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DANCE No 8 April 1994

AT THE ACADEMY

QUEENSLAND UN IVERSITY OF TECHNOLOGY, ACADEMY OF THE ARTS," DANCE PROGRAM, L()CKED.BAG NO 2, RED HILL, QLD 4059 _ . \ .

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DANCE COLLECTIONS This quality _performance season at

the Woodward Theatre on QUT's Kelvin Grove campus will highlight the cre_am of Queensland's aspiring profes­sional dance talent in an exciting, chal­lenging and highly entertaining.evening of contrasting dance styles. Highlights of Dance. Collecfions '94 will be per­formed in Perth at the Options '94 Ter-· tiary_ Dance Festival immediately fol­lowing the Brisbane season.

Highlights will include a ne~ work created by Artistic Director of The Queensland Ballet, Harold Collins and the return of 1987 ADA graduate Paul O'Su II ivan, who wi II restage Leigh War" ren's highly enNgetic Never Mind the Biildies.

L'eonie Leahy, former principal dancer ofThe Australian Ballet, London Festival Ballet and the Norwegian Op­era Ballet in Oslo, and currently en­rolled in the Bachelor of A~s (Dance) at

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the QUT Academy. of the Arts, will re­produce a ballet repertoire piece.

New full-time s.taff member Tiina Ali-Haapala will choreograph a new contempo~arywork and Nikolaus Gobel; who teaches jazz and musical .theatre dance styles at the Academy, will cho~ reograph a high-energy modern musical

,section based on the theme of Carmen. Acting Head . of Dance Shaaron ·

Boughen will restage her quirky and inventive A Memory of Modern Dance performed in - Bodyline for the 1993 graduation season, and Dianna Laska­Moore will again produce the lively and ever popular Folk Dance section.

Dance ColleCtions is alway..s a firm audieoce favourite, otten performing to sell-out houses. Don't miss out!! _For performa,nce details, see back page.

Cover Detail: ' Steven Lavender and Elissa Fullerton in Shaaron Roughen's

. 'J\ Memory of Modern Dance" which will be re-staged for Dance...Collections '94

POSTGR\\DUATE STUDIES Postgraduate study in Dance has-ex­

panded very rapidly at QUT. Five years ago the only postgraduate coutse with any dance content was the Graduate Diploma in Education (Pre-service) Sec­ondary which is a Faculty of Education course for training secondary dance teachers.

This course is still in place providing prospective tea cheFs with a good ground­ing in dance education. However, the reaL growth, in terms of stud en( num­bers, has occurred in the recent Master of Arts and the new Master of Fine Arts. A strand in both courses allows students to specialise· in dance studies.

The Master of Arts is a research' de­gree requiring students to complete a large research project contributing to 0ur understanding of dance. With dance being the under-researched area that it ·is, there is plenty of scope for students to make significant contributions through their research. '

Current MA students and their re­search projects are. as follows: Maggi Sfetsma, An Investigation of the use of ·Voice/Text in Dance; Sue Fox, A Model lor teaching Evaluation of Dance to Sec­ondary Students; Judith .Smith, Assess­ment . of-performance in Secondary Dance; Jacqui Carroll, A System of Actor/Dancer Training;-Lei saG iII, Black

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Dance in Mtisical Theatre; Barbara Bennetts, TeachingPostmodern Dance in Secondary SchcJOI; Susan Bowden, The- History of Modern Dance in· Aus­tralia;Julia Postle, Australian Po_stmodern · Dance. _

, The Master of Fine Arts taught by coursework is aimed at the professional develepment of-people working in the dance industry. This course started this year with two dance students - Roc Tapeng Lei and Helen Leeson. These students will be engaging in a smaller

· research project with a more practical expression of results .

It is vital for the future of dance within the University that ppstgraduate study continues to expand and' produce high quality results, so I appreciate the . efforts of our current students and wel­come enquiries regarding entrance re­quirements and course details. Kristen Bell .

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CHOREOGRAPHY-AT TKE ACADEMY. TOP FACILITIES I

An innovative/move by Dance at the Academy in profi I i ng our you ng-choreo­graphic: talent has seen New Moves ex­pand to offer two seasons of fresh new work by Academy dance students.

