The historical buzz on Buzz Dance Theatre

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					The historical buzz on Buzz
                1
Dance Theatre
A D R I A N J. L O W E




                    Buzz Dance Theatre is a contemporary dance company based in the King Street
                    Arts Centre in Perth, Western Australia. Its primary aims are to provide dance in
                    education, and also to be Western Australia’s premier professional dance
                    company for children, young people and their societies.2 The audience is primarily
                    children and young people, with selected shows being opened up for families,
                    community groups and the general public. Buzz falls into dance, but it also assists
                    teachers in achieving outcomes in the arts curriculum at schools. Other groups
                    that similarly fall into this youth arts in education category in Western Australia
                    include Spare Parts Puppet Theatre, Barking Gecko Theatre Company and Yirra
                    Yaakin.3

                    Arts in Education
                    What we know today as ‘arts in education’ was a result of the liberal-minded days
                    of the early seventies. At this time, it was ‘discovered’ that art could have a very
                    positive effect on a child’s development. An Education Department initiative
                    called TIE-DIE was introduced to schools as part of the school curriculum.
                    Standing for Theatre in Education, Dance in Education,4 the program was
                    somewhat blurred at the boundaries. It was part of the arts curriculum, as dance
                    and theatre were involved, but it also crossed into sports and recreation, as there
                    was physical activity. Under this initiative, the Education Department gave money
                    to small companies from the youth arts sector, funding them to teach and
                    perform at Government schools throughout the State. The company that became
                    Buzz Dance Theatre started off from one such grant.
                    There is a body of work that is specifically aimed at the use of dance in education
                    to help with the development of children and the school curriculum. Dance can
                    go beyond the simple ideas of movement or physical activity. It can help provide
                    an outlet for imagination and a feeling of association through the creation and
                    performance of a piece to a child’s peers. Gordon Curl believes that the central
                    concern of dance in education is the provision of ‘an authentic aesthetic
                    experience’.5 While children would not understand their dance classes at this
                    level, they certainly learn about aesthetics and critique through school-based
                    dance education.
                    The creative movement techniques that are now taught by Buzz are a collision
                    between dance lessons and children’s play. Children have the opportunity to
                    move freely and examine and explore how their bodies move. They also learn
                    how they can physically interact with their classmates and develop new ideas
                    with these discoveries. Overlaying this is a sense of timing and rhythm, as well
                    as the creation of meaning or symbolism with what they are doing.6 Teamwork is

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The historical buzz on Buzz Dance Theatre


another valuable life skill that is taught through these classes. The children are
placed in groups and, working together, create a short piece to be performed to
their peers. Through this creative team process they learn about co-operation and
negotiation. Aesthetically, children also learn about what does and does not work,
and so they learn about critique.
Although the Education Department no longer funds Buzz Dance Theatre, it is still
interested in what the company has to offer through a body called Artsedge, a
joint initiative between the Education Department and ArtsWA. Artsedge helps
Buzz with a range of issues, promotes the activities of the company, provides
advice and also provides teachers with an understanding of how the
performances and workshops of Buzz link into the school curriculum.7

Funding and Sponsorship
Buzz Dance Theatre, like many other artistic companies including Barking Gecko,
Yirra Yaakin, Artrage, and Spare Parts Puppet Theatre, relies on funding for its
survival. Since its beginnings in 1985, the Education Department had been
providing Buzz with office and studio space, as well as assisting the company
with its administrative functions.8 A major blow to the company occurred in 1991
when the Education Department withdrew its in-kind funding. But this was
countered by a thirty-seven percent increase in funding from the Department for
the Arts (now ArtsWA).9
Now the primary source of funding is governmental, with smaller amounts
coming from various funding bodies including local councils and private sponsors.
Currently, the main source of funding for Buzz is the Western Australian
Government through ArtsWA. The funding from ArtsWA comes from Lottery
West (formerly the Lotteries Commission). To reflect the input of these funding
bodies, promotional material for Buzz carries a tri-logo of the State Government,
ArtsWA and Lottery West. The State Government now provides up to fifty
percent of the funding that Buzz receives from all of its sources, illustrating the
importance that the State Government places on the work Buzz undertakes. At a
Federal level, Buzz receives funding from the Australia Council for the Arts.
Current private sponsors include Secure Parking, Active8, Water Corporation,
Minter Ellison and Matilda Bay Brewing. Private sponsors don’t always provide
money to Buzz, but may provide in-kind sponsorships, such as parking, gym
membership, bottled water, legal advice or refreshments for functions. In return,
the sponsor receives logo placement, tickets to performances, association with a
reputable company, access to Government officials at functions and more. In the
past Buzz has received in-kind sponsorship that ranges from printed pencils and
stickers to a van for transporting the dancers.10 Private sponsorship can also be
motivated purely by philanthropy, though this doesn’t happen as often as the
company would like.
Part of the sponsorship package that is offered by Buzz may be promotion of a
sponsor’s message. The current messages that Buzz promotes are the ‘Smarter
than smoking’ message from Healthway and the Water Corporation’s ‘Drink lots
of water’ promotion. These sponsored messages are announced at the start or
end of a performance. Sponsors’ advertising banners are also on display

