First National Preventive Health Research Programme  YELP Holistic First Business Plan    YELP Holistic First Business Plan Defined Terms   SWOT Analysis   Executive Summary   Deliverables And Costs   Snapshot Page To 10 Benchmark Techniques   Defined Terms for Five YELP Business Plans

Second National Preventive Health Research Programme

First BTAAP Business Plan      Bohémian Teenagers Show Choir Programme        Defined Terms BTSCP

Second BTAAP Business Plan    Bohémian Teenagers Symphony Orchestras Programme    Defined Terms - Bohémian Teenager Symphony Orchestra Programme

Third BTAAP Business Plan    Bohémian Teenager Ballet & Modern Dance Programme        Defined Terms BTB&MDCP

Interested Marginalised Teenagers or IMTs means for the BTB&MDCP Australians from aged 13 to 19 who, inter alia:

  • receive a low income; and/or

  • have a Disability—intellectual, psychiatric, physical, sensory, neurological or a learning disability; and/or
  • suffer a serious or chronic illness; and/or
  • are homeless; and/or
  • are without adult support; and/or
  • have low education displaying poor reading, writing and numerical skills; and/or
  • from a non-English speaking background; and/or
  • may live in rural and remote areas; and/or
  • many are Indigenous to Australia,

and live within, or near to, the Selected 20 Lowest Socio-Economic Regions In Australia With A Population >1,500 and agree to join a BTB&MDC and attend the  Dance Class Venue, pursuant to -

  1. IMT Student Dancer Acceptance Procedures;

  2. BTB&MDC Participation Protocols; and

  3. Secular Pro-Rata Religious Beliefs Basis.

Each Interested Marginalised Teenager who joins a BTB&MDC may perform in the Annual National Bohémian Teenagers Ballet & Modern Dance Competition for a Caped Seven Year Tenure provided he/she adheres to BTB&MDC Participation Protocols.

Styles Of Dance notes -

at point 4:  

The Corroboree is the ceremonial meeting of Australian Aborigines by interacting with the Dreamtime through dance, music and costume. Many ceremonies act out events from the Dreamtime. In the northwest of Australia, Corroboree is a generic word to define theatrical practices as different from ceremony which is for invited guests only.  Across the Kimberley the word junba is often used to refer to a range of traditional performances and ceremonies.

Corroboree and ceremony are strongly connected but different.  Corroborees are open performances in which everyone may participate taking into consideration that the songs and dances are highly structured requiring a great deal of knowledge and skill to perform.

Throughout Australia the word Corroboree embraces songs, dances, rallies and meetings of various kinds. In the past a Corroboree has been inclusive of sporting events and other forms of skill display. It is an appropriated English word that has been reappropriated to explain a practice that is different to ceremony and more widely inclusive than theatre or opera.

at point 5:

The Aboriginal Islander Dance Theatre (AIDT) was set up as an ongoing performing group in 1976. It was originally made up of young people participating in Careers in Dance, a full-time dance training course for Aboriginal and Islander students initiated in 1975 by the Aboriginal Arts Board and led by founding teacher Carole Johnson. The group developed to include teachers, graduate students and advanced students of what eventually became NAISDA (National Aboriginal and Islander Skills Development Association) College, and frequently invited guest artists to perform with it. AIDT became a professional performing group in 1988 and was launched as a company in 1991 under the artistic directorship of Raymond Blanco.

The AIDT repertoire was based on traditional and contemporary dance with its early promotional material stressing the modern Aboriginal/Islander identity. Indigenous tutors such as Janet Munyarryun, Veronica Munyarryun, Larry Gurruwiwi, Michael Warusam and Cedric Waia taught traditional choreography and Dorothea Randall and Rosalyn Watson played an important role in contributing Indigenous choreography to end of year productions in the 1980s. Over the years other Indigenous choreographers would include David Gulpilil, Dell Sebasio, Stephen Page and Bernadette Walong. Non-Indigenous choreographers who worked with the company include Ronne Arnold, Robina Beard, Elisabeth Burke and Pierre Thibaudeau, Kate Champion, Kai Tai Chan, Karen Kerkhoven, Chrissie Koltai, Paul Saliba and Cheryl Stock. From 1991 AIDT repertoire included Jedda (1991), Maralji (1991), Yirrkala (1991), Colours (1993), Gelam (1993), On the Spot (1994), and Sanctum (1994).

AIDT's first international tour was in 1977 participating in the African and Black World Festival of Arts and Culture in Nigeria. Its first international tour as a larger company was in 1988 when AIDT performed in Finland and Germany. Later tours took the dancers throughout Australia and internationally to Asia, Europe and the Americas.

It is envisaged that approx. 50% of the Selected 20 Lowest Socio-Economic Regions In Australia With A Population >1,500 would be dominated by Indigenous Australian teenagers.  Hence, the Corroboree and Aboriginal Islander Dance would be danced by many of the BTB&MDC's as they express their native heritage.

 

Refer Section 16(c).