The first season will be a selection of works in various styles, featuring chore­ography by the second year ADD and BA students. The second season will . highlight original works ora more sub­stantial nature by the third year BA cho­reographic majors. '

This change was prompted by the serious need to highlight, and prov_ide exposure for, the future generation of choreographers. Students electing this pathway of study need an environment to not only ' practise their ' craft, but to experiment with and .create their art, without the pressure associated with commercial success O( fa(lure.

Students interested in choreography

ACADEMY CENTRES ON INNOVATION

In response to a rleed for the promo­tion and support of new artistic.works, the QUT Academy .Of the Arts recently establislled the Centre for Innovation in tl}e Arts. _

The Centre will facilitate the creation and pleset ltadon d neW artistic wori<s, ~ courage multi-media innovation iniheron­temporary arts and enhance the commer .. dalisation d new 'artistic worb.

The Centre will mariage the Acad­emy's Arts Technology Laboratory and the Artist-in-Residence scheme. It will also-be the focal point for doctoral can­_didates within the Acad~y.

~ntre Director is Rod Wissler, al')d · the multi--disciplinary management com­mittee involves choreographer Jean Tally, visual aJtist~ilyn Fairskye, com­poser Michael Whelan; and actor/direc­tor/playWright Sean Mee. The Centre's primary focus is the staff and gradua~e studehts of the Academy, but a number of prpjectsAwill involve undergraduates as weH in high-profile arts events.

During 1994 the Centre's program will invotve productions of ne\'\"dance and theatre works, an exciting range of visual and performing artist residencies, commissions for future works and exhi­bitions. ....

have often used the dance staff as a platform i~ organising their own ven­tures, frequently in spite of difficult odds. , The Academy believes A~,Jstral ia' s young artists need encouragementtofulfil their -role in .the constant redefinition of Aus­traHa's cultural identity.

1984 Academy Dance graduate Natalie Weir had her humble begin­nings as a choreographer through the weekly composition classes and show­ings in her ADA course. Nqtalie, whose works have been performed throughout Australia, and in New York and Tokyo, has made a name for herself as an excit­ing y6Ling choreographic talent. Natalie will· be creating her first full-length con­temporary work for The Queensland 'Ballet later this year:

New purpose-built facilities in 0 Block at Kelvin Grove provide QUT dance students with the most modern studios in Queensland. They include three bright, fu_lly-equipped airconditioned studios -with 'sprung floors; staff and student change rooms '-­with showers and lockers; costume stor­age and construction rooms; student grfen room; fully-equipped physi­otherapy clinic; seminar room; and staff offices. All are welcome to view these superb new facilities. The two G Block studios will continue to be used until th_e building is demolished to allow for con­struction commencement in 1998 of the

· Academy of the Arts building. ...

Nieole Reordan and Jonathon Cameron-Smith -

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NEW STAFF Tiina Ali-Haapala began her profes­

sional dance career with Tasdance after graduating from and performing with the Australian Ballet School. Tiina taught and choreographed at the West Au·stral­ian Academy of Performing Arts and studied contemporary dance in - New York. She has danced wit~ .Expressions Dance Company and Leigh Warren 's Australian Dance . . "(heatre where she also taught company class. Tiina ran community CQRtemporary dance classes for adults and creative dance·classes for children on the Sunshine Coast and has taught part-time at QUT. Tiina was one of many Academy Danc-e representa­tives who attended this year's Green M~ll Dance Project. Tiina teaches con­temporary dance and composition at the Academy and will be choreograph­ing a. new work for Dance Collections '94.

D. Following his graduation with dis-

. tinction from the Academy of Dance in Leipzig in the former German Demo­cratic Republic,· Nikolaus Gobel em­barked on a professiona.~ dan'ce career performing in ballet and musicals in · Berlin and on Germqn television . After several years on the 'opera stage', Nikolaus concentrated on the commer­cial side of his career including a stfnt performing on cruise ·ships. He came tb Austral ia three years ago as a dancer and assistant choreographer for the first Indy car race spectacular and as· a dancer at Jupiters Casino. Nikolaus then taught jazz dance aethe Northern Rivers lnsti- . tute NSW before resuming his perform­ance career in the currentjupiters show, , ~ '

Odyssey - A journey to Paradise. Nikolaus teaches jazz and musical thea~ tre dance styles at the Academy.