23                                                                                    BROLGA June 2005
                           in prominent locations at
                           performances. This form of
                           promotion works on many
                           levels. The organisation’s logo
                           is highly visible, and a young
                           audience does take notice
                           of a positive message. The
                           announcement of the sponsor’s
                           aims or promotion reinforces
                           the message without appearing
                           as preaching since Buzz takes
                           care not to sell itself out
                           artistically in an effort to get
                           sponsorship.
                           Funding issues have always
                           been with the company and
                           there just never seems to be
                           enough money. While the
                           dancers are lucky enough to
                           have well paid employment,
                           they are only on contract for
Paul Blackman, Rachel      part of the year — for between
Usher, Tim Rodgers,        six and nine months.
in ‘Beat Routes’,
Buzz Dance Theatre, 2004   While on contract, the dancers
Photo: Jon Green.          are paid at award rates and also
                           receive travelling allowances when on tour. They are also covered by workers’
                           compensation for any injuries that may result during their contract period. With
                           the rising costs of insurance, Buzz has developed a risk management plan and no
                           longer performs on bare concrete, as it did in the early days. This is just one
                           example of changes Buzz has made to operations to comply with Occupational
                           Health and Safety requirements.
                           There are many other sources of funding that Buzz can access to undertake new
                           ventures. For example, the company can apply to the ArtsWA contemporary
                           music fund and the Australia Council’s music board. These grants for new music
                           are to commission local musicians to compose and record, and sometimes
                           perform a new piece of music for a dance work. Musicians who have been
                           commissioned by Buzz include David Pye, Michael O’Brien, Victor Reynolds and
                           Joseph Mansell.
                           Part of the funding that Buzz receives is based on a three-year cycle known as a
                           triennial grant. The artistic director and general manager, with the help of the
                           board, strategically plan the performances that the company will undertake for
                           the following three years. The Australia Council introduced this form of funding in
                           1997 as a way of allowing small companies to plan for the future and have a
                           guaranteed income stream.11 This triennial funding model is now used by both
                           the State Government for grants and by organisations such as Healthway for
                           sponsorship deals. Currently, due to a review of the small to medium dance
                           sector, triennial grants need to be re-applied for annually, while still being forecast
                           for three years.


BROLGA June 2005                                                                                               24
The historical buzz on Buzz Dance Theatre


There is increased pressure from funding bodies for dance companies to achieve
more artistically, while the funding they provide remains static. Funding is
decreasing in real terms, while inflation continues to rise, which means that Buzz
must look elsewhere for income. These new income streams include earned
income from ticket sales, corporate events, festivals and equipment hire,
including tarquette, sound system and vehicle hire. Other sources are finding and
retaining more sponsors and foundation grants.

