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Overview of ICE
4
ICEMAP: The Visual Guide to ICE
6
Chairperson’s Report
8
Executive Director’s Report
9
Organisational Chart
10
Major Works: Capital works program
11
CULTURAL DEVELOPMENT PROGRAM (CDP)
12
ARTIST PROFESSIONAL DEVELOPMENT: Artfiles
27
Grant writing
28
Create Media! and Press Play
29
Mayu Album Launch
30
CREATIVE ENTERPRISE PROGRAM (CEP)
31
URBAN CULTURES: Koori Stories
13
Switch Digital Arts Centre
32
East London West Sydney
14
CULTURAL AND MEDIA SERVICES: Under the Law
35
Hip Hop Projections
15
African Parenting Stories
36
Australian Poetry Slam
16
Creative Enterprise Hub
37
Creative Journeys: MC Trey
16
Dis is Violence 2
37
Maria Tran
17
Project 5
38
SCREEN CULTURE: STUFF | The Drama of it All
18
RESEARCH: Ripple Effects
39
TropWest forum and scholarship
19
Awards
40
Scout! A Filmmaker’s Guide to Parramatta
20
Sustainability Strategy
40
40
DigiDiaries
21
Major Talks / Presentations
ShortCuts: Western Sydney’s Short Film Festival
22
Evaluation
41
Train the Trainer
22
Strategic Development
42
Arab Film Festival
22
Making Links
42
24
Audience Development
43
Jammin with Mervin
26
Tactical Technology
43
Siblings Project
26
People, Partners and Supporters
44
Fairfield Mobile Expressions
26
Financial Statements
47
COMMUNITY ENGAGEMENT: RISE
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In 2010, moving into its purpose-built,
high-tech home in the heart of Parramatta
and welcoming on board a host of dynamic
new staff, it’s hard to believe that ICE began
life in the ’80s as a mobile information van.
Since then it has grown exponentially,
right alongside Western Sydney’s exploding
arts scene. The region is alive with stories,
global influences, fresh interpretations and
new collaboration, and ICE is at the centre
of it all, helping communities and individuals
to realise their creative potential.
Two of ICE’s flagship programs are
Switch Digital Arts Centre (in partnership
with Parramatta Council), and Artfiles, its
artist support program and online directory.
ICE has also had huge success in
delivering digital media, community
development and arts programs that
engage thousands of individuals, artists
and communities annually. It’s known and
respected for projects with newly arrived
migrants and refugees, and young people
at risk.
ICE is a key producer for the Australia
Council, a driving force behind the national
Arab Film Festival and a key collaborator
with the Sydney Festival and Tropfest.
But ICE is also a committed team of
people who stretch themselves and their
resources to the limit, delivering new,
exciting programs to meet the creative
needs of Sydney’s charismatic west.
STAFF PHOTOGRAPH BY HELEN WHITE. PHOTO-ILLUSTRATION BY EDDIE ABD.
After nearly three decades working at the
intersection arts, culture and technology in
Western Sydney, could 2010 have been the
biggest year yet for ICE?
Information and Cultural Exchange
makes its home in a community with roots
in 100 different nations. From this fertile
creative culture we facilitate new
expression, cultural empowerment and the
production of electric new art. We are
storytellers, and we encourage people to
take from the inside, put it on the outside
and share it with world.
4
5
KEY PROGRAMS
GOALS
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Innovation
Incubation
Capacity
Generate fresh forms of
cross-cultural expression
and models of community
digital engagement.
Seed new arts,
community and digital
media enterprises,
projects and practices
to sustainability.
Build capacity of sociallyexcluded communities to
share their stories,
deepen participation and
effect change.
Cultural Development Program
|1|3|4|5
With a program that includes hip-hop theatre productions, digital story-telling
and a national film festival, the Cultural Development Program encourages
collaborations between diverse communities and the arts sectors, to develop
new models for CCD practice and produce exciting new digital works. This
program also supports artists and creative workers via a range of professional
development initiatives.
Alliances
Continuity
Amplify Western Sydney’s
diverse and creative
voices through the
exhibition and promotion
of bold new work.
Build strategic alliances
and partnerships to
strengthen operations
and boost creativity.
Develop sustainable
operations so programs
build momentum and
provide genuine pathways
for ongoing participation
within and beyond ICE.
This program seeds new enterprises, develops employment and professional
development opportunities for artists and communities and supports creative
and entrepreneurial leadership. It manages projects such as Artfiles, Switch
Digital Arts Access Centre and is overseeing the establishment of ICE’s
Creative Enterprise Hub.
4 Provides access to digital media and
technology to communities who
typically lack access
1 Seeds creative social enterprises,
and develops employment, training
and professional development
opportunities for creative producers
and artists in communities
2 Produces high-quality communityled media projects with a focus on
urban culture
5 Skills and builds capacity through
professional development,
mentorship and partnerships
2 Builds digital capacity of ICE and
other organisations
3 Strengthens capacity for ICE to
become sustainable, providing
revenue-generating services,
including producing media products
Operations and Facilities
ICE is underpinned by it’s operations
team, which supports all programs,
manages governance and ensures our
sustainability and economic viability.
Staff are supported through efficient
systems and the management of staff
development initiatives. Our IT and
facilities department strengthens
|1|2|3|6
Creative Enterprise Program
1 Supports and progresses cultural
development in Western Sydney,
developing new models of practice
3 Develops strategic interventions
that connect communities and
cultural institutions
6
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Communication
and campaigns, running digital arts
and media training and hire of
Switch centre and equipment.
4 Identifies and develops new
markets, business and sponsorship
opportunities to support ICE’s
growth and sustainability
5 Enables professional development,
profile, pathways and opportunities
for Western Sydney artists
Research and Communications
organisational infrastructure and
manages our state of the art facilities
and equipment to ensure that the
Switch space, equipment and creative
enterprise hub is able to produce high
quality digital arts products and
learning facilities that support all of
our programs.
Research positions ICE as a key
generator and repository of
knowledge and innovations for the
cultural and social sectors. It also
develops programs to track and share
outcomes, achievements and
mechanisms for assessing the impact
and reach of our work.
© Information and Cultural Exchange, 2011
Communications amplifies the
outcomes of creative works and our
public program in order to share with
and further engage communities. It
also facilitates the sharing of
information both across the
organisation and beyond to our peers
and media outlets.
7
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8
Sue Green
Chairperson
.
PHOTO OF LISA TORRANCE BY EMMA BEAUMONT. PHOTO-ILLUSTRATIONS BY EDDIE ABD.
>
hat an extraordinary year for ICE. Ten
years ago ICE tested the idea of Switch
using re-used computers in an empty
shopfront. In 2010 we opened the amazing,
newly refurbished Switch Digital Arts Centre
in the heart of Parramatta.
The new Switch has given us focus and
energy. We now have an inviting venue for
communities, artists and audiences. It has
fuelled growth and in 2010 we welcomed two
senior managers, three project coordinators
and a growing stable of artists, facilitators
and external collaborators. It has also
generated a much higher level of interest
and expectation.
It is a credit to the team that while
moving offices not once but twice in 2010,
the full program of activities was maintained.
ICE met this challenge head-on, shifting
boxes while also stirring imaginations.
The focus of ICE’s work remains in
Western Sydney. The beating heart of all our
engagements and outcomes are the stories
and creative expressions of the communities
and artists of our region.
It is this that motivates and fuels ICE’s
work. The relocation and increased
expectation has demanded that we improve
our capacity to do justice to this creativity —
finding and connecting audiences, linking
people to each other, investing in skills and
supporting new projects. We are also
investing in making sense of it all — in better
ways to communicate outcomes and track
the impact of our work.
Three of our key long-running projects
concluded in 2010 — The Urban Music
Project, Youth Digital Cultures (YDC) and
Create Media! Press Play showcased the
outcomes of these projects and the work of
hundreds of participants. To me, this really
demonstrated ‘the ICE approach’ — sustained
commitment for creative engagement while
creating genuine pathways for participants.
The formidable achievements of our
Executive Director Lena Nahlous must be
mentioned. With the birth of her daughter
half-way through the year, Lena has taken
some well-deserved time out. I would like to
thank her for her vision and leadership, and
send our congratulations. I’d also like to
acknowledge Lisa Torrance, who has taken
the reins, and so generously steered the
organisation into its next stage of growth in
our new home.
I cannot sign off without thanking our
core funders the Australia Council and Arts
NSW, our key program supporters Screen
NSW and NSW Department of Human
Services — Community Services and the key
bodies who made our Capital Works Project
possible (see page 11).
Finally, I would like to say that ICE would
not be what it is without its dedicated team
of staff, contractors, volunteers, board
members and collaborators who continue to
invest so much of themselves into the
organisation. They continue to work
generously, ingeniously and tenaciously.
On behalf of the Board — what a year
2010 has been for ICE — thank you to all who
have made it what it was.
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n less than a year I have learned a simple
fact — that is ICE is an extraordinary
organisation. I took over the reins when
the passionate Lena Nahous left last June,
to attend to the very important business of
being a mother. Over the past ten years
Lena, alongside an exceptional team, has
built ICE to become something remarkable.