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As w€!11 as teaching music theory for Dance . at the Academy, Mi<;hael Faragher is a part-time lecturer with the Academy of the Art~- Music, a teacher at Sommerville House High School and is undertaking his PhD atThe University of Queensland. Michael has spen_t many years working and performing as a jazz and commercial musician and with brass bands thro.ughout Australia, including band master with the Australian Army. - \ .....

GREEN MILL DANCE PROJECT In January I attended the Green Mill

Dance Prdject in Melbourne accompa­nied by a contingent of the Queen~land dance community. ,

The Green Mill Project is a nation­wide choreographic festival and confer­ence where topics are open for discus­sion. This year's theme was Contempo-. rary Narrative. I

QUT Academy dance staff, students and graduates, participated in paper pres­entations_. performances, c~iring"ses­sions and as general audience. Acting Head of Academy, Sue Street, discussed the narrative that dance inherits from

' ballet. This included the integrity of re=­producing ballet works where sections in current productions of the same work are omitted, sometimes confusing the ·narrative.

I delivered a presentation concern­ing autobiography as non-linear narra­tive - Acting Head of Dance at the Academy, Shaaron Boughen, and Avril Huddy (BA 1993) assisted by perform­ing their autobiographies simultaneously in movement, text and photographs. Maggi Sietsma, Artistic Director of Ex" pressions Dance Company, currently completing her MA at QUT, presented a comparative of her works, Dark Heart , and The Dream Hunters, looking at the pathway the individ~al dancers took and their· meaning in relationship to the piece. Clare Dyson, 1991 BA (Dance)

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graduate and 1992 BAHons (Visual Arts) graduate, delivered a strong presenta­tion on an emerging -choreographer's perspective of dance developments in Australia. _,

Other QUTstaff and students taking partwerestatfmemberTiina~li Haapala; BA 1988 graduate Helen Mullins (teach­ing secondary dance in Bundaberg); Gai I Hewton, a former part-tih,e staff mem­ber and BA 19~2 graduate; and Katie joel, a current third year BA student who received a QUT dance. scholarship to attend the Project. -

T~e conference examined the means of discussing dance with literature o_ften used as a metaphor. When describing how dance evokes meaning, it was dif­ficult to get into any in-depth form of discussion due to the lack of 'dancing' versus 'talki,(lg about dance'.

A highlight was the lunchtime per­formances of Trotman and Morrish whose improvised dance detective nar­ratives provided comic rei ief after hours of intense listening. It was also very interesting to interact with people work­ing professionally outside academ i.a, and discuss how their experience informs their .work. I felt privileged to be a part of the discussiol'} and inquiry arising from Green Mill, and believe that it continues in our work at the Academy.

Jean Tally

KINDLE THE FIRE Sydney's Macquarie University will

host the 6th triennial Dance and the Child International Conference (DACI) from 12-20 July, promisfng to be a huge event involving a cross section of the international dance community.

Organiser of the event, David Spurgeon, from the School of Applied and Performing Arts at Macquarie, has enlisted the assistance .of QUT dance lecturer Kristen Bell and myself, along

' with others of diverse dance back­grounds and experience from other in­stitutions, to help select the presenta­tions.

Kristen will be chairing a p,anel, and together we will be involved in the general day-to-day running of the con­ference. J will be'i)resenting a paper dealing with gender issues that may impact on dance teachers in the early childhood area.

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Dance and the effect it has on other art forms is the central focus of the confer­ence, which I believe, makes it an impor­tant hallmark in Australian dance history.

TonyGeeves .... TONY ON THE ltBC Following an article in prestigious

European scientific journal New Scien­tistlast December, lecturec.:r ony Geeves was interviewed via sateUite on the Brit­ish-Broadcasting Corporation.