Artistic Directors and Directions
In 1985, a Utah-based dancer and choreographer by the name of Derek Holtzinger
received a seed grant from the Education Department to produce a pilot program
of dance that would educate children about the art form.12 Holtzinger, with his
American accent, larger than life personality and easygoing attitude enlisted the
help of local dancer and teacher Sue Peacock to form the 2 Dance company and
together the duo went into schools to educate children about modern dance. The
model for the company was based on what Holtzinger had learnt while studying
for a Master of Fine Arts degree at the University of Utah, although part of the
inspiration for the creation of the group was the success of TasDance.13 Formed
in 1980, TasDance was the first Australian dance company specifically aiming at
dance in education, although the company has moved on from the arts in
education model and is now a fully-fledged professional company. The initial six
month program proved to be so successful that the following year Holtzinger was
able to employ a further four dancers, Chad Courtney, Carol Wellman, Helayne
Morrow and Simone Rayfield. In 1986 he renamed the company 2 Dance Plus to
take the new faces into account.
In their first year of operation, the duo of Holtzinger and Peacock had no
permanent studio and so worked out of the boot of an old EH Holden.14 They
travelled from school to school and introduced modern dance to a new audience.
Holtzinger was the instructor at these workshops, while Peacock performed the

                                                                                     Bridget Fiske, Joseph Lau,
                                                                                     Katrina Lazaroff,
                                                                                     Rachel Usher,
                                                                                     Geoff Ryan, Vijay Nair in
                                                                                     ‘Rumplestiltskin’
                                                                                     Buzz Dance Theatre, 2003
                                                                                     Photo: Jon Green




25                                                                                      BROLGA June 2005
                   moves. Due to cultural differences, however, Holtzinger’s attempts at humour
                   were, to a certain extent, lost on the young audience. For example, Holtzinger
                   would perform break dance moves and say ‘When I pop, I stay locked’ and then
                   remain motionless to a sea of blank faces.15
                   Although Holtzinger was the public face of the new company, it would never have
                   evolved into what it has become today without behind the scenes help. Julie
                   Bowden, Robin Pascoe and Suzie Hazlehurst worked from within the Education
                   Department to help the company.16 Gary Hodge was a consultant to the
                   Education Department, and a great fan of the company and its aims — so much
                   so that he has been a board member and, at times, chairman for most of the
                   company’s existence. These people provided all the behind the scenes help such
                   as payroll, photocopying, marketing, direction or advice. Without this kind of work
                   being performed, the company could have quickly disappeared into oblivion.
                   In its first year of operation, 2 Dance was reliant on the Western Australian
                   Academy of Performing Arts for its costumes and quite often performed in any
                   space that was available in the school.17 Libraries were not a quiet area for
                   reading or study when 2 Dance was in town, as they were quickly turned into a
                   performance space.
                   By 1987, the company had Drew James on board as a paid administrator and the
                   following year, Holtzinger was employing guest choreographers to create new
                   works. From its inception in 1985, until Holtzinger left in 1990, the company grew
                   from a two dancer pilot program into a well established company providing
                   meaningful and paid employment to dancers, musicians, choreographers,
                   technical and administration staff. The Education Department continued to
                   provide in-kind funding in the form of free office and studio space. This was,
                   however, withdrawn in 1991 although the Department of the Arts increased its
                   cash funding to cover the costs of relocation to a new space.18
                   Around 1990, a number of other contemporary dance companies, including Still
                   Moves and Share Sight, had begun to appear on the Perth scene. Holtzinger
                   wanted to make 2 Dance Plus the contemporary dance company in Western
                   Australia, and so changed the format of performances to reinforce the position of
                   2 Dance Plus. Kim McCollum was bought in by Holtzinger to be the dance
                   teacher, and as a change from the previous teachers. The rest of the dancers
                   were simply to be the dancers.19 Holtzinger’s idea was to create two separate
                   arms to 2 Dance Plus in order to continue with the school program, while also
                   competing with these new companies for the public audience. The board rejected
                   this idea. Meanwhile the new companies slipped away and 2 Dance Plus
                   remained. In 1991 Holtzinger, though paternal about the company he had created,
                   passed the reins of artistic directorship over to Phillipa Clarke.20
                   Clarke was employed as artistic director from 1991 to 1998 and is the longest
                   serving director the company has seen. Having been with TasDance, Clarke was
                   well suited to taking on the role of director. She wanted to create the best
                   possible environment for the dancers, one that would allow them to be inspired,
                   creative and, most importantly, included so that they would have ownership of
                   the dance works. During her stay, about twenty dancers passed through the
                   doors. Many are still active in the dance community. They include Felicity Bott,
                   Setefano Tele, Olivia Millard, Rob Griffin and Jane Neville. Clarke didn’t want her
                   people to be just dancers, she also wanted them to be teachers, choreographers

