The Performing Arts Heritage Network of Museums Australia Conference
University of Wollongong
Wollongong
26th – 28th September 2018
Acknowledgments and Thanks to:
Margaret Hamilton, University of Wollongong
Stephanie Hamilton and Lee Scott, Museums Galleries Australia
Associated Events:
The VR Mill Theatre
The Mill Theatre Geelong Virtual Reality experience will be running during lunch breaks on the Wednesday and Thursday of the conference. Brought to you by Deakin University, AusStage and Ortelia with support from The Australian Research Council, the Mill Theatre VR experience allows you to walk through Mill Theatre as it was in its heyday.
The Conference Dinner
Samaras Lebanese and Mediterranean Cuisine, 123 Corrimal Street, Wollongong.
Thursday 27th September 2018, 7 for 7.30pm start
We will be having a banquet (meat eaters, vegetarians and vegans all catered for) for $39 per head. The restaurant will allow us to pay individually and receive an individual receipt. BYO wine ($2.50 per person corkage) – there is a bottle shop next door (see map below).
Maps
University of Wollongong
Please find following a link to the campus map: https://www.uow.edu.au/content/groups/public/@web/@unia/documents/doc/uow029186.pdf
PAHN will be held in the Research Hub in Building 19. It’s in Room 2072. Participants should enter at the main entrance to Building 19 which is the entry between Building 20 (Communications) and Building 16 (the library).
Day One: UNESCO Australian Memory of the World Performing Arts Documentary Heritage Workshop, 26 September 2018
The UNESCO Australian Memory of the World Program is part of a worldwide UNESCO initiative to safeguard and preserve documentary heritage, and make it accessible. The Australian Program has existed since 2000, and has compiled a register of documentary heritage of significance to Australia. Of the 59 items on the Register, only one relates to the Performing Arts.
This workshop aims to address this deficiency by inviting custodians of Performing Arts documentary heritage collections to learn about the process of nominating documentary heritage to the Australian register, and other Memory of the World registers.
The workshop will be conducted by Dr Roslyn Russell, current Chair of the Australian Memory of the World Committee.
PAHN Conference 2018
26-28 September
About our Speakers:
Robina Beard, OAM, MCA, LCICB
Robina Beard, OAM has been in the theatre for about 65 years, commencing as a dancer, progressing into singing, choreographing, directing, and later as an actress of critical acclaim. Her passion is everything to do with the theatre, every aspect that has presented itself. Her resume includes musical theatre, television situation comedy, advertising icon (Madge the manicurist for 20 years), touring NSW and Queensland and Canada, teaching dance, and now being involved with her peers to keep them fit and healthy. More recently, she performed the role of ‘Daisy Bates’ in performances of “Tales of Kabbarli”, and in “Shoehorn Sonata”.
Dr Geoffrey Sykes
Over 30 professional productions, including La Mama Melbourne, Holden Street Theatre Adelaide, Old Fitzroy Sydney, 707 Theatre Redfern Sydney, Tap Gallery Sydney, Teatrul Municipal Bacovia Bacau Romania, Inculise Bucharest Romania, People’s Theatre Sofia Bulgaria. Video programs have been broadcast on ABC, SBS, Foxtel and New Zealand television, and screenings at NSW Art Gallery, National Gallery of Canberra, South Australia Art Gallery, S.H.Erwin Gallery, Holden Theatre Adelaide, Wollongong Art Gallery, Thirroul Excelsior, Project Gallery Wollongong, and other public venues. Commissions by Art Gallery of NSW. Sponsorships by Peabody Energy, IMB Bank, Lawrence Hargrave Centre, Anzac Commemorative Fund. Lecturer in media and communications at University of Western Sydney, University of Wollongong, Notre Dame University and University of New South Wales. Editor of ‘Southern Semiotic Review’ journal. Doctorate on seminal American semiotic thinker Charles Peirce.
Dr Margaret Hamilton
Author of “Transfigured Stages: Major Practitioners and Theatre Aesthetics in Australia” (Rodopi 2011), Margaret Hamilton specialises in research on contemporary theatre in Australia and abroad. Her research has covered Australian artists such as The Hayloft Project, Jenny Kemp, The Sydney Front (1986 – 1993), Open City (1987 – ), William Yang, the Elision Ensemble and director, Benedict Andrews, and international artists, including, Rimini Protokoll, Robert Wilson and Heiner Müller. Her work has appeared in a number of book collections, as well as refereed journals published in Australia and internationally.
Simon Hinton
Simon Hinton has been Artistic Director / CEO of Merrigong Theatre Company since 2005. Merrigong manages one of Australia’s busiest, most dynamic regional arts venues – Illawarra Performing Arts Centre (IPAC) in Wollongong, as well as the city’s key civic and community venue, the Wollongong Town Hall. Under Simon’s leadership, Merrigong has developed into a vibrant theatre company in its own right – producing, presenting and touring exciting contemporary theatre, and supporting the development of a wide range of theatre-makers. Merrigong presents a diverse annual season of theatre, dance and children’s programming, including work sourced from Australia’s finest performing arts companies, self-produced work, acclaimed international productions, and innovative contemporary work from new companies.
Janys Hayes Janys Hayes is a director, actor and teacher of acting. She is a Lecturer in Performance and Theatre at the University of Wollongong. Her commitment to the development of the performing arts in Wollongong has seen her act for Theatre South, direct site-specific spectacles and physical performances for the Wollongong City Council’s Viva La Gong Arts Festival, run her own contemporary performance company, Critical Mass Theatre and establish an independent artists’ advocacy company, Performance Illawarra. Janys is a Board member of The Phoenix Theatre. She is a representative on the Wollongong City Council’s Cultural Reference Group.