Tony, author of The Safe Dance Re­port(1990), a significant research work in dance kinesiology; was. keynote speaker at Dance UK's 1993 confer­ence, presenting a paper on the psychol­ogy of dance teaching. Exposure 'of Tony's dance science research will en­hance the international reputation of the QUT Academy of the Arts. .

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ENVIABLE GRADUATE. EMPLOYMENT RECORD v

A recently coni pi led statistical analy­sis indicated that 70'per cent of all QUT Academy dance graduates from the BA and Associate Diploma courses·between 1985 and 1993 were employed in a daQCe-related area within two years of graduation. ·

Of this number, 60 per cent were succe~sful in gaining jobs as professional dancers . (This included ballet and contemporary dance compa-

nies in Australia and overseas; commer­cial and musical theatre; cabaret; free­lance and independent artists; and edu­cational touring programs.) A fu.rther 33 per cent of all graduates employed are teaching (in the state education gystems or private dance studios) with ·dance as part, or all of their primary teachi~g function. The remaining seven per cent gained employment in other dance

·areas such as arts administration . .

Gene Barrell and Greg Tebb

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~ ' Of all Academy BA. graduates, 67

per cent have gained employment in several dance-related areas, w'ith -50 per centalso g_oing on to postgradu<;1te study. Statistics show that 71 per cent of all Associate Diploma graduates since 1985 gained employq_1ent in a dance-related field, with 77 per cent of tliat number becoming professional dancers. There­maining 23 per cent are either teaching or working in other related areas .

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. PERSEVERANCE 'FOR ORIENTATION

. This yea~'s orientation at.lhe aptly~ named Lake Perseverance introduced

·more thai'L 40 dance students to tertiary study. The camp is nestled amidst a canopy of trees alongside a tranqu i I lake near Crows Nest. It was the first time we had utilised this superb venue and we were overawed by the 'state of the art' facilities and were kept comfortable during the continuous rain.

During the camp and preyious week, the-students were introduced to the fun­

_, damental 'survival skills' necessary in undertaking a'full-time dance ptogram. Informal lectures and practical -sessions 1

'were conducted by lecturer Tony Geeves to graduate students' initial workload highlightiQg the reduction and possible severity of-dance-related injuries. Hav­ing this orientation 'getaway' prior to

_, start of classes, staff _have noticed stu­dents appear to _settle in with. stud,ies

_ more quiGldy once semesJerbegins.

Sue 'Caulfield-Leclerq

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' ZZZOOM ON VIDEO . Fiona Cullen, parHime- Academy

Dance lecturer, .and Andy Arthurs from the Queensland Conservatorium of Music, spent an exhausting two days ' filming their collaborative work ZZZOOM with eight Academy dance students. Filming was intheQUTWood­ward Theatre and editing was completed in December. ZZZOOM was an origi­n~ ! collaborative music and dan.ce pi~ce created by Fiona and Andy for the 'Wild Front Ear) multimedia and music festival ~t the Conservatorium last year. It wa~ also performed in Dance Collec­

tions 1993.

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GRADUATE NEWS Nicole Galea (BA 1992), recently

returned from South Africa, is currently perform~ng with The Queensland Bal­let

Louise Taube-(BA 1992) is pursuing her choreographic career interests, study­ing a postgraduate course in choreogra­

'phy at th~ Victorian College of Arts of Melbourne.

Fiona Allwood (BA 1992) is now teaching at~n Early Childhood centre in Ashgrove following completion of her postgraduate studies in E~rlyChildhood. Danielle Deveraux (BA. 1992), has.re­ceived a contractteaching position with Kelvin Grove State High Scbool while Kristy Anderson (BA 1992) is tutoring part-time in Dance at the QUT Acad­emy of the Arts.

' " News recently received of Robert Tannion (BA1992) is that he has a contract with 'Alias Compagnie', a contemporary dance company in Swit­zerland and is currently on tour through­out Europe. Gabrielle Johnston (ADA 1992) has signed a further one year contract with the Australian Opera Dance ensem~le. Ano'ther QUT gradu­ate to join Gabrielle this year with the AO is Darren Vizer (ADA 199_1 ). ,

1 Angus Lugsdin (BA 1993), coordina-

tor of the Queensland Dance School of Excellence, and Pamela Buckman (BA 1993) a-fre~lance choreographer qnd teacher, nave recently completed their Bachelor of Arts studies in aance at the QUT Academy of the Arts. Angus and ~amela are among the first ex-profesJ sional dancers to graduate fr.om QUT.