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The historical buzz on Buzz Dance Theatre


and performers. Where skills in a particular area were lacking, she helped her
staff develop them.21
Internal and external forces that affected the company such as becoming
independent of the Department of Education, made Clarke ‘think on her feet’ and
find new ways to adapt and change to a changing environment. 2 Dance Plus was
very busy with performances, doing three seasons per year: an annual schools’
program of twelve pieces of work, a joint venture with STEPS Youth Dance
Company and a public season at the Perth Institute of Contemporary Art. The
development of Country ArtsWA by the Western Australian Government in the
early 1990s provided financial, promotional and logistical support for 2 Dance Plus
to tour regionally. In 1994, the ‘Creative Nation’ policy of the Keating government
saw a change in focus for 2 Dance Plus. The government pulled funding from
different art forms and created a ‘new media’ funding pool. 2 Dance Plus was
unsuccessful in their application for this ‘new’ fund, and had to take the hit from
the funding cut to dance.22
With the company receiving funding from both state and federal governments,
Clarke was well aware that they were providing a service to the community. She
would remind the dancers that they were ‘the public servants of dance’ and one
of the most satisfying aspects of this was the ability of the company to bring
dance to lower socio-economic areas. One lasting impression of Clarke’s time as
artistic director was her belief that the company was about the people and not
the person.23 This came through in her inclusive way of creating, choreographing
and teaching. When Clarke first started with 2 Dance Plus in 1991, the first item
on her to-do list was change what she believed was the ‘daggy’ name.24 It was
eventually decided to call the company Buzz Dance Theatre, as this name better
reflected the dynamics of the company. It also reflected the fact that there was
more than just dance to the repertoire. Seven years later the name was finally
changed, just as Clarke was leaving the company.

                                                                                      Paul Blackman, Rachel
                                                                                      Usher, Bridget Fiske,
                                                                                      Joseph Lau and
                                                                                      Katrina Lazaroff in
                                                                                      ‘Beat Cake’, Buzz Dance
                                                                                      Theatre, 2004.
                                                                                      Photo: Jon Green.




27                                                                                       BROLGA June 2005
Paul Blackman in ‘Beat   Paige Gordon took up the position
Cake’, Buzz Dance        of artistic director in 1999. She
Theatre, 2004.
                         was lucky to walk into a situation
Photo: Jon Green.
                         where the company was about to
                         go on its first overseas tour in
                         2001. Clarke had laid the
                         groundwork        and     organised
                         contacts for the tour to South
                         Africa in early 1997, yet Clarke
                         received little praise for the tour’s
                         success. Within a year of Gordon
                         taking up the post of director, the
                         whole staff, both dancers and
                         administration had been turned
                         over. The strength that Gordon
                         bought to Buzz was her
                         leadership and ability to promote
                         herself and the company. She
                         was a strong leader in the
                         classical sense, and instilled in
                         the dancers and other staff a strong work ethic as well as an allegiance to herself
                         and the company. Gordon was already a well established dancer and
                         choreographer before she started with Buzz. She had a body of her own work
                         that she bought to the company and some of her works were remounted during
                         her directorship.
                         Much of Gordon’s work comments on society or raises of issues for the
                         audience. Buzz performed works such as Raising the Standard, a show about an
                         Australian republic, before Australians went to a referendum on the issue.
                         Another of her works, Paper City looked at our use (or misuse) of paper and
                         resources. One of the most notable of her pieces was Rumplestiltskin, an
                         interpretation of the Brothers Grimm fairy tale. This show was specifically aimed
                         at the primary school audience and was a great success. It was toured around
                         Perth, regional Western Australia, and South Africa and, because of its success,
                         was reworked and remounted in 2003 with a new cast of dancers and toured to
                         the eastern States. The marketing profile of Buzz took on a massive shift during
                         Gordon’s stay. Her face featured on promotional material, and was seen out in the
                         public arena. In some ways, Gordon became the public face of Buzz.
                         Carol Wellman briefly took up the position of artistic director while Paige Gordon
                         went on maternity leave in 2002. Although Wellman was remembered as the
                         ‘acting’ artistic director, it is only fair to say that she actually was the artistic
                         director during Gordon’s absence. Works performed under Wellman were
                         Gordon’s piece The Cave and a collaborative project with ex-Buzz dancer Olivia
                         Millard. The company also performed Carol Wellman’s and James Berlyn’s dance
                         work Prime Mate at Artrage in a joint show with Link Dance Company.
                         2004 saw Felicity Bott, who had danced with the company in the early nineties
                         under Clarke, in the artistic director’s chair. Once again there was a new direction.
                         The company that Bott inherited from Gordon was well established and had some
                         strong dancers. The public presence that the Buzz staff had created allowed Bott
                         to concentrate on the content of the performances that were on offer, and not