I am truly proud to be maintaining the vision
and steering it through a new phase of
growth until she returns in June 2012.
Each year we make contact with a
diverse group of communities and individuals
in Greater Western Sydney, in response to a
need for voices to be heard. Our work
requires us to listen with compassion and
come up with programs that offer
opportunities for their stories to be told.
Empathy is crucial to the work ICE does
and true empathy is an act of imagination.
Through our programs we aim to capture the
emotions that quiver beneath the surface in
Greater Western Sydney. These are the
invisible threads that connect us, and the
real stories we seek. Our talented core team
and contractors are the people who aim to
untangle these invisible threads and provide
our participants with the skills and platforms
to share their stories.
As an organisation our fundamental
belief is in people’s capacity to change and
discover new ways of experiencing the world.
Our role is not only to help people tell their
stories, but also to work with them to hone
their skills in digital media and find new
creative pathways for self-expression. Our
participants are gutsy creative pioneers of
the future, relaying their stories to new
listeners and engaging them in exchanges of
ideas and perspectives.
All of this listening, empathy and support
takes hard work, patience and dedication.
I would like to honour each member of the
ICE family for their role in achieving our
common purpose and recognise that it is
their spirit and work ethic that defines our
work and gives it prominence. I would also
like to thank them all for being rock solid
through a period of major change.
I would like to thank our Chair Sue Green
and each member of the Board for their
support and guidance, and recognise the
Board members who left us in 2010 after
many years of dedicated investment in ICE.
Our bonds with artists and program
participants are often long and enduring and
we warmly thank each of them for sharing
their stories and ideas. Sue has thanked our
funders, supporters and peers. I echo her
sentiments.
In this report you will gain a snapshot of
our work in 2010. It makes for a lively read
and we are proud of each one of our
achievements.
It’s a known fact that people listen more
attentively to real stories. In 2011 we will
continue to encourage people to take their
stories from the inside, put them on the
outside and share them with the world.
Lisa Torrance
Executive Director
9
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ICE BOARD
EXECUTIVE
DIRECTOR
Lisa Torrance
EXECUTIVE
ASSISTANT
Yu Ye Wu
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MANAGER,
CREATIVE
ENTERPRISE
MANAGER,
CULTURAL
DEVELOPMENT
MANAGER,
OPERATIONS
& FACILITIES
MANAGER,
MARKETING &
COMMUNICATIONS
MANAGER,
RESEARCH
& POLICY
Indu Balachandran
Mouna Zaylah
Jill Chambers
Kristy Mayhew
Caitlin Vaughan
COORDINATOR,
SWITCH TRAINING
AND CENTRE
COORDINATOR,
ARTIST
PROFESSIONAL
DEVELOPMENT
IT & FACILITIES
OFFICER
Gary
Paramanathan
Donita Hulme-Cawi
COORDINATOR,
CREATIVE
ENTERPRISE HUB
COORDINATOR,
COMMUNITY
ENAGEMENT
Kate Taylor
Christian Tancred
Jerome Pearce
ADMINISTRATION
& RESOURCES
OFFICER
Georgie Lampe
URBAN CULTURES
CONTRACTORS
MC Trey
Maria Tran
SCREEN CULTURES
CONTRACTORS
Fadia Abboud
Amin Palangi
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After two moves in 2010, ICE finally settled
permanently into 8 Victoria Road,
Parramatta. Our new home is packed with
cutting-edge studio equipment, industrystandard facilities, professional software
and other digital goodies to entice Western
Sydney’s creative community.
The purpose-built space houses training
labs, recording and vocal studios, an editing
suite, a green-screen room, a performance
space, meeting room, the staff offices for
ICE, and a workspace for creative
enterprises.
The works were generously funded by
the Department of Employment Education
and Workplace Relations (DEEWR), as part of
the Investing in Community Education and
Training program; the Department of Human
Services, as part of the Western Sydney Area
Assistance Scheme; Arts NSW, and the
Department of Premier and Cabinet, as part
of the Community Building Partnership
Program. It was supported by the Diocese of
Parramatta, through a generous lease and
Parramatta City Council, through temporary
premises in Macquarie street.
During the project ICE worked with Derek
Berents, Berents Project Management Pty
Ltd, Toland Architects and Walton
Construction. Building started on 24 May
2010 and was completed on 27 September.
The building was opened on 3 November
2010 by Julie Owens, the Federal Member for
Parramatta, and we just can’t wait to see the
creative projects it will make possible in the
future.
17 June 2010
9 August 2010
16 September 2010
Launch of the space on 3 November 2010
11
The Cultural Development Program is the powerhouse of ICE’s creative
output. Its screen culture projects, hip-hop and urban-music productions,
storytelling and theatre activities involve communities at the sharp end of
urban change.
This program encourages collaborations between diverse communities
and the arts, develops new models for CCD practice and produces fresh
new work on contemporary urban life.
With a strong emphasis on industry pathways and professional
development the program produces festivals, events, performances,
exhibitions and screen work firmly rooted in the urban experiences of
Western Sydney.
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ICE’s Urban Cultures projects engage creative practitioners to produce and
develop urban cultural forms, empower communities and audiences by
transmitting, reflecting and celebrating the urban voice. Urban Cultures
digs out real Australian stories.
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Aboriginal young people shaped stories
about their lives and growing up around
Penrith using new media techniques such as
video, photography and vox pops interviews
under this dynamic project.
Over 20 young people learned
introductory creative digital skills over five
workshops in the school holidays. They
trained with a variety of digital-media
equipment including audio-recording
equipment, lights and video cameras. The
workshops were facilitated by local
Aboriginal artist Chris Reid, and filmmakers
and educators Emelda Davis and Maria Tran.
The digital works created were exhibited
and screened in early June at Cranebrook
Neighbourhood Centre. Over 40 people
attended the launch including the
participants, their parents, carers, local
artists and representatives from Penrith City
Council.
The Koori Stories project, a partnership
with Spyns Inc., was funded through Penrith
City Council’s Magnetic Places Community
Cultural Grants Program.
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Maria Tran, Project Coordinator
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PHOTO OF JONZI D, COURTESY OF IRVINE LEWIS
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East London West Sydney was a cross-border
and multilingual mash-up of spoken word,
drama, music and movement. It brought
together a crew of dexterous hip-hop artists
from London and Sydney to exchange ideas
and smash inner-city stereotypes.
Throughout 2010 the British Council
and ICE partnered in the second stage of this
project's development and the original work
from 2009 was refined and deepened.
The stage 2 work is being prepared for
performance at CarriageWorks as part of
the Sydney Festival in January 2011.
Led by spoken-word performer and
renowned hip-hop theatre director Jonzi D,
the work used the tools of the urban poet
to ride the divergences between two cities.
Other artists from the UK include Maxwell
Golden and Sarah Sayeed, joined by the
Aussie MCs Brothablack, MC Trey, and
Rima Najm.
The creative team included lina Kastoumis
(dramaturg/artistic consultant), Mouna Zaylah
(producer), Lena Nahous and Lisa Torrance
(executive producers) Frank Mainoo
(production manager and lighting designer),
Fadia Abboud (screen director), Kim Bowers
aka Busty Beats (musical director) and
Joanne Vilacruz (stage manager).
14
An all-ages crowd was treated to a show
packed with Pacific beats, live parkour, hiphop and video art on 16 May at Riverside
Theatres Parramatta.
Hip Hop Projections 5, presented by ICE
as part of the 2010 Sydney Writers’ Festival,
was hosted by local Indigenous hip-hop artist,
Brothablack and MC Trey. Fairfield video
artist Vanna Seang, visual artists Krystal and
Spice and the 9Lives parkour crew wowed
the crowd with their live art and
performances.
Campbelltown crew Reef Thunder
opened the event with a drumming sequence
of Pacific beats. This was followed by a lyrical
mix from hip-hop greats Def Wish Cast,
Torcha and B-Don, Ozibatla, Urban Prophetz,
True Vibenation, 9Lives and First Flight Crew.
Participants from our Urban Music
Project and Liverpool’s Street University also
had the opportunity to shine among the
established acts. We received excellent
feedback from audiences and it was great to
see so many families enjoying the
performances.
At the event a moving tribute was paid to
former Hip Hop Projections performer and
our friend, Khaldoon Khalili (2Kay R.I.P.).
From top: Vuli and Bheki from True Vibenation; Reef Thunder; First Flight Crew
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ELWS Crew in rehearsals in Parramatta’s
Connect Studios, December 2010
MC Trey called him “one of the most talented writers I have ever worked with.” Through his
music Khaldoon Khalili shared lyrics, songs and life experiences in his own quirky, sometimes
comedic style.
Originally from Jordan, 2Kay was referred to ICE by Todd Williams at Holroyd Youth
Services and participated in the Sound Bombing and Hip Hop 101 projects. 2Kay was due to
perform at Hip Hop Projections 5 on 16 May. Instead we paid tribute to his life and mourned
the loss of a great young man (R.I.P.).