. Angus was a dancer with the Austral ian Ballet, the Frankfurt Ballet and ballet master of The Queensland Ballet before assuming his current teaching position . in 1987. Pamela danced w.ith Ballet Victoria, Australian Dance Theatre and was rehearsal director for The Queens-land Balret prior to pursuing a freelaQce career. · I

Nicole Brooks (ADA 1993) is work­ing with fa'med Melbourne televisiorv and show choreographer, Tony Bartuccio and is currently back in Bris­bane doing promotional work for him. Other graduates working on the musical theatre circuit include Grant Whitfield (ADA 1991) who is in Phantom of the · Opera, playing i n,· Sydney and Sarah Uppill (ADA 1991) who is touring Australia with the latest Barry Humphries (Dame Edna) show Look at me when I'm

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' Graduates Hakyan Clark (Left) and Andrea Officer, both dancers with Expressions Dance Company. '

talking to You. Sarah will be with "Dame Edna" at Seagulls on the Gold- Coast later in the year.

Stephen Davison (ADA 1990) who has maintained steady employment in the musical tlneatre scene sjnce gradua­tion, returned recently to Brisbane's Lyric Jheatre at the Queensland Performing Arts Complex playing the role of :Don' in the hit muscial A Chorus Line. Ihe production, which qpened in Brisbane,

_ is now touring Australia. -Eight of the p'rofessional jobs avail-

. able to dancers as part of the Queens­land Arts Council sponsored primary schools touring shows are held by QUT graduates. The most recent being Michele Carolan (ADA 1993) with the Australian FolkloriC Dance Company currently on tour in North Queensland, and Andrea Officer (BA 1993) and Hal­cyon Clark (ADA 1992) with Expres­sions Dance Company, currently per­forming in Brisbane schools prior to embarking on a tour of the state's south­west Other graduates working in this area are Nicole Brown (ADA 1989) and Damien Hoyle (ADA 1991 ) with the AFDC, Bruce Wells (ADA 1989) with Expressions Dance Company, and Suzan Williams (BA 1989) and Rachel Crompton (A DA' 1989) with The Q ueensland Ballet - .

Paui .O'Sullivan (ADA 1987) returns to his old stomping ground and the new

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Kelvin Grove dance studios in April this year to mount Leigh Warren's. exciting and energetic work Never Mind the Bindies< for the 1994 graduating year. Along with Paul, fellow QUT graduate Victor Bramich (ADA 1989) performed at the Holland Festival last year with the Adelaide~based Leigh Warren and Dancers.

Miranda Lind (ADA 1990) informed • the Academy dance staff of her impend­

ing move from Tanz Forum in Cologne, Gei:(!Jany to the London-based Rambert . · Dance Company under the artistic di­rection of world renowned choreogra­pher Christoper Bruce. Miranda's friend and former university class mate, Elissa Gibbs (ADA 1990), performing with the International Folkloric Dance Company of Amsterdam, also wrote to the dance staff highlighting her W'Peri­ences touring with this Dutch Folkloric company through China and India.

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A GRADUATE'S EXPERIENCE The director resigned ... half the com­

pany left ... some of the theatre staff were made redundant, the rest went on strike ...

. The Opera Theatre was burnt"out by arsonists .. . and finally, the performance

. boycotted!!! So was iny introduction to South Africa as a member of NAPAC Qance Company. .

NAPAC stands for "Natal Perform­ing Arts Council" and incorporates the orchestra, opera company, dance com­pany, and choir. It is in the. cit y of Durban, on th.e Indian Ocean coast of South Africa within the province of Na­tal. In August 1993, I was contracted to dance with the company for three months. Despite all the above, which sounds like a nightmare, it was the best learning experience of my life- not only

. career-wise, but personally. South Africa is a country going

through a lot cif political change. April 27 sees the country's first democratic election and one is constantly' aware of the tensi6n permeating the entire coun-· try. Even within the NAPAC structure, · the feeling cannot be escaped. The thea­tre is often vie~ed as "white man enter­tainment", therefore, under a new gov­ernment it is possible that ar:,ts funding may drop dramatically.

