dancing as the 4th overall out-of-school physical activity for all Australian children in 2017, and for girls it's the second highest activity.

We respectfully request that the National Cabinet acknowledges the dance sector and its specific knowledge and expertise. We seek clarity about the post Covid-19 restrictions and the guidelines that need to be followed by a sector which consists of thousands of distinct and highly professional physical activity businesses across the country, employing well over 10,000 dance teachers.

This is one of the most affected groups as a result of the economic downturn during the Covid-19 lockdown, and we look forward to your support and acknowledgement. We would be pleased to provide further advice.

Yours sincerely,

Paul Summers, Ausdance National President                    

With the Ausdance network: Ausdance NSW, Ausdance Qld, Ausdance Victoria, Ausdance SA, Ausdance WA, Ausdance ACT.

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Ausdance submission to Senate Select Committee on COVID-19

28 May 2020

Committee Secretary
Department of the Senate
PO Box 6100
Parliament House
Canberra ACT 2600
[email protected]

Dear Select Committee members,

Thank you for this inquiry into the Australian Government’s response to the COVID-19 pandemic. Ausdance National is part of the Australia-wide Ausdance network that represents the voice of dance at all levels, including performers, companies, studio teachers, academics and independent artists.

Our COVID-19 impact survey is identifying job losses, severe income loss for independents and sole traders, financial stress for large and small companies, and in many cases, struggle to adapt to the online environment with limited resources and student numbers falling away.

We note the actions taken by the Australian Government and the Australia Council in responding to the impact of COVID-19, and appreciate the challenging circumstances in which they are operating.

We thank the Federal Government for the financial assistance measures available to the arts industry, including JobKeeper, JobSeeker, and the $27m for regional arts organisations and artists announced last week.

However, unless arts funding deficiencies are addressed, implications for the dance sector will be severe, threatening the vibrancy of Australia’s cultural life and posing significant threats to the wellbeing of the many Australians who benefit from the health, connectedness and community economies that dance activities generate.

DANCE

Ausdance supports the submission to the Inquiry by BlakDance, noting this observation in particular:

‘First Nations-led solutions that empower our communities to utilise our cultural arts knowledge and build on our unique strengths are the most likely to succeed. This includes the need to sit with, in deep listen and work with our First Nations Elders, leaders, and to prioritise funding for First Nations-led organisations in sufficient sums to enable long-term planning for sustainability.

Self-determination means First Nations people have the right to make decisions concerning our own lives and communities; the right to retain their culture and to develop it, and the right to be full and equal participants in the construction and functioning of the governing institutions under which we live.’

In supporting this statement we reiterate the point about First Nations self-determination being an essential core element of their artists’ practice. The following comments by Ausdance National include First Nations dance practice in all settings.

The recent results of the Australia Council’s four-year funding for small to medium dance companies highlight the ongoing losses sustained by the dance sector, with only eight small dance companies and organisations across Australia now having the ability to employ staff, plan for the future and create new work, while four other highly regarded companies are left hanging by a thread, with one-year transitional funding.

Many other small but artistically significant dance companies and independent artists are completely without Australia Council or State/Territory funding support, and all will be struggling to rebuild creative output, audiences and touring schedules in 2021, further weakening our already fragile dance infrastructure. That the Australia Council was forced to spread available funding so thinly demonstrates the extremely serious diminution of vital dance infrastructure in this country.

The dance industry’s loss of all self-generated income, and its inability to survive long months of shut-down and the road to recovery, is of major concern. The small businesses that are dance studios and small dance companies are in the thousands, and we have been contacted by many who do not qualify for JobKeeper or JobSeeker and are struggling to understand and implement the confusing regulations around returning to studio teaching and rehearsing. Dance has been confused with gyms, boot camps, fitness studios etc., leaving teachers without clear direction about the future of their arts businesses.

The provision of an arts-specific funding package would be an opportunity for the Government to show cultural leadership and a recognition of the ways in which the arts (including dance) could be part of the solution, leading healing and reconnection of communities in the COVID-19 recovery phase, including those facing mental health issues.

People stay physically and mentally well by dancing and moving. The significant role played by dance in communities through dance education, dance for Parkinson’s programs, dance and movement for the elderly and the widespread health and wellbeing programs offered by professional dance artists across the country, must not be under-estimated.

INDUSTRY–SPECIFIC STIMULUS PACKAGE

The absence of an arts-specific support package from the Government – called for by all peak arts organisations including Ausdance – reflects a lack of acknowledgement of the sector’s demonstrated contribution to our economy of $111.7 billion (or 6.4% of GDP), a contribution that will dissipate with an unsustainable loss of arts infrastructure.

It will affect tourism, community health, arts education, tertiary arts training, a reduction in cultural activities and the world-class performances that make Australian destinations great places to visit.