Khaldoon had a wonderful repertoire of songs and performed at a number of different
ICE events, notably Hip Hop Projections 2 at Bangarra Theatre. His music was recorded on
the Suburban Grooves CD and his lyrics were reproduced in the supporting publication.
15
Over 50 young MCs took over the mic at the Western
Sydney heat of the Australian Poetry SLAM.
Participants blasted words, lyrical, mystical, some got a
little physical. Words projected far and wide — telling true for
real stories, taking you into their lives. Two minutes in the
spotlight was all they got. No props. No music. Just the MC
and their story and then judged by the audience.
ICE, in partnership with Word Travels and Street
University, hosted the event on 5 November at Street
University.
PHOTO COURTESY OF STREET UNIVERSITY
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Two of ICE’s most respected and applauded producers took the show on the
road in 2010, bringing their skills and experience to diverse communities in
Australia and Fiji as ICE Ambassadors.
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Fijian women’s role in security and peace
were the themes of Suva Stories, MC Trey’s
collaboration with Suva-based organisation,
femLINKPACIFIC (Media Initiatives for
Women) in beautiful Fiji.
Trey presented free lyric-writing and
music workshops in August 2010 for a group
of Suva-based women. The young women are
emerging as community radio producers and
broadcasters and their work coincided with
the UN Security Council’s 10-year
anniversary of resolution 1325.
MC Trey, one ICE’s favourite MCs and
arts workers, first connected with
femLINKPACIFIC in 2008. The project came
to fruition as a partnership between ICE
and Fiji Youth Initiative (FYI).
16
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One group song and digital story was
produced and presented at a launch for the
participants, family members and local
media. The project was featured in national
newspapers, Fiji Times and national TV
program, Fiji TV news.
One of our very own Maria Tran — an artist
and cultural producer with a serious
obsession with Jackie Chan went on the road
to find her man… yes Jackie Chan!
Quest for Jackie Chan! is a community
engagement project exploring popular
aspects of social media and “transmedia”, a
participatory trajectory of storytelling with
multiple entry points.
Created by the makers of Australia’s
kung fu feature film ‘Maximum Choppage:
Round II’ and ABC-JTV TV series ‘Downtown
Rumble’, the project draws inspiration from
the explosion of young filmmakers and the
DIY guerrilla attitude of YouTube and
Facebook.
The project hosted Chan Fan Fest
Downunder, to build on Australia’s emerging
genre action film scene and share knowledge
about funding, independent filmmaking,
collaboration, audience development and
the potential of online distribution and
marketing. Stay tuned for more news as
Maria goes on her journey to meet Jackie
in Hong Kong in 2011.
17
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I wanna see me! ICE’s Screen Culture projects get community stories
on screen by training diverse communities in screen arts. They
develop and support new practice and create platforms for producing
and presenting new work, reflecting the diversity and experiences of
people and their communities.
A crazy hour of speed-meeting with top filmindustry professionals gave budding Western
Sydney filmmakers an insight into what it
takes to win one of the world’s most
prestigious short-film competitions.
Over 100 people came to the free forum,
held at Switch on 10 November. The
networking opportunity provided a space for
wannabe filmmakers and already-are
filmmakers to come together and talk, hang
and build networks. It was the fourth TropWest
forum hosted by ICE, Screen NSW and Movie
Extra Tropfest.
Scholarship winner Aisha Kamara, aged
22, scored $5000 worth of support to film her
Tropfest entry. Her prizes included access to
filmmaking and production facilities at Switch,
a production budget, an experienced film
producer and mentor as well as a Sony
Ericsson phone.
Congratulations also go to runner-up
Shahin Alanezi who won an HD cam.
Guest speakers and speed-meet facilitators
included representatives from Movie Extra
Tropfest, Metro Screen, Arts Law Centre, SBS,
Hopscotch Films and Screen NSW.
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STUFF crew filming on Church Street, Parramatta
Seven filmmakers, seven short films, seven
stories, seven locations and a whole lot of
drama!
This project brought seven emerging
filmmakers from across the region together
for an intensive skills-development program.
It focused on writing and directing drama
and building characters and stories.
Participants were guided by award-winning
director/producer Amin Palangi and
screenwriter/editor Billy Marshall Stoneking.
18
What happened next? It was intense and
sometimes felt like a great big mess, but it
all came together. Over 40 people (cast and
crew) worked from the heart to complete
seven short films, each a unique story.
All seven films in STUFF will premiere in
early 2011.
STUFF is part of ICE’s Parramatta
Screening three-year initiative building film
skills and production, funded through
Parramatta City Council.
Speed-meeters: David Opitz from Metro screen and Cheryl Conway from Screen NSW
19
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Parramatta — hot locations, streamlined
approval processes, cutting-edge facilities
and a pool of creative professionals — this is
the best place in Sydney to make a film.
The SCOUT! booklet provides a full
rundown on everything you need to know to
get a film production up and running in
Parramatta. The 16-page, free, online
resource showcases locations, provides leads
on local production teams and creative crew,
outlines the red-tape rundown, details
funding opportunities and facilities, offers
ethical guidelines and much more.
SCOUT! was launched by local filmmaker
George Basha at the Artist Studios in
Parramatta on 8 September. It was a bumper
evening attended by screen industry
professionals, arts workers and filmmakers.
The online guide is a joint project
between ICE’s Parramatta Screening
Initiative and Parramatta City Councils Arts
and Cultural Grants Program.
SCOUT! is available online ice.org.au/scout
20
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$" ,Q7 E%,N " 6 ),-*8Q RS ,,Councillor Paul Garrard,
Former Lord Mayor,
Parramatta City Council
Opposite page: filmmaker George Basha
and Lisa Torrance launching SCOUT!
All we need is two minutes… two minutes to
tell you a story. DigiDiaries developed unique
and moving tales of love, loss, friendship,
family, courage and transitions experienced
by young people.
ICE worked with Western Sydney’s
Muslim communities, engaging young people,
aged 12 to 25, on a range of screen-based
projects providing training in scriptwriting,
filmmaking, editing, photography and online
film preparation.
The project collaborated with community
groups and schools to work directly with over
80 young people to create, produce and tell
their own stories then share them with the
world through public screenings, forums and
on the internet.
The participants ranged in ages and
cultural backgrounds including Afghani,
Iranian, Iraqi, Sudanese, Somali, Lebanese,
Egyptian, Palestinian, Turkish and Pakistani.
The digital stories will be screened in early
2011.
Special thanks to the project partners
Fairfield High School and their Intensive
English Centre, Sule College, Auburn
Community Development Network (ACDN)
and Afghan Hazare Youth Group. This project
was funded by Arts NSW and Department of
Immigration and Citizenship (DIAC).
21
ICE proudly supports…
185,+9/+1:*
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Western Sydney’s premier short film festival
for young people, ShortCuts gives young
filmmakers from the burbs the chance to
have their films screened, win over $4000
in prizes and get feedback from a panel of
industry judges.
Presented by Powerhouse Youth Theatre
and supported through ICE’s screen cultures
program ShortCuts is held during National
Youth Week. It brought hundreds of people
together to watch the finalists’ films
screened in front of a live judging panel
on 10 April 2010.
Find out more at www.shortcuts.pyt.com.au.
J)7*# ,$4%,J)7*#%)
Developed as part of DigiDiaries, this project
trained 11 creative and cultural leaders from
Western Sydney in digital storytelling
production and facilitation. They then
facilitated workshops with groups across
the region.
Participants included: Eddie Abd, Nasser
Palangi, Sanaz Fotouhi, Leo Tanoi, Hedy
Sussmann, Jamil Khuri, Marian Abboud,
Yamane Fayed, Saleh Saqqaf, lina Kastoumis
and Hassan Reda.
To view the digital stories created as part
of this workshop go to: http://ice.org.au/
newswire/2010/02/train-the-trainer-projectround-up.
22
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Full-house on opening night
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The Arab world churns out a breathtaking
array of films featuring talented actors and
filmmakers. It is only fitting for a
multicultural nation such as Australia, with a
dynamic and proud Arab community, to
celebrate these quality productions.
The Arab Film Festival aims to showcase
stories from diverse Arabic-speaking cultures
to broad Australian audiences that reflect the
complexity and diversity of Arab
communities and experiences. We aim to
address the (mis)representations of Arab
culture through film by providing critical
spaces to present alternative representations
of Arab cultures, subjects and narratives.
In 2010, the festival screened in five
locations across the country, launching from
its home at Riverside Theatres in Parramatta
and then hitting the road to take in
Melbourne, Canberra, Adelaide and Brisbane.
We were excited about the quality of
films available for the 2010 festival, ranging
from action-packed drama to documentaries,
thrillers and a collection of experimental and
animated shorts from the Middle East, United
States, Europe and Australia. There was also
a collection of homemade films screened to a
live musical score by talented local oud
player Mohamed Youssef.