Dr Mark St. Leon
Dr Mark Valentine St Leon holds qualifications in economics, business and accounting and teaches in the field of international business education. He received his PhD from the University of Sydney in 2006 for his dissertation, Circus & Nation. He is the author of Circus: The Australian Story (Melbourne Books, 2011) and several other books as well as numerous articles and monographs that examine the history of circus in Australia. He joined the Australia Council, the Federal Government’s arts funding and advisory body, as Senior Finance Officer, 1983-94, where he was responsible for financial health and development of numerous arts organisations throughout Australia. In 1991, he launched the Arts Management Advisory Groups throughout Australia. The Sydney Arts Management Advisory Group [‘SAMAG’] is now in its 27th year of continuous operation. He served as a founding director and member of the Swiss-Australian Chamber of Commerce and Industry (1986-92), a director of the Sydney Film Festival (1986-92) and the National Institute of Circus Arts (2001-03) and served as a trustee of the online Dictionary of Sydney (2011-13).
Jackson Mann is a curator and photographer. His work is focused on crossovers in the GLAMR sector and using exhibitions in academic libraries as a medium to explore and communicate contemporary research outputs. Jackson is currently the Special Collections and Exhibitions Coordinator at UNSW Library and previously worked as the Assistant Curator at UTS Library where he curated research-based exhibitions across a range of academic disciplines. He has a Bachelor of Design in Photography and Situated Media and a Master of Museum and Heritage Studies.
Dr. Erin Brannigan is Senior Lecturer in the School of Arts and Media at the University of New South Wales. Erin was the founding Director of ReelDance (1999-2008), a dance screen festival and organization that presented programs at the Sydney Opera House, ACMI, Arts House, Carriageworks, Powerhouse Brisbane, PICA Perth. She programmed and commissioned work for a series of installation exhibitions including the first visual arts exhibition at Carriageworks, Choreographics (2007) featuring the work of Anna Teresa De Keersmaeker, Thierry de Mey and Simon Ellis/David Corbet. She presented Gesture :: Performance | Film | Dance on the public screens and performance venues of UNSW in 2010, and curated the performance component of Choreography and the Gallery: A One-Day Salon (Biennale of Sydney 2016, Art Gallery of NSW and UNSW). One of her earliest curatorial projects was Scrapbook ‘Live’: As Remembered by the Artist, Performance Space, September 2001, co-curated with artists Julie-Anne Long and Matthew Bergan. Erin has written on dance for RealTime since 1997.
Julie Dyson
Julie works in a voluntary capacity across several organisations, including Canberra’s Childers Group, Sydney Dance Company’s education advisory panel, as a global executive member of the World Dance Alliance, as nominations coordinator for the Australian Dance Awards and as chair of the National Advocates for Arts Education. She is the former national director of Ausdance, where her work included policy development, advice to funding bodies, companies and individual artists. She has edited many publications and initiated innovative partnerships to promote and support contemporary dance. She also works as a volunteer on the dance collections at the National Library of Australia.
Eamon D’Arcy
A designer who works across varying cultural disciplines and by doing so challenges ideas on how you define both ‘theatre’ and ‘design’. His work ranges from being a Founding Member of the Performance Space in Redfern through to Site Designer for Handa Opera on Sydney Harbour through to Set Designer for the Art Collective ’Scenario Urbano’ through to Production Designer for Sydney 2000 Olympic Games Opening Ceremony and currently the Interior Designer for The Media Majlis Museum, Northwestern University in Qatar. Trained at both NIDA and the Motley School in London, Eamon holds a Master of Philosophy Degree in Art History and Theory, Power Institute, University of Sydney.
David Tredinnick
David Tredinnick worked as a performer, writer, researcher and theatremaker for 30 years before retraining in recordkeeping and archives. He is currently employed as a records and archives manager at Deakin University. Apart from working as a research assistant for Ausstage over the past decade, he has also published articles and presented papers on Australian theatre history, the use of archives in tertiary teaching and learning, and the creative potential of archival collections for not only artists and researchers, but for archivists themselves.
Margaret Marshall
Margaret Marshall is Curator (Theatre & Popular Entertainment) for the Australian Performing Arts Collection at Arts Centre Melbourne. Since joining the curatorial team in 1996, she has worked on a range of projects relating to Australian performing arts history. Her current role involves researching and curating exhibitions, contributing to publications, conducting public programs, and liaising with performing arts practitioners, companies and other donors to acquire items for the Collection. Margaret’s recent exhibitions include The Extraordinary Shapes of Geoffrey Rush (2013), Theatres of War: Wartime Entertainment and the Australian Experience (2015), and Objects of Fame: Nellie Melba and Percy Grainger (2018).
Nicole Jenkins
Nicole is a trained costume designer, who worked in film and theatre before pursuing a career in fashion and IT. In 2004 she opened retail and online shop Circa Vintage Clothing in Melbourne. She is the author of two books, ‘Love Vintage’ and ‘Style is Eternal’ and is currently studying her Master’s degree in Cultural Heritage at Deakin University.
Alice Dilger
Alice Dilger holds a Post Graduate Degree in Museum Studies and has been working in the cultural sector across various roles since 2012. In 2015, Alice moved from the South Australian Museum, where she was Galleries Coordinator, to the Festival Centre to work with the Performing Arts Collection of South Australia. In 2018, both Adelaide Festival Centre collections (AFC Visual Arts Collection and Performing Arts Collection) came together to form Exhibitions and Collections and Alice was appointed as Assistant Curator. In addition to her role at the Festival Centre, Alice also interned for 18 months with ArtLab in the book and paper laboratory, extending her knowledge of managing and maintaining the varied collections at the Festival Centre.
Performing Arts Heritage Network 