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The historical buzz on Buzz Dance Theatre


have to worry about the marketing of the Buzz product. Her first piece, Beat
Routes, introduced a new kind of choreographic process for the company. This
dance work was a collaborative effort and specialist dancers Richard Seidel,
Bernie Bernard, Leanne Carroll and Damian Ciranno were engaged in as
consultants to ‘skill-up’ the Buzz dancers by teaching street dance, break dance
and Latin dancing. The resulting performance was a like breath of fresh air for the
company and was well received by high school students, critics and the general
public. Bott also secured the services of dancer Tim Rogers, previously from
West Australian Ballet, to replace an inured Joseph Lau in Beat Routes. Rodgers’s
professional attitude and training worked well with the energy of Buzz dancers
Paul Blackman, Katrina Lazaroff, Rachel Usher and Bridgett Fiske. Mixed with an
original score by local musician Joseph Mansell (aka Jo19), the show was a great
way for Bott to start her time with Buzz. The offshoot from Beat Routes was
called Beat Cake and was aimed at the primary school audience. This production
was also a critical success and in 2005, at the request of Country ArtsWA, will be
remounted and toured state-wide.
However, a change in the artistic director also brings about a change in artistic
direction. With Gordon gone, there was a changing of the guard for some staff.
Buzz is in an excellent position for the selection of new staff. Positions for new
dancers and office staff have been filled for 2005, and as the only professional
contemporary dance company in Perth, Buzz has drawn the best from a large
pool of talent. For the fist time in Buzz’s history, the company has taken on an
Aboriginal dancer in its ensemble. Simon Stuart was selected by the Australia
Council to be hosted by Buzz as part of the Making Tracks indigenous dance
secondment program.

Conclusion
The company that started off as a pilot project with two dancers has evolved into
one of Australia’s leading contemporary dance companies. In 2005, Buzz will
perform a double bill with New York’s Battery Dance Company, which will surely
push Buzz from the national to the international spotlight. Over the past nineteen
years, there have been at least 100 people on the paid staff. The company has
performed hundreds of shows to hundreds of thousands of people of all age
groups, not just its target audience of children and young people. It has toured
the state from north to south, and has made an eastern states tour and overseas
tours to South Africa and South Korea.
Buzz Dance Theatre has had to adapt and change with the times. As the political
climate changes, so too does the emphasis on the arts. For Buzz these changes
appear to be a good example of ‘swings and roundabouts’, for what it loses from
one pool of money, it can pick up from another. Finances are nearly always tight
for the arts, yet Buzz has managed to persevere and grow at the same time. This
is a credit to the drive and tenacity of the staff and the dedication and steady
guidance of the board. Buzz also owes its success to the funding bodies and
sponsors who can see beyond the short-term monetary value of the company, to
the long-term cultivation of arts and culture that is required in any society.