The 2010 festival has been described by
audiences as “world class”, “fascinating and
diverse” and “a raindrop in the desert of the
film scene”. Over 3000 people packed the
cinemas in Sydney, Melbourne, Canberra,
Brisbane and Adelaide.
As a community-managed cultural event,
the Arab Film Festival supports freedom of
thought, expression and information, as well
as diversity in screen media to enable
cultural expressions to flourish. We especially
promote diversity in cultural expression that
allows individuals to share their ideas, values,
and experiences of the world.
Some of the highlights include opening
night at the Riverside Theatre Parramatta,
where an enthusiastic crowd of 700 people
packed out the cinema to watch ‘City of Life’,
the very first feature film from Dubai
to be screened in Australia. The director,
Ali Mustafa joined us from Dubai for the
opening and was sought out for many
interviews throughout his stay.
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Mouna Zaylah, Festival Co-Director
Festival directors Fadia Abboud and Mouna Zaylah
flank Virginia Judge MP and Ali Mustafa.
23
Mirrah, trainer on the RISE project,
rocking open mic at the launch
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Connect, collect, empower and transmit — the Community
Engagement Project works in collaboration with grassroots
communities to share skills and stories, affect lives and embrace
the diversity of cultures. The project works creatively with at-risk and
socially excluded communities on projects in their own community
spaces. It offers access to information and resources and enhances
connections between people. Funded by the NSW Department of
Human Services — Community Services, the project undertakes a
program of community capacity-building activities. With a full-time
dedicated staff member, Christian Tancred, stepping into the role late
2010, the project is expanding and going from strength to strength.
24
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Song writing, music production, dance and
parkour were on the agenda when young
people from Holroyd aged 12 to 25 gathered
at Holroyd and Wentworthville Youth Centres
for a star-studded training event.
Well-known musicians Vuli Mkwananzi
from True Vibenation, MC Trey, Mirrah,
Junior Tavola, Zig Parker and Bill Lesi were
on hand — not only to enable the emerging
artists to develop their craft, but also to
provide advice on what it is really like in the
music industry.
Over 100 people attended the launch of
RISE on 16 December, where the music
videos and tracks tore up the stage at
Switch. There was also open mic, prizes and
a live performance from participants.
Everyone had the chance to shine and we
were joined by Fijian choir, The Redemption
Singers and reggae band, King Generation.
The project was a great success and may
well launch some of the participants into
music careers. Media was strong including
coverage on FBi Radio, the Parramatta Sun
and Concrete Playground.
25
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UNESCO-award winning Jamaican arts
activists Mervin Jarman is famous for the
Container Project, a media lab set up in a
shipping container, and iStreet Lab, a mobile
multimedia-training facility that runs out of
a 240-litre wheelie bin. Mervin is all about
doing what you can with what you’ve got.
He has worked in the UK and Jamaica,
and on 7 April, he visited Street University in
Western Sydney to share information about
his music and digital arts projects with youth.
It was a unique opportunity for young
people, hip-hop artists, urban artists and arts
workers to learn about creative ways to use
music and technology within our community.
Hosted by Australian hip-hop artists MC Trey
and DJ Nick Toth, local singers, rappers and
poets showed Mervin some Aussie
talent in open mic sessions with prizes
for performers.
Mervin Jarmin with MC Trey at Street University
>(-,>-02<*
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Community workers and artists will join
forces in Fairfield to up-skill the sector in
digital media under this project.
Workshops will commence in 2011 and
will run in the community so groups can use
video and digital storytelling to promote the
story behind their work. This project is
funded by Clubs NSW through Fairfield
Community Development Support
Expenditure Program.
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A project created in partnership with
Multicultural Disability Advocacy and
Association (MDAA).
Your family story takes on new
dimensions when your brother or sister has a
disability. The Siblings Project provided skills
in digital arts and storytelling for young
26
people who have a sibling with a disability.
Facilitated by Eddie Abd and Amin
Palangi, the project supported six young
people who completed digital works and
presented stories to family and friends at
a showcase at Switch.
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Navigating the creative jungle of Western Sydney, the Artist
Professional Development Project seeks out career-enhancing
and industry-boosting opportunities. Dedicated coordinator Donita
Hulme-Cawi came on board halfway through 2010 and we now have
the man (woman) power to pound the pavement and engage and
collaborate with artists, organisations, government and supporters.
27
ICE staff and participants and the Press Play launch
1)$-*8%&R@"QR76
Artfiles is an online portal to the diverse and
dynamic world of the arts in Western Sydney.
It includes a directory of artists, arts
organisations and events across Western
Sydney and a professional development
program for artists. Artfiles connects with
organisations and local government in the
14 local government areas in Western
Sydney.
In 2010, Artfiles ran a series of planning
sessions to develop a program of workshops
and forums engaging artists and supporting
them to better profile and promote their
practice.
It also ran the Spring Clean/Box Fresh
Artfiles Profiles competition, a promotion
encouraging existing Artfiles members to
update their content and inviting new
C,(3+*;,-+-3C*;5,'18541
members to join. We gave away an 8GB
iPod Touch to one lucky Artfiles member.
By the end of 2010, there were 1579
e-news subscribers, 2342 artist profiles,
and 4190 website referral links to Artfiles
from other online locations.
Artwork by Artfiles listed artists:
Above: artfiles.com.au/mariesetiawan
Below: artfiles.com.au/alexisapfelbaum
If you’re an artist, your next meal may depend on how well you wrote your last grant
proposal. Artists developed skills in grant writing and project development at this annual
event.
ICE and Fairfield City Council team up each year to provide free information sessions and
a grant-writing workshop/mentoring program for people interested in applying for Fairfield
Council’s Community Cultural Development Grant. The project is all about supporting
community workers and artists with a focus on working with communities.
28
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The creativity of young people is the blood in
ICE’s veins and in 2010 it was time to
celebrate and salute some of our spectacular
creative producers. Get set to Press Play…
Press Play celebrated the achievements
of over 300 young people from ICE’s youth
projects including Youth Digital Cultures,
Create Media! and Urban Music, engaging
young people from diverse backgrounds
through digital media.
The event showcased short films, mini
documentaries, photography, graphic design,
hip-hop, rock performances, music
soundtracks and written stories by young
people aged 12 to 16 years from Western
Sydney.
The highlight of the evening was when
Saber Baluch, a young Communications
student at the University of Western Sydney,
was awarded Western Sydney’s most coveted
young creative entrepreneur award; the
Create Media! Incubation prize.
Twenty-one-year-old Saber Baluch is a
refugee from Afghanistan from the Baluchi
tribe who lives in Liverpool. His creative
business plan impressed the judges and he
walked away with prizes totalling $10,000
awarded in the form of equipment, office
space, training and professional mentorship.
Saber will have his own video camera and
edit suite as well as office space with access
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Dr Gianni Zappala, Executive Officer
of the Westpac Foundation
29
Gary Paramanathan, Create Media! trainer
and Saber Baluch, Create Media! winner
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@" Q % $)6 %YS ,,,Saber Baluch
to training and mentorship, allowing him to
set up his own creative enterprise.
Saber was in competition with two other
groups to take out the prize, made up of
young people from Sierra Leone, the
Republic of Congo, Sri Lanka and Iraq. All the
participants shared a common goal to be
leaders in digital media, to share their lives
and experiences through film making, music
and design.
The prize, awarded by Karen Dinning of
the Westpac Foundation, is part of the Create
Media! Project, a partnership with the
Westpac Foundation managed by ICE.
The project is a part of the revolution
taking place in the community and arts
sector, which now focuses on sustainability
and income generation rather than
government and private funding.
Saber will begin his incubation
immediately, with the set up of his business
“Saber Media” in legal and financial terms.
He will produce documentaries, corporate
videos and fictional work for businesses,
individuals, community organisations and
government agencies.
ICE is set to take on the leadership role
in incubating creative enterprises and
strengthening the creative industry in
Western Sydney. The Create Media!
Incubation prize is the result of a two-year
project, working with young people of
refugee and migrant backgrounds who are
aspiring digital media artists.
Heartfelt thanks to the Westpac
Foundation for their support.
07N 6 <& 18O6 Q ,I76 # @4
Tamil film ballads infuse hip-hop, dance and rock sounds on
Mayu Ganehsan’s debut album ‘Aappam’. Mayu, another
participant of Create Media!, is a multitalented musician,
composing music, playing the keyboard and guitar, as well as
writing the lyrics and vocals on his tracks. He was born in
Jaffna, Sri Lanka, and has studied audio engineering in both
Sri Lanka and Byron Bay.
30
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The Creative Enterprise Program (CEP) leverages the deep connection
between ICE and Western Sydney’s artistic communities to develop
creative practitioners and entrepreneurial leaders.
It seeds, develops and supports employment opportunities for new
enterprises. The CEP works via its assets, such as Switch Digital Arts
Centre, training programs and the Creative Enterprise Hub.
The CEP also manages the development of cultural media products
for local agencies, businesses and government bodies. It provides
production services and develops products such as community
education resources, documentation and promotional material.
