Amanda is a creative, versatile and energetic business professional, who specialises in marketing led business models and data driven decision making. Her skill in strategic management and marketing has been honed over fifteen years in the commercial property, precinct management and local government sectors, with her most recent role as General Manager of the Rundle Mall Management Authority proving her exceptional skills in precinct and stakeholder management, political savvy, strategic planning, and marketing and event management born out of customer insights. Amanda is an active participant in the creative industries of South Australia and her passion for the City and State are unsurpassed.
Jane Howard is a Walkley Award-winning journalist and deputy arts and culture editor at The Conversation.
Jane’s work has appeared in publications including the Kill Your Darlings, ABC, Meanjin, Crikey, and The Stage. She has written for the Guardian across Australia and in Asia; had writing commissioned in the UK, the USA, Canada, and the Czech Republic; and has been translated into multiple languages.
Theresa is a certified practicing accountant, with experience in financial accounting, auditing and
financial management. She runs her own freelance bookkeeping and accounting business, is a director and partner in two family businesses and Finance Manager/Officer with Brink Productions and Restless Dance Theatre.
She previously worked as the Finance Manager/Officer at Patch Theatre Company and provided support to the Australian Dance Theatre Incorporate. She has been working largely in the not-for-profit sector as an auditor and accountant since 2008 and presented on the Not-for-Profit Reforms at the Bentley’s National Conference in 2012.
Theresa has previously served on the Eastwood Community Centre board as treasurer. She has also
spent time in state and federal audit offices auditing a wide range of government organisations around Australia.
Her range of experience has provided her with a great insight into the challenges that are faced by Arts organisations, particularly with securing and managing funding and other incomes sources and gained significant understanding and experience in the financial aspects of the grant application and acquittal process.
Amy is an academic and novelist. She is the author of End of the Night Girl and Navigating the Kingdom of Night and has published short stories in collections including Best Australian Stories. She is the winner of the 2010 Adelaide Festival Unpublished Manuscript Award, and has been shortlisted for the Nita B Kibble Dobbie Award and the Colin Roderick Award, and been longlisted for the Australian/Vogel Literary
Award. She writes historical romance under the name Tess LeSue and was the winner of the 2009 Anna Campbell Award. She teaches Creative Writing at Flinders University. Amy was previously Chair of the Writers SA Board.
David Sefton has spent his entire career in the arts in the UK, US and Australia.
From early days as a music journalist and independent publisher in his home town of Liverpool, he moved to London in 1991, working at the Royal Festival Hall on the South Bank.
In 1993 he founded the Meltdown Festival, the first music festival to embrace the concept of musicians as ‘Artistic Directors’. Directors included Elvis Costello, Laurie Anderson, Nick Cave, John Peel and Scott Walker.
Meltdown continues to be one of the signature events on the South Bank to this day.In this period Sefton also managed a team of curator/producers, overseeing an extensive public and visual arts programme, supervising exhibitions by the likes of Yoko Ono, Sebastio Salgado and Angela de la Cruz and public art events by artists including Just Merit and Alain Platel and ‘The Great Outdoors’, the extensive annual summer events programme on Jubilee Gardens and the South Bank terraces and surroundings.
In 2000 Sefton moved to Los Angeles to take the role of Executive & Artistic Director of the Performing Arts programme at the University of California in Los Angeles.
Re-named UCLA Live, Sefton managed one of the largest public arts programmes on the West Coast, with an annual programming budget of $6Million (85% of which was self-generated from fundraising and ticket sales). Sefton managed 37 full time staff and the 2000 seat Royce Hall as well as programming the year-round arts series.
In 2011, Sefton accepted the role of Artistic Director of the Adelaide Festival, 2013-2016.
Amongst the highlights of his time in Adelaide, Sefton produced the largest exhibitions seen in Australia by both Laurie Anderson and Bill Viola. His time in Adelaide also saw a radical shift in the music programme as well as a substantial commitment to work made in South Australia alongside major international co-productions from the likes of Romeo Castelluci, Matthew Barney and John Zorn. He produced the Unsound Festival which featured Australian premieres from Demdike Stare, Lustmord, Morton Subotnick, Tim Hecker, Oneohtrix Point Never, Dean Blunt, Ben Frost’s Solaris and commissioned Double Vision from Atom ™ and Robin Fox and the live music edit of Jed Kurzel’s score for Snowtown; he also initiated ‘Monumental’ as a live project between Godspeed! You Black Emperor and The Holy Body Tattoo; his programme also included (amongst others) Tony Oursler, John Waters, Sunn 0))), MAGMA, Isabella Rossellini, The Pop Group; Vampillia, Danny Elfman, Van Dyke Parks, Severed Heads, Robert Lepage and Nick Cave.
He was also responsible for programming the large free public outdoor opening festival events (20-22,00 people); the multi-artist curated outdoor video art event ‘Blinc’ and in his final festival presented Groupe F in The Adelaide Oval which, with 27,000 paying customers, was the largest ticketed event in the history of the Adelaide Festival.
In 2010 he was awarded the Chevalier des Arts et Lettres from the French government for outstanding contribution to the international performing arts. He is also the recipient of two Time Out (London) awards, including the ‘Award for Services to Music in London’; and the LA Weekly Outstanding Contribution to Music award.
He has worked as an Executive Producer for Universal Music and as a consultant to the Walt Disney Organisation.
He has spoken and lectured extensively on innovation in the performing arts in further education and international arts institutions in the UK, Europe, USA, Russia and Australia and appeared on panels at arts conferences around the world.