29                                                                                    BROLGA June 2005
                   NOTES
                   1 Author’s note: This paper is about the history of Perth-based contemporary dance
                      company Buzz Dance Theatre (Buzz). By ‘contemporary dance’ I mean dance that it is
                      with the here and now; it is contemporary by its very nature. Buzz offers
                      contemporary dance with theatrical elements and contemporary styles that are
                      currently used by Buzz include acrobatics, aerial balancing, Latin, break, hip-hop and
                      swing. Buzz was, however, founded in 1985 with the express intention of bringing
                      ‘modern dance’ to schools. I do not have the space in this publication to debate the
                      meaning of modern dance and the differences between it and contemporary dance.
                      An excellent introduction to these issues is Jack Anderson, Art without boundaries
                      (Iowa: University of Iowa Press, 1997).
                      As I am not a dancer, I am not writing this history from the perspective of a dancer.
                      I am writing from the perspective of an observer and someone who is interested in
                      recording local history. This piece is being written for those who may have an interest
                      in dance, but not necessarily a working knowledge of the art form. It is also written
                      for those who have an interest in what is broadly termed ‘the arts’. It is my intention
                      that by the end of this history, the reader will walk away with a greater understanding
                      of a small facet of Perth’s artistic and cultural history.
                   2 Buzz Dance Theatre, Annual Report, 2002, p. 3.
                   3 Interview with Dr Claire Pannell, General Manager, Buzz Dance Theatre, Perth,
                      September 2004.
                   4 Interview with Dr Maggi Phillips, West Australian Academy of Performing Arts,
                      Edith Cowan University, August 2004.
                   5 Pamela Barham and Maxwell Howell (eds), Proceedings of the VII Commonwealth
                      and International Conference on Sport, Physical Education, Recreation and Dance,
                      Vol. 1 (1982), University of Queensland Press.
                   6 Paige Gordon, Model for creating and generating dance within the schools
                      environment, unpublished thesis submitted for the degree of BA (Performing Arts)
                      West Australian Academy of Performing Arts, Edith Cowan University, December
                      2000, p. 9.
                   7 Interview with Pannell.
                   8 Interview with Phillipa Clarke, North Perth, 2004.
                   9 Ibid.
                   10 Ibid. Magic Toyota provided Buzz with a van in the mid-nineties, which they still use
                      today.
                   11 Ibid.
                   12 Buzz Dance Theatre website, www.buzzdancetheatre.com.au, accessed
                      18 September 2004.
                   13 Interview with Clarke.
                   14 Interview with Sue Peacock, Perth, August 2004.
                   15 In break dance, pop and lock are jerky body movements. Although this term would be
                      understood now, at the time in Australia, break was in its infancy. There were only a
                      few hard core practitioners who would dance in Forrest Place, Perth CBD, on their
                      sheets of cardboard on Saturday mornings.
                   16 Interview with Clarke.
                   17 Interview with Peacock.
                   18 Karen van Ulzen, ‘New head for 2 Dance Plus’, Dance Australia (June/July 1991),
                       p. 51.
                   19 Interview with Peacock.
                   20 Lynn Fisher, ‘Balance is 2 Dance’s keynote’, Dance Australia (February/March 1989),
                       p. 25.
                   21 Interview with Sue Peacock. These skills could include singing, voice projection,
                      acting or new dance moves.
                   22 Interview with Clarke.
                   23 Ibid.
                   24 Ibid.



BROLGA June 2005                                                                                           30
Buzz Dance Theatre personnel: 1985 — 2005
The information in this table was sourced from Buzz Dance Theatre promotional material, newspaper reviews,
Dance Australia magazines and Buzz Dance Theatre Annual Reports.

Year    Staff                                Performances                        Sponsor
1985    Derek Holtzinger (AD)                Dance in education workshops only   WA Arts Council
        Sue Peacock
1986    Chad Courtney                        Just Another Hat rack
        Carol Wellman                        Ten Legs
        Helayne Morrow
        Simone Rayfield
1987    Warwick Long                         Mirror                              Magic Toyota
        Paul Corderio                        Nerd Picnic                         Mercury Press
        Wendy D'souza (Music)                Process                             C.D.C Graphics
        Drew James (Admin)                                                       Ron Bennett
1988    Paul Batey                           Inside a Ballerina                  Flex Clothing
        John Salisbury (Guest)                                                   Ashley DePrazer
        John McLaughlin (Guest)                                                  WAAPA
        Jennifer Preston
        Maggie Preston (Guest)
1989    Jane Diamond                         Poetic Kinetics                     Ministry of Education WA
        Jamie Wilcox                         Words of Love                       Kosmic Sound
        Annette Evans                        Person to Person                    West Australian Ballet
        James Berlyn                         Frame of Mind                       Mobil Oil
        Janet Charlton                                                           ANZ Bank
        Andrea Fowler (Admin)                                                    Mobil Oil
        Mitchell Rose (Guest)
1990    Annette Diamond                      Octet for Six                       Anset WA
        Helen Hubertson (Guest)              Tapioca Tango
        Graeme Watson (Guest)                Glamour Dreams
        Paul Gazzola
        Kathy Coghill
        Sarah Stocken
        Annie Bourke
        Chrissie Parrot (Guest)
        Natalie Wier (Guest)
        Janet Pirani (Guest)
        Suzie Haslehurst (Admin)
1991    Phillipa Clarke (AD)                 Melting Pot
        Kim McCollum                         Bodyoptics
        Setefano Tele
        Felicity Bott
        Martin Kwasner
1992    Leif Watson (Design)                 Urban Artefacts                     Healthway
        Suzie Haslehurst (GM)                Private Passions                    Australia Council
        Shane Jessop                         Malo
        Carolyn Griffiths (School Liaison)   Things That Float Through
1993    Olivia Millard                                                           Magic Toyota
        Rick Watson-Heath (Production)
        Klara Farka (Assistant)
        David Pye (Music)
1994    Andrew Beck (Production)             Displaced
        Elizabeth Cornish                    The Cat Makes Tracks
        Belinda Cooper                       Gathering Places
        Joseph Trefeli                       Now You See It, Now You…..
        Paul Tolhurst
        Joanna Pollitt
        Gabrielle Sullivan (GM)
        Lyn Williams
        Ingrid Weisfelt
        Bethanie-Sue Provan (Costume)