The program came into its in own in mid-2010 with the appointment
of its long-anticipated program manager, Indu Balachandran. It soared
to even greater heights with the launch of the new and improved Switch
Digital Arts Centre and has not looked back over a fruitful year of new
programs, activities, spaces and people.
31
D+*$@4 ,A*G*$78 1)$& !%#$)%
ICE has been dreaming about it for many
years, and finally it’s here. Launched on
3 November, the new Switch Digital Arts
Centre provides Western Sydney with a
state-of-the-art digital playground.
The Switch space is home to the training
programs that ICE administers, as well as the
multipurpose venue, facilities and equipment
that ICE offers. It is the product of an
extensive capital works project (see page 11)
that has created a freshly renovated,
innovative, and exciting new space.
Switch was also lucky enough to undergo
a brand refresh, thanks to the ethically
minded design agency Generation Alliance,
32
who generously offered their services for a
new brand toolkit, pro-bono. The new brand
is fresh and active and reflects the space
itself — a place designed to bring creative
people together to do what it is they do best
— create, collaborate and converse.
Despite being housed in temporary
accommodation on Macquarie Street
Parramatta early in the year, Switch
continued to house compelling programs,
engaging young filmmakers via the STUFF:
The Drama of It All project and digital
storytelling and urban-music projects, such
as DigiDiaries and Hip-Hop Projections.
Midyear, new staffer Gary Paramanathan
took on the coordination role for Switch.
With the launch of the new ICE premises
and Switch Digital Arts Centre, we entered
a new era at ICE, with a welcoming and
expansive home that can host our work
and partners at last!
Since its relaunch, Switch has developed
public programs to engage various
communities in Western Sydney and beyond.
The public program for 2010 kicked off
with a bang, starting one day after the
official launch with Parramasala activities
partnered with ICE. The South Asian Arts
festival brightened up Parramatta in
November and the Switch space showcased
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Julie Owens, Federal Member for Parramatta
33
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With its first ever program manager, 2010 was the year to officially
finish off long-standing projects and begin to seed new parterships
and clients. The year, Creative Enterprise brought to a close the
legal education DVD Under the Law and community media project
African Parenting Stories.
Nitin Sawhney Masterclass participants jamming
a series of artists talks with established
artists from South Asia and the diaspora.
ICE hosted an enormously popular
masterclass with world-renowned musician
Nitin Sawhney who was also the first
musician to use the Switch space to record
music for his new album. Nitin Sawhney
christened the recording studios with an
audio collaboration with classical Rajasthani
folk singers who wowed the audience at the
festival.
Other events were also held at Switch,
including a photographic exhibition by the
Red Cross entitled Works by Asylum; a social
media forum run by the School for Social
Entrepreneurs; rehearsals for the Sydney
Festival hip-hop theatre show East London,
West Sydney; and a Christmas party for
Federal Member for Parramatta Julie Owens.
Switch has plans to develop content and
training programs to debut in 2011 on topics
such as filmmaking, social media and
interactive technology. Switch is also working
intensively with the Cultural Development
Program to deliver workshops and programs
both inhouse and through outreach.
34
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87 )G%8N ,*G# " )%: RS , Masterclass participant
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Recently arrived Australians of African origin
now have a clear introduction to their legal
rights and responsibilities, through this
educational DVD.
ICE and Fairfield Council worked with the
indomitable producer, Barry Gamba and the
Fairfield Local Area Command to produce
this resource.
The launch was attended by over 50
people and the DVD was in such demand it
went into reprint within days of the launch.
Consequently, over 900 copies have been
distributed. Funded by the Law & Justice
Foundation, the project was shortlisted for
CRC Multicultural Marketing Award.
35
1-)*@7# ,27)%#$*# G,D$")*%&
Lisa Torrance, Linda Burney MP,
and Tania Gadiel MP
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Linda Burney, Community Services Minister
36
This heartfelt community media project
curated extraordinary stories of family, place
and identity of African-Australians in
transition. The six radio plays received
national coverage on community radio and
the digital stories were televised on Aurora
Television and across the internet.
African Parenting Stories engaged
communities from five African language
groups and multiple agencies in Western
Sydney. The project brought together artists,
community workers, fathers, mothers and
young adults and skilled them up in scripting,
translating, broadcast recording and acting,
leading to compelling stories of love,
apprehension and courage.
The project has been widely published
and presented at numerous forums and
conferences such as the annual NEMBC
conference in Melbourne. It has been
portrayed as a community media model that
provided awesome creative outcomes and a
unique united voice through community
cultural development. Funded by the
Department of Community Services, it has
broken new ground between generations
and communities.
Artists impression of the soon to be re-designed Hub
!)%7$*( % /# $%);)*&% T6 O
The Creative Enterprise Hub is a space to
host creative enterprises and cultural
producers for a sustained period. It is a bold
step into the unknown, bringing together a
hosted mix of culturally diverse leadership
and creative talent and letting ‘em rip.
The Hub is envisioned as a centre of
artistic innovation, cultural leadership and
creative excellence. It will tell the stories of
the region and inspire all of us at ICE. The
business model is also unique, with ICE
taking the leadership through a social
enterprise approach.
Planning has begun in earnest and the
space is undergoing a transformation, from a
tired ’70s warehouse to a hot place to create
and mix. Social Ventures Australia joined the
party, and we’re looking forward to an
injection of staff to help set up the Hub in
2011. Watch this space for the new mix of
people, artists, entrepreneurs, ideas, jellies,
and jams…
<-1*-1*?-520390*%
ICE was commissioned by DoCS to conduct local
research on the knowledge and attitudes of young men
in the Mt Druitt community to Domestic Violence, as
well as their current sources of information. Out of this
emerged initial recommendations and a draft campaign
that has been recognised as innovative and at the
cutting edge of what may work with young men. Using
visual messages that connect to the audience, as well as
a medium that is relevant, ICE tapped into the
community for ideas as well as testing audience
responses to the campaign.
37
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ICE is committed to deepening participation and enhancing the effective
outcomes of our programs. To do this we need to both look back to evaluate
and look forward to develop strategies for the future. ICE’s research and
policy provides a platform for future success and drives us to think
creatively “out of the box” as we develop strategic and sustainable
initiatives. It also enables us to inject our accumulated knowledge into
broader debates. This year research and development shifted up a gear,
generating new areas of exploration, engaging with outstanding thinkers
and collaborating on events that drive our knowledge forward.
2)"F%@$ _
Project 5 Live Art Event Cockle Bay, 20-22 August 2010
Australia’s top urban artists collaborated on
this high-profile, high-octane project of
cutting-edge street art.
The first ever street-art auction in
Australia took place in May 2010, following
the Project 5 live event at Cockle Bay Wharf
on 17–19 December 2009. The work produced
by Ben Frost, Shannon Crees, Beastman and
Phibs was auctioned and drummed up
$10,000 for ICE to feed back into ICE’s
hungry Western Sydney creative arts
programs.
With one successful achievement under
its belt and a growing synergy between the
partners, Project 5 jumped into its second
live-art event on 20–22 August with a new
38
set of talented artists Anthony Lister, Ears,
Meggs, and Sonny and Biddy from We Buy
Your Kids. The second auction raised a
whopping $15,000 for ICE on 14 October at
Leonard Joel in Double Bay and generated
a staggering amount of publicity for its
innovative nature.
Project 5 is a collaborative, artistic and
philanthropic partnership between Cockle
Bay Wharf, aMBUSH Gallery, Leonard Joel
Auction House, ICE and Australia’s top street
artists. A big thanks to all the project
partners, we look forward to deepening our
partnership in the future.
We can’t forget those who bought the art
— thank you!
Planning Day at ICE
=*;;8%,/--%@$&
Ripple Effects Cultural Production in Western
Sydney investigates the role of community
media and arts in Western Sydney, using ICE
as a case study. It looks at a range of
approaches, aiming to develop new models
of critical analysis and evaluation.
The three-year research partnership with
ICE is led by researchers from the University
of Technology, Sydney (UTS) Transforming
Cultures Research Centre, Arts NSW and the
Australia Council for the Arts. It is funded by
the Australian Research Council–funded
Linkage research project.
Throughout 2010, the UTS team
examined ICE archives, undertook qualitative
research with ICE participants, analysed
survey data and presented findings to ICE,
as well as at conferences and seminars.
In 2011, the research will produce findings
about ways of enabling and assessing the
impact of culturally diverse participation in
cultural production and the arts. It will also
share knowledge about how ICE models and
approaches might be used and adapted in
other contexts.
The research team is led by Dr Ilaria
Vanni. Researchers are Dr Tanja Dreher,
Dr Christina Ho, Dr Justine Lloyd, Dr Tony
Mitchell, Dr Devleena Ghosh and the research
assistant is Jemima Mowbray.
39
D6 &$7*# 7O*8*$N ,D$)7$%GN ,
(;(,<1
May 2010 MC Trey was named one of
Sydney’s Top 10 Creative Innovators in the
field of music.
September 2010 ICE was recognised for our
business achievements, winning Suncorp
Western Sydney Business award for
Outstanding Performance in Community
Service.