His previous board service includes terms on Arts Council of England Music Panel; the Literature Panel of Greater London Arts; the Large Grants Panel for Los Angeles County and the International Society of the Performing Arts in New York. He is a long-standing voting member of the British Academy of Film and Television Arts.
David was previously Deputy Chair of the Writers SA Board.
Susan Errington has a Bachelor of Laws, a PhD in Creative Writing and is a founding board member of the South Australian literary magazine Wet Ink. A published novelist, she has been a co-editor of a short story collection and awarded and shortlisted for several literary prizes. Currently, she is employed by the SA Legal Services Commission and her skills and experience will be of benefit to the SA Writers Centre in what are particularly difficult times for arts organisations. She will seek to increase membership, especially of younger writers, lift the Centre’s public profile, explore new avenues for funding and partnerships and identify new technological opportunities. Susan was previously the Writers SA Board Treasurer.
Colin Koch AM has a broad professional background in arts and event development, marketing and management. In a career spanning over four decades, he was marketing director of the Adelaide Festival (1986-1994), a co-founder and marketing director of WOMADelaide (1991-2001), co-founder and a director of Arts Projects Australia (1996-2001), and general manager of Ku Arts Aboriginal Corporation (2001-2007).
This latter position saw him lead the development of Anangu Pitjantjatjara Yankunytjatjara art centres and artists towards a position at the leading edge of Aboriginal visual arts practice and enterprise, a position they still occupy. Colin also established the SICAD (Statewide Indigenous Community Art Development project) which still fosters and supports arts development across South Australia.
His community development work began in the 1970s, with his co-founding of community newspapers and formation of a musicians’ cooperative to present live music at a time when licensed venues were deserting live music in droves. Through a number of venues, he and key collaborators presented first performances of many artists now firmly established in the national music arena.
While he has been highly valued for his voracious and veracious copy-writing skills, several of his short stories gained literary magazine publication in the ’70s and ’80s and he hopes the many pro-bono projects that occupy his retirement (including development since 2016 of a multi-space Fringe venue) will soon move over to allow the overdue completion of a first novel.
For the past twelve years he has also performed regularly with a successful rock band.
Colin was appointed a member of the Order of Australia in 2015 for service to arts administration.
Alan Atkinson, an Adelaide-based freelance writer and editor, is an award-winning journalist who has worked for newspapers both in Australia and in the UK, and in television and radio for the ABC.
He was nominated for a Walkey and named SA Journalist of the Year for his eye-witness account of the 2002 Bali bombings, titled “Three Weeks in Bali” (published by the ABC).
Jill Jones has published eleven full-length books of poetry, most recently Viva the Real (UQP), Brink (Five Islands Press), Breaking the Days (Whitmore Press), which was shortlisted for the 2017 Kenneth Slessor Poetry Prize, and The Beautiful Anxiety (Puncher & Wattmann), which won the Victorian Premiers’ Literary Award for Poetry in 2015.
She has also won the 2003 Kenneth Slessor Poetry Prize for Screens Jets Heaven (Salt Publishing) and the 1993 Mary Gilmore Award for The Mask and the Jagged Star (Hazard Press). In her work, Jill has been interested in exploring place, environments, atmospheres and, specifically, the relationship between space and self. This aspect of her writing has, in recent times, centred around ecopoetic concerns. She recently edited an issue of Plumwood Mountain: An Australian Journal of Ecopoetry and Ecopoetics (‘The Everywhere of Things’, Feb 2019). She has also written a number of reviews, articles and essays, as well as short stories and micro-fiction.
Her work is represented in a number of major anthologies including the The Penguin Anthology of Australian Poetry, the Macquarie PEN Anthology of Australian Literature, Contemporary Australian Poetry and Contemporary Australian Feminist Poetry. She has collaborated with visual and sound artists on various text-image and multi-media projects. Her poems have been translated into Chinese, Dutch, French, Italian, Czech, Macedonian and Spanish. She has been an invited participant in festivals and readings throughout Australia, as well as New Zealand, Canada, UK, USA, and the Czech Republic. With Scots-Australian poet Alison Flett, she publishes chapbooks through Little Windows Press.
She is a member of the J.M. Coetzee Centre for Creative Practice, at the University of Adelaide, where she teaches and researches in the Department of English and Creative Writing. In 2014 she was writer-in-residence at Stockholm University, and in September 2018 was writer-in-residence at Booranga Writers Centre, Charles Sturt University.
She has judged a number of significant literary awards including the John Bray Prize for Poetry, the Kenneth Slessor Award, the Peter Porter Poetry Prize, the Newcastle Poetry prize, and the Judith Wright Poetry Prize for New and Emerging Poets. She has also been involved in grant assessment panels for ArtsSA, Asialink, and Copyright Agency Limited and was an Industry Advisor for the Marten Bequest in 2018.
For seven years (2001-7) she worked at the Literature Board of the Australia Council for the Arts as both Program Manager and Acting Manager. She also worked at the NSW Ministry for the Arts (1996-7) and in that position she managed the NSW Premiers’ Literary Awards and was involved in establishing the NSW History Awards. She has also been involved in co-ordinating other public programs and awards for the NSW State Library including the inaugural public literary program supporting the National Biography Award. She has also worked as journalist and theatre, music and film reviewer for various community media. For many years she worked in a number of government agencies in NSW, in the areas of publications and publicity as well as in policy development in the human resources area. She also worked as an editor at the legal publishing company CCH.
Photo: Annette Willis