31                                                                                           BROLGA June 2005
1995   Rob Griffin                          Living Wetlands             Lotteries Commission
       Paul Schembri                        Urban Artefacts (Remount)   Patrick Brown Photo
       Debbie Clemments                     Blue Ruin
       Neil Adams (Music)
       Alicia Moran
       Michelle Saunders (School Liaison)
1996   Rachel Whitworth                     Serendipity
       Liz Cornidh (School Liaison)         A Body in Motion
       Shane Colquhoun (Acting GM)          Inventions
1997   Penny Young (GM)
       Scott Suttar (Production)
       Beverly Growden (Finance)
       Jane Neville
       Shannon Anderson
       Danielle Micich
       Sophie Yesberg
1998   Amanda Painting (School Liaison)
       Dene Jones (Production)
       Danielle Rock
       Cadi McCarthy
       Billie Cook
       Luke Hockley
       Doug Collins
1999   Paige Gordon (AD)                    Rumpelstiltskin
       Jody Burton (Acting GM)              Zigwag
       Finola O'Doherty (Marketing)         Raising the Standard
       Lindy Hahn (Admin
2000   Suzie Hazlehurst (GM)                4x4                         Activ8 Health and Fitness
       Ean Grieve (Production)
2001   Alain Francois (GM)                  Snap Happy                  Secure Parking
       Kim Van der Boon (Guest)             Paper City
       Gabriella Fillipi (Admin)            Impressions
       Vijay Nair                           Duet Zurich
2002   Geoff Ryan                           The Cave                    City of Joondalup
       Scott Koehler                        Who killed Montgomery?
       Katrina Lazaroff                     Plastic Fantastic
       Andrea Taman (GM)                    Prime Mate
       Olivia Millard (Guest)
       Iain McLeod
       Joanne White
       Felicity Glyn-Morgan
       Rachell Usher
2003   Claire Pannell (GM)                  Rumplestiltskin (Remount)   Clairault Wines
       Bridget Fiske                        Fracture                    City of Fremantle
       Joseph Lau                           Honey Season
2004   Felicity Bott (AD)                   Beat Cake                   Water Corporation
       Paul Blackman                        Beat Routes                 Shire of Roeburn
       Peta Jurgens (Production)                                        Shire of east Pilbara
       Kate Boyle (Admin)                                               Shire of Bayswater
       Adam Parsonage (Production)
       Kristy Anderson (Production)
       Tim Rogers
       Jo '19' Mansel (Music)
       Alex Desebrock (Admin)
2005                                        Pretender
                                            Beat Cake (Remount)
                                            Rabbit




BROLGA June 2005                                                                                    32

				
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Description: Latin Dance - Cha Cha Cha, is the most primitive of the derivative Mambo dance in the fifties of the 20th century Latin dance - precisely swept the United States, the most popular Latin social dance. Many musicians, even many who have not considered other Latin dance music at home and very Duodisike musicians are using Latin dance - just pop rhythm. Cha Cha Cha is a Latin dance in the rookie, this dance is in the early 50's ballroom the first time the United States, is from a Mingjiaomanbo dance dance evolved.