November 2010 The Community Media
project, Under The Law, created in
partnership with Fairfield Council was
nominated for a CRC National Multicultural
Marketing Award.
With more and more focus on local action for
climate change, ICE seized the opportunity
of the building refurbishments to make an
explicit commitment to sustainability in our
business plan for 2011–13.
Two interns began research to assist on
ICE’s sustainability strategy in late 2010,
including scoping environmental projects,
looking into the sustainability issues facing
Western Sydney, and the creative industries
more generally. They will also examine
internal policy strategies that could minimise
our impact on the environment.
The research is looking at local, regional
and international initiatives implementing
sustainable practices, particularly in
innovative and exciting ways. It will identify
ways ICE can better support local community
actions, now and in the future.
The research has already led to new
partnerships with Western Sydney Regional
Organisation of Councils’ (WSROC) Water in
the Landscape Project and the Institute for
Sustainable Futures. The ICE Sustainability
Strategy will be launched in 2011.
07F"),$78E&,`,;)%&%# $7$*" # &
ICE staff are committed to sharing knowledge
and experiences, and are often asked to
present our learnings and unique point-ofview to our peers, local communities and
agencies, and businesses.
In March, Indu presented at the Artist +
Community Toolkit Workshop titled “The
Intersection of Human Rights Creativity and
Renewal” and in October she also presented
at Westpac in the Social Returns Forum.
In November ICE staff Mouna, Indu and
Kristy presented as a part of Ultimo TAFE’s
Community Cultural Development Seminar
Series and Gary presented on social media at
40
Switch alongside our friends from
CuriousWorks and Vibewire.
Mouna presented at a professional
development session for a cultural specific
performance group at the Fairfield School of
Arts, a session called “100 minute make over”
Our research partners at UTS presented
two panels at the Critical Voices in the Media
and Rethinking Community Arts and
Citizenship at A Scholarly Affair, CSAA
National Conference, Byron Bay 2010.
They also presented papers at a panel on
Community Arts and Cultural Citizenship at
CrossRoads, Hong Kong 2010
/( 786 7$*" #
The core focus for ICE’s research and policy
program in 2010 has been developing and
consolidating evaluation to reflect the
outcomes of our work.
One of the biggest challenges for our
sector is developing simple, yet not
simplified, ways of doing this. We are also
looking for better ways to share and
translate the intuitive learning and
knowledge of participants and project
leaders and decipher this into real and
valid evidence of our outcomes.
This process has been informed by our
research partnership with UTS and other
stakeholder relationships, it has also been
required as we explore creative enterprise,
social innovation, environmental
sustainability and the wider issues and
contexts for our creative interventions for
social, digital and cultural change. Funding
bodies are also increasingly expecting that
organisations they fund, can articulate and
demonstrate how they measure and report
on their programs. ICE developed a new
framework for our Evaluation Strategy in
2010 which enables us to better track,
monitor and report on the outcomes of our
work. It enables critical reflection and
assessment at different levels of our
practice, and allows us to better understand
and communicate the wider scope and
impacts of our work, including through
opportunities opening up with the explosion
in social media.
41
16:*%# @%,
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ICE’s research program has a strong emphasis on the development of funding and business
opportunities. It identifies and shares information with the wider team about new and
emerging developments in relevant fields. Working with the program areas, the research
program oversees ICE’s funding strategy, evidencing outcomes as well as identifying and
pursuing opportunities to support the overall work of the organisation.
0 7E*# G,I*# E&
Hacktivists, scholars, geeks, community,
health, arts and social sector workers
converge annually at the Making Links:
Where Social Action and Technology
Converge conference. Since 2004, ICE has
been on the organising team of the event,
which draws together anyone whose work
uses technology to engage with communities
for social change.
In November 2010 Making Links
converged in Perth. Playing host to the
internationally acclaimed Tactical Technology
42
Collective from the UK, the event connected
practitioners, researchers and many others
from around Australia and showcased new
work made by communities in its annual
film festival.
Generating a significant buzz in the
Twitterverse, the conference set off debate
about how social media is transforming
communities, and many questions were
raised and explored about the impact of
technology on how organisations engage
with communities.
ICE is in the business of change — of lives,
minds, experiences and possibilities. We
are also working in rapidly changing digital
world, where the ‘creator’ and ‘audience’
are fundamentally redefined.
Throughout 2010, ICE has sought to
better articulate our audience
development strategy, to incorporate
learnings from our research partnership,
and to deeply embed audience
engagement across all programs, research
and communications. When we stage
events to present work by artists and
communities, we promote and share
outcomes of projects and are always in
conversation.
ICE has been developing more effective
ways to track engagement, including more
creative ways to invite feedback and use
social media. From this effort, we know
that our audiences are growing in size. We
also know that we are reaching more and
more new people, and we are creating
important spaces for our audiences to
connect, critique and engage with the
outcomes of our work.
In presentation to the National
Conference of the Cultural Studies
Association, one of our research
collaborators, Tanja Dreher presented a
paper about audiences at our community
events, arguing that “the moment of ‘going
public’ entails complex politics of
recognition combining risk and affirmation,
safety and uncertainty.” Her insights and
critical reflection affirm why we work so
hard to reach and engage meaningfully
with our varied audiences.
+(9+-9(2*+0983525C)
Tactical Tech is well known for its work in
info-activism and visualising information
advocacy. With support from Making Links
and the University of Western Sydney’s
School of Communication Arts, ICE hosted
Tanya Notley to present on their work on
25 November 2010.
The event brought together a significant
group of community-based organisations
across Western Sydney. It was a unique
opportunity to invite our community
partners to connect with each other and
Tactical Tech and share new ways of
working with communities.
The feedback was very positive and the
connections and new ideas generated are
already filtering into community projects
and actions in the region.
43
ICE staff with the 9Lives crew
at the launch of Switch
4DEFGDH*4IJKLDJM*ILN*1OFFEJKDJM
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Key Organisational Partners
Australia Council for the Arts
Arts NSW
Screen NSW
Department Of Human
Services — Community
Services NSW
Parramatta City Council —
partner, Switch Digital
Arts Centre
ICE And Switch Capital
Works and Facilities
Project Partners
Australian Government
Department Of Education,
44
Employment and Workplace
Relations
Catholic Diocese, Parramatta
Toland Architects
Walton Construction
Berents Project Management
Project Funding Bodies
and Sponsors
Arabic Pages
Arts NSW
Attorney Generals Department
Aurora Television
Australia Council for the Arts
Australian Human Rights
Commission
Department Of Human
Services — Community
Services, NSW
(Western Sydney Area
Assistance Scheme)
Department Of Immigration
and Citizenship
Department of Premier
and Cabinet
(Community Building
Partnership Program)
Department Of Water,
Heritage and the Arts
Etihad Airways
Fairfield CDSE
Fairfield City Council
Holroyd City Council
Media Loft Web Design and
Development
NSW Community Relations
Commission
Parramatta City Council
Penrith City Council
Port Bar And Restaurant
Western Sydney Organisation
of Councils (WSROC)
World Media International
Project Partners
48 Hour Film Project
Afghan Hazarat Community
Group
aMBUSH Gallery
Arts Law Centre
Auburn Community
Development Network
Aurora Community Channel
BASI
British Council Australia
Casula Powerhouse
Civictec
Cockle Bay Wharf
Cranebrook Neighbourhood