It is also concerning that some Government ministers do not acknowledge gaps in the JobSeeker and JobKeeper packages, particularly as they relate to many casual artists and artsworkers who do not fit the criteria. The reality is that many professional artists and dance teachers are left without the cash flow needed to immediately transition services online and build new income sources.

A survey by Ausdance NSW of 81 independent artists in that State demonstrated that 52% were not eligible for either JobKeeper or JobSeeker. Our COVID-19 impact survey is identifying mental health as a major issue in the current environment, a matter of great concern.

We endorse the recommendations of Live Performance Australia and other peak arts organisations and the call for a dedicated Industry Rebuild and Recovery package for the live performance industry.

THE AUSTRALIA COUNCIL

Ausdance acknowledges and notes a particular paragraph from BlakDance’s submission to this Senate inquiry:

While our organisations are financially robust, there is unmet need for support for First Nations artists and arts workers across Australia, as illustrated by the Australia Council for the Arts’ analysis of unmet funding need for First Nations organisations:

 “In 2015, the Australia Council received Expressions of Interest from 43 First Nations-led small to medium arts and culture organisations for multi-year funding that equated to a total request of $12.5 million per annum.

We were only able to support 16 organisations with a total $3.5 million per annum, declining over 60% of the organisations that applied and leaving unmet demand of over 70% in terms of dollars – the demand far outweighs the funding available.” Australia Council for the Arts, Submission to the Closing the Gap Refresh (April 2018)."

We recommend a First Nations self-determined approach to recovery of arts practice, ensuring that re-opening actions and funding support are locally-led, holistic and culturally safe for communities.

We are particularly concerned about the Australia Council’s capacity to respond adequately to recovery of the arts sector, leaving many small companies and independent artists without support in an already-diminished funding environment.

As the Federal Government’s own peak arts funding and advisory body, the Australia Council’s funding must be substantially increased in the October Budget. Its present funding levels deprive it of being able to deliver on its vision to ‘support Australia’s arts through funding, strengthening and developing the arts sector’.

The dance ecosystem is inter-dependent, and the Council must be adequately funded to strengthen and develop it. Policy settings should recognise that different dance sectors serve different purposes, from the AMPAG dance companies to youth dance companies, First Nations performers, independent artists, community dance practitioners, school and studio teachers, choreographers and producers.

Increasing the Australia Council's current funding in the context of an arts-specific funding package is not a big request when compared to the rescue packages afforded to other industries. Recognition that increased funding is an investment in our future, and will be part of the recovery solutions, is vital.

It is self evident that 2021 will require more than a thinly-spread funding strategy in order for the arts and cultural sectors to re-emerge as viable creative industries.

We therefore recommend that the government supports individual artists and non-profit arts companies to get back on their feet by providing a Stabilisation and Recovery Fund of $70m to the Australia Council for the Arts, and an ongoing $50m per annum uplift to stimulate recovery for Australia that is led by the arts and cultural sectors. This recommendation is in line with those of Theatre Network Australia and other peak arts organisations.

We also request a full day of hearings to allow detailed advice from various arts and entertainment sectors.

Contact National President Paul Summers on 0417 925 292.

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Return to dance: Principles and framework for restarting dance activities post-Covid-19

In response to huge demand from dance teachers, dancers, independent artists and dance companies across Australia, Ausdance, the peak body for dance, has today released Return To Dance: Principles and framework for restarting dance activities post-Covid-19.

This document provides guidelines for practising dance safely whilst meeting the required health and safety guidelines in a new post-Covid environment. It applies to all members of the dance community: dancers, teachers, studio owners, companies and organisations.

The guidelines directly reference the Framework for Rebooting Sport in a COVID-19 Environment developed by the Australian Institute of Sport. The Ausdance guidelines have received the endorsement of Dr David Hughes, Chief Medical Officer, Australian Institute of Sport Medical Director, Australian Olympic Team, Tokyo 2020.

We recognise that our sector has been decimated by this pandemic, but COVID-19 has also provided an extraordinary opportunity for individuals, companies, small and medium businesses and communities to work together as never before to ensure a safe and productive future as soon as possible.

We also recognise that all dance in Australia sits within the context of 100,000 years of Aboriginal and Torres Strait Islander dance continuum. This is a powerful and extraordinary fact, and protection of First Nations Elders as the source of First Nations storytelling and knowledge in Australia is the first principle of this framework.

Teachers, parents, students, organisers and administrators can use the ‘Return to dance’ document to inform dance practice in classes, rehearsals and performances.

It’s important to remember that these are guidelines for operating within State or Territory directives: they are not an exemption from these directives. If necessary, the Ausdance network may seek exemptions to specific directives supported by ‘Return to dance’, alongside Workplace Health and Safety documentation through the COVID-19 Taskforce.

The Australian dance community has been united in its support for these guidelines which were developed by Ausdance Queensland in collaboration with BlakDance, and with the support of Arts Queensland and the guidance of many vital members of the dance and arts community.

All media enquiries: Julie Englefield, ph 0426296050

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