Centre
CuriousWorks
Darling Park
Deliottes/AbAF
Dendy Cinemas (Brisbane and
Adelaide)
Department of Health and
Ageing
Department of Human
Services, Community
Services
Dlux Media Arts
Fairfield City Council
Fairfield High School
Fairfield Intensive English
Centre
Fiji Youth Initiative
Foundation For Young
Australians
Generation Alliance
Holroyd City Council
Holroyd Youth Services
Inner West Skills Centre
Institute For Sustainable
Futures
Leonard Joel Auction House
Lopez Records
Law and Justice Foundation
Making Links Committee
Mars Hill Cafe
Merrylands Youth Services
Metroscreen
Mission Australia
Mount Druitt Family Violence
Response & Support
Strategy
Movie Extra Tropfest
Multicultural Disability
Advocacy Association
National Film and Sound
Archive, Canberra
Nova Cinema (Melbourne)
NSW Police (Parramatta
and Merrylands)
Object Gallery
Octagon Events
Ones Clothing
Parraconnect
Parramasala
Parramatta Artists Studio
Parramatta City Council
Pop Up Parramatta
Penrith City Council
Powerhouse Youth Theatre
Red Cross
Riverside Theatres, Parramatta
School Of Social Entrepreneurs
Social Ventures Australia
South Penrith Youth
Neighborhood Services
Street University — Liverpool
Sule College
Sydney Writers’ Festival
Tanya Notley
Tactical Technology Collective,
UK and Germany
TAFE NSW, Ultimo
Templar Films
University Of Technology,
Sydney (Transforming
Cultures Research Centre)
University Of Western Sydney
Vibewire
Women In Film And Television
(WIFT)
Word Travels And The National
Poetry Slam
ICE Staff and Key Contractos
Lisa Torrance, Executive
Director
Lena Nahlous, Executive
Director (to May 2010)
Jill Chambers, Manager,
Operations
Caitlin Vaughan, Manager,
Research and Policy
Mouna Zaylah, Manager,
Cultural Development
Indu Balachandran, Manager,
Creative Enterprise
Kristy Mayhew, Manager,
Marketing and
Communications
Jerome Pearce, IT and
Facilities Officer
Gary Paramanathan,
Switch Centre and
Training Coordinator
Donita Hulme-Cawi,
Coordinator, Artist
Professional Development
Christian Tancred, Coordinator,
Community Engagement
Fadia Abboud, Co-Director,
Arab Film Festival
Amin Palangi, Coordinator,
Digi Diaries Project
Saleh Saqqaf, Coordinator,
Parenting Stories
Maria Tran, Consultant,
Urban Cultures Project
Thelma Thomas, Coordinator
and Trainer, Urban Cultures
Project
Saber Baluch, Enterprise
Apprentice, Saber Media
Productions
Yu Ye Wu, Executive Assistant
to the Executive Director
Georgie Lampe, Administration
and Resource Officer
Artists, Contractors and
Creative Consultants
9 Lives
Adnan Chowdhury
Akeesha Horton (USA)
Ali Khadim
Ali Mustafa (UAE)
Alissar Chidiac
Amin Palangi
Amy Kwong
Andy Minh Trin
Barry Gamba
Ben Hoh
Bheki And Vuli,
Truevibe Nation
Bheki Mkwananzi
Bill Lesi
Billy Marshall Stoneking
45
Brothablack
Claudia Chidiac
Dan O’Reilly-Rowe
Danna Lingard
David Cheng
Def Wish Cast
Dennis Cala
Eddie Abd
Elizabeth Vu
Emelda Davis
Eren Senner
Fadia Abboud
Fadle El-Harris
Farid Farid
Fatima Mawas
Finn O’Keefe
First Flight Crew
Frank Mainoo
George Basha
Hasan Mousa
Jacqui Leewai
James Carr
Jamie Williams
Janine Collins
Jason Tearle
Joanne Saad
Joey Hakim
Jonzi D (UK)
Jose Sanchez
Joseph Hakim Juan
Junior Tavola
Kaajal Singh
Kim Bowers
Layal Naji
lina Kastoumis
Lola Forester
Ludwig El Haddad
Maissa Alamadine
Maria Tran
Marian Abboud
Marie Setiwan
Martin Cox
Maxwell Golden (UK)
Maya Newell
Mc Trey — Thelma Thomas
Meiying Saw
Ming Darcy
Mirrah Fay
Monique Perrin
My Sang Le
Negin Asadipour
Nick Toth
Patrick Heegar
Paula Abood
Paulo Goncalves
Quac Do
Redemption Band
Reef Thunder
Richard Petkovic
Richard Teague
Rima Najm
Saber Baluch
Sanaz Fotouhi
Sarah Rhodes
Sarah Sayeed (UK)
Shakthi Sivanathan
Shannon Kennedy aka Ozibatla
Stuart Buchannan
Torcha
True Vibenation
Urban Prophetz
Vanessa Scott
Vanna Seang
Vinh Nguyen
Yamane Fayed
Zig Parker
Volunteers and Project
Advisory Members
Alissar Gazal
Bill Lesi
Devinder Singh
Filimone Lesi
Firas Naji
Jackie Leewai
Jay Edmonds
Joanne Saad
Juan and Jose Francisco
Ludwig El Haddad
Marina Kingsley
Mohamed Duar
Omeima Sukkarieh
Paula Abood
Rawan Sabre
Saleh Saqqaf
Tania Safi
Vasinder Gill
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46
Financial Statements
INFORMATION AND CULTURAL EXCHANGE INC.
31 DECEMBER 2010
48 Treasurer’s Report
49 Balance Sheet
50 Income Statement
51 Notes to and forming part
of the Financial Statements
53 Statement by Members
of the Board of ICE
54 Independent Audit Report
Interns
Lisa Walker
Pan Kue Park
Tatjana Jorg
Marina Kingsley
Debbie Hatumale
Claire Fensome
47
Treasurer’s Report
2010 was a year of significant challenges for
ICE, particularly the relocation and
refurbishment of the current premises. With
support from key government bodies ICE was
able to greatly enhance the services it
provides to the community. Key funders who
assisted us in moving forward include: The
Department of Education - Employment and
Workplace Relations, Arts NSW, Department
of Human Service - Western Sydney Area
Assistance Scheme and the Department of
Premier and Cabinet – Community Building
Partnership Program.
ICE’s long-term financial sustainability
was a critical factor in the ability to secure
this funding. Our position has been greatly
improved due to the key relationship it has
with Catholic Diocese, owner of our current
premises. Thanks to Bishop Anthony and
John Spillane for their continued support.
ICE’s unique role in Western Sydney is
also a result of the ongoing partnerships it
has with core funders Arts NSW and
Australia Council as well as key program
partner Screen NSW. These partnerships
allow us to plan strategically for the longterm effective management of the
organisation. In 2008 ICE was awarded the
Australia’s Council prestigious status as Key
Producer and this was coupled with triennial
of funding from Arts NSW in 2009.
Our work as a local organisation is
sustained by the partnerships we have with
our local councils in Western Sydney. Their
financial and in-kind support continues to be
a central factor in our ability to develop the
varied number of projects that are run by
ICE.
The organisation’s continued ability to
develop new ideas has led to new sources of
income. ICE’s relationship with the Project 5
partners and our work with foundations and
philanthropic organisations continues to be
important and growing revenue stream.
48
Balance Sheet
Our core operating finances have
remained steady over 2010 despite two
moves and major overhaul of our premises
and I congratulate the team who project
managed the Capital Works Project. Jill
Chambers, Manager, Operations has been a
tremendous asset - overseeing the sound
financial management of ICE’s work while
taking on the day-to-day liaison/supervision
of the renovations.
A fundamental cost for our organisation
is the provision and maintenance of
equipment. As we face a more exciting and
engaging future in our wonderful space, the
challenge of financing our new ventures are
ever present. It will be a key responsibility in
2011 to effectively plan and provide
provisions for the long-term enhancement of
our equipment and ongoing infrastructure
demands.
On behalf of the board of ICE, I would like
to thank our sponsors and key funding
bodies. In particular I am grateful to the
management team including Jill Chambers,
Lena Nahlous and especially our current
Director, Lisa Torrance for coming to us at
such a critical time and producing, with her
team, an overall a sound financial position.
Tilda Sikes
Treasurer
FOR THE YEAR ENDED 31 DECEMBER 2010
CURRENT ASSETS
Cash and cash equivalents 3
Receivables 4
Prepaid expenses
Inventory 5
TOTAL CURRENT ASSETS
2010
2009
797,408
135,761
6,117
939,286
1,705,109
751,177
5,381
695
2,462,362
NON-CURRENT ASSETS
Building improvements – at cost
Less: Accumulated depreciation
TOTAL NON-CURRENT ASSETS
1,227,902
(28,434)
1,199,468
696,279
(129,870)
566,409
1,765,877
TOTAL ASSETS
2,705,162
2,484,770
174,271
727,829
131,842
8,000
1,041,942
294,687
1,829,164
120,049
2,243,900
189,122
1,422,140
32,000
1,643,262
219,688
219,688
2,685,204
2,463,588
19,958
21,182
TOTAL ACCUMULATED INCOME
21,182
(1,224)
19,958
23,549
(2,366)
21,182
TOTAL EQUITY
19,958
21,182
Office furniture and equipment – at cost
Less: Accumulated depreciation
121,667
(99,259)
22,408
22,408
CURRENT LIABILITIES
Payables
Deferred income 6
Provision for staff entitlements 7
Provision for building maintenance
TOTAL CURRENT LIABILITIES
NON-CURRENT LIABILITIES
Provision for staff entitlements 8
Deferred income 6
Provision for building maintenance
TOTAL NON-CURRENT LIABILITIES
TOTAL LIABILITIES
NET ASSETS
EQUITY
Accumulated income at the beginning of the year
Operating surplus for the year
The accompanying Notes form part of these financial statements.
49
Income Statement
INCOME
2010
Arts NSW
Australia Council for the Arts (CCD Program & Project grants)
Australia Council for the Arts (AFF Project grant)
Dept of Community Services (DOCS)
Dept of Community Services (DOCS) — one-off grant
Dept of Premier and Cabinet
DEEWR — One-off grant for capital work
Screen NSW
Department of Immigration & Citizenship
Communities NSW
Events NSW
TAFE NSW (ArtStart)
Local Government
Westpac Foundation
British Council Australia
Foundation for Young Australians
Sydney Community Foundation
Community Relations Commission
University of Western Sydney
Mary MacKillop Foundation
Other small grants
Unexpended grants at the beginning of the year
Unexpended grants at the end of the year
Interest received
Project funding
Donations
Other Income
TOTAL INCOME
Notes TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 DEC 2010
FOR THE YEAR ENDED 31 DECEMBER 2010
2009
431,084
205,531
70,000
89,227
110,000
50,000
1,500,000
55,000
10,479
9,000
5,200
132,528
62,844
9,712
14,600
4,000
1,500
(1,675,725)
53,956
151,788
25,085
44,345
1,360,154
430,000
202,500
70,000
83,780
52,000
50,000
46,800
122,100
65,000
40,000
65,000
20,000
3,000
6,000
1,500
270,295
(285,164)
31,115
89,424
205
80,278
1,443,833
22,031
651,900
7,516
80,596
20,665
92,756
219,344
30,694
35,429
84,370
116,077
1,361,378
35,753
793,994
6,736
13,932
10,152
114,355
228,740
18,066
37,936
72,750
113,786
1,446,200
LESS: EXPENDITURE
Relocation expenses
Employee expense
Equipments purchase
Depreciation expense
Insurance expense
Media and marketing expenses
Programmes and production expenses
Rental expense
Contractor expenses
Administration expenses
Other expenses
TOTAL EXPENDITURE
(DEFICIT) FROM OPERATIONS
50
(1,224)
The accompanying Notes form part of these financial statements.
1 STATEMENT OF ACCOUNTING POLICIES
This financial report is a special purpose
financial report prepared in order to satisfy
the financial reporting requirements of the
Association Incorporation Act NSW. The
board has determined that the association is
not a reporting entity.
The financial report has been prepared
on an accruals basis and is based on historic
costs and does not take into account
changing money values or, expect where
specifically stated, current valuations of noncurrent assets.
The following significant accounting
policies, which are consistent with the
previous period unless otherwise stated, have
been adopted in the preparation of these
financial report.
(a) Incorporated Association
The services were incorporated on 1st May,
1986 as an incorporated Association, under
the Associations Incorporated Act, 1984. The
members liability is limited to the extent of
any unpaid membership fees.
(b) Revenue
Interest revenue is recognised on a
proportional basis taking into account the
interest rates applicable to the financial
assets as it is received.
Grant and donation income is recognised
when the entity obtains control over the
funds which is generally at the time of
receipt.
Revenue from funding authorities
received in advance is deferred to the period
to which it relates and included as an accrual
on the balance sheet.
(c) Inventories Inventories are measured at
the lower of cost and net realisable value.
(d) Employee Entitlements
Provision is made for Long Service Leave,
Sick Leave and Annual Leave estimated to be
payable to employees on the basis of
statutory and contractual requirements.
Provision is made for redundancy for long
standing employees as the association is
exclusively dependent on tiers of
government, and that policies and funding
arrangements are subject to periodic change.
Provision is made for the payment of twelve
(12) weeks maternity leave in accordance
with pending staff agreements. The amounts
provided have been apportioned between
current and non-current, the current
provision been the portion that is entitled to
be paid within the next (12) months. Payroll
on costs associated with leave entitlements
are recognised as liabilities.
Contributions are made by the
Association to an employees' superannuation
fund and are charged as expenses when
incurred.
(2,366)
51
Notes
Statement by Members of the Board of ICE
(CONTINUED)
2010
2009
6,000
6,000
6,600
6,600
2 AUDITOR'S REMUNERATION
Remuneration of the Auditor for:
- Auditing the financial statements
TOTAL
3 CASH AND CASH EQUIVALENTS
Cash at bank
Cash on hand
TOTAL
796,008
1,400
797,408
1,704,909
200
1,705,109
4 RECEIVABLES
Trade debtors
Less: Provision for impairment of debtors
TOTAL
135,761
135,761
-
695
70,200
404,044
1,675,725
2,149,969
285,164
110,000
159,000
1,275,000
1,829,164
78,002
53,840
131,842
64,014
56,035
120,049
30,074
80,638
78,410
189,122
24,549
105,868
87,880
1,390
219,688
6 DEFERRED INCOME
Total unexpended grants
Grant in advance – Dept of Community Services
Grant in advance – Other
Grants in advance – DEEWR
Unexpended building grant
TOTAL
In the opinion of the board the financial statements:
1
Present a true and fair view of the financial position of Information and
Cultural Exchange Inc. as at 31 December 2010 and its performance for
the year ended on that date.
2.
At the date of this statement, there are reasonable grounds to believe
that Information and Cultural Exchange Inc. will be able to pay its debts
as and when they fall due.
751,592
(415)
751,177
5 INVENTORIES
Current books published and remaining unsold
The Board have determined that the association is not a reporting entity and that
this special purpose financial report should be prepared in accordance with the
accounting policies outlined in Note 1 to the financial statements.
This statement is made in accordance with the resolution of the board and is signed
for and on behalf of the Board by:
7 PROVISION FOR STAFF ENTITLEMENTS
Current liabilities
– Annual leave
– Sick leave
TOTAL
Associate Professor Susan Green
Chairperson
Tilda Sikes
Treasurer
8 PROVISION FOR STAFF ENTITLEMENTS
Non-current liabilities
– Long service leave
– Maternity leave
– Redundancy
– Award increase
TOTAL
52
Date: 8 March 2011
53
Independent Audit Report
TELEPHONE
FACSIMILE
(02) 9715 1555
(02) 9715 1566
CHARLES M PITT B.BUS FCA
T %7:*# G,G" %&,4 %)%
2 PHILIP STREET
STRATHFIELD NSW 2135
PO BOX 580
E-MAIL cpitt@cmpitt.com.au
Independent Audit Report To The Members Of
Information and Cultural Exchange Inc.
design audit procedures that are appropriate in the circumstances but not for the purpose of
expressing an opinion on the effectiveness of the entity’s internal control. An audit also
includes evaluating the appropriateness of accounting policies used and the reasonableness of
accounting estimates made by the Committee as well as evaluating the overall presentation of
the financial report.
The financial report has been prepared for distribution to members for the purpose of
fulfilling the board’s financial reporting under the Associations Incorporation Act NSW. We
disclaim any assumption of responsibility for any reliance on this report or on the financial
report to which it relates to any person other than the members, or for any purpose other
than that for which it was prepared.
Report on the Financial Report
We have audited the accompanying report, being a special purpose financial report of
Information and Cultural Exchange Inc.which comprises the committee’s report, the assets
and liabilities statement as at 31 December 2010, the income and expenditure statement for
the year then ended, notes comprising a summary of significant accounting policies and other
explanatory information, and the statement by members of the committee.
We believe that the audit evidence we have obtained is sufficient and appropriate to provide a
basis for our audit opinion.
Board’s Responsibility for the Financial Report
The board is responsible for the preparation of the financial report and have determined that
the basis of preparation described in Note 1 is appropriate to meet the requirement of the
Association Incorporation Act NSW 1984 and the needs of the members. The board’s
responsibilities also include such internal control as the committee determines is necessary to
enable the preparation of financial report that is free from material misstatement, whether
due to fraud or error.
Audit Opinion
In our opinion, the financial report presents fairly, in all material respects, the financial
position of Information and Cultural Exchange Inc as at 31 December 2010 and its financial
performance and cash flows for the year then ended in accordance with the accounting
policies described in Note 1 to the financial statements, and the Association Incorporation
Act NSW 1984.
Auditor’s Responsibility
Our responsibility is to express an opinion on the financial report based on our audit. We
have conducted our audit in accordance with Australian Auditing Standards. Those standards
require that we comply with relevant ethical requirements relating to audit engagements and
plan and perform the audit to obtain reasonable assurance whether the financial report is free
from material misstatement.
Independence
In conducting our audit, we followed applicable independence requirements of Australian
professional ethical pronouncements.
Charles M Pitt
C M PITT & CO
CHARTERED ACCOUNTANTS
ICCA Membership No. 20180
Registered Company Auditor No. 2944
Unit 6 & 7, 2 Philip Street Strathfield
Date:
An audit involves performing procedures to obtain audit evidence about the amounts and
disclosures in the financial report. The procedures selected depend on the auditor’s judgment,
including the assessment of the risks of material misstatement of the financial report, whether
due to fraud or error. In making those risk assessments, the auditor considers internal control
relevant to the entity’s preparation and fair presentation of the financial report in order to
54
Liability limited by a scheme approved under Professional Standards Legislation
All correspondence: PO Box 580, STRATHFIELD NSW 2135
55
ICE encourages the development of new partnerships.
If you would like to be involved with one of our projects,
or would like to make a financial contribution to our work,
please contact us.
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PO Box 4033
Parramatta NSW 2124
Australia
T +612 9897 5744
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8 Victoria Road
Parramatta NSW 2150
Australia
F +612 9897 5766
E info@ice.org.au
ICE IS A REGISTERED CHARITY. ALL DONATIONS ARE TAX-DEDUCTIBLE.
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Information and Cultural Exchange
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27th Information and Cultural Exchange Annual Report
ISSN: 1833-5306
© Information and Cultural Exchange Inc. (ICE) 2011
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