But, while all these outside influ­~nces and 'horrors' transpired, we at NAPAC continued to press onwards. After the fire in our main theatre, smoke surged through the stairways causing our studios, dressing rooms and the small theatre that we were currently perform­ing in, to be smoke and water damaged. One show was cancelled ~ but yve were

determined to continue the season . The following day, with the theatre staff on strike and unavailable, we fronted up with buckets, mops, dusters and a vacuum cleaner, to restore the theatre to its former condition, ready for public use. It was then, despite our lack of an artistic director who had incidentally resigned and left the previous week, that we truly became a. company. As the old / cliche quotes, "The show must go on!"

Within NAPAC, I made many friends. The company was very muiti-cultural­consisting of South African whites and Zulus, Spaniards, British, New Zeal<md- . ers, Brazilians and Australians. What

' surprised me was that at 21 , I was the 'baby' of the company. I had always had a nagging beliefthat21 was a little 'old' to be starting my fi rst professional job. I

• . soon learnt how wrong I was, ' plus a great deal more, from my older co­workers.

Perhaps my biggest perception was the difference in training wlien compar­ing Australian dancers to the rest of the world. It appears, and I may be general­ising, that in overseas institutjons a dancer is trained either classically,- com­mercially or in a <:ontemporary style. Jheir trair:rtng rrl'ay include the other forms, but they are labelled as one orthe other. After the all-encompassing train­ing at QUT, I take the liberty to consider myself just 'a dancer'. This covers all aspects and implies versatility . This seemed to surprise some people who found it difficult to comprehend that we can be versatile dancers,- and gooa at

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South Africa is a beautiful co.untry, as contrasting and varied in its land­scape as Australia~ There cart be no denying the brilliance of the surf on a deserted golden beach, or the splendour of .a snow-peaked mountain in the DrakensbUfg. However, one factor dif­ferentiates the two countries. Australia's quality of life far exceeds that of South Afri~a . Nev,er again will I take the safety and security that is a part of the AustraL­ian lifestyle, for granted:

To conclude, South Africa, the Won­derful people that I met there, and the opportunity of a full-t jme professional jo,b, all combine to have made my three month stay a time to remember. It was a time to experience a different culture and country, and most definitely an ·ex­perience to stand me in good steCJ,a for the fCture. ·

NicQie Galea (BA 1992)

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PERFORMANCE DIARY '94 Dance Collections

QUT Woodward· Theatre 21 -25 1une 7.30pm

25 june 1.30pm Adu It $15 Concession $1 0

School Group $6 ... New Moves 1 & 2

QUT Woodward, Theatre . Season 1 : 7 -9' September 7 .30pm

Season 2: 28-30 September 7 .30prn Adult $10 Concession $8

School Group $6

• Body and Sole QPAC Concert Hall

30 November and f December 8.00pm Queensland Regionall our . l-15 December Adult $15 Concession $10

School Group $6-

AUDITION DATES _ Brisbane ,

Studio J, 0 Block Kelvin Grove Camp45 ADD 14 Nov, BA t5" 16 Nov

BA Interviews 16 Nov ... Rodmampton

Debra P.a'rker Academy of Dancing ADD and BA 16 Nov ....

Mackay Theatre Arts Mackay ADD and' BA 17 Nov ...

" Townsville Ann 'Roberts School of Dancing

ADD and BA 18 Nov ... "" ~irns '

Patsy Fry Dance School ADD and BA 19 Nov

· ~ Sydney Sydney Dance.Company

ADD and BA 16 Nov ... Canberra

National Capital Ballet School ADD and BA 17 Nov ...

,.,. Adelaide Susan Taylor Dance School ,

ADD a11d BA 18 Nov ... Melbourne

Victorian College of the Arts ,ADD and BA 19 Nov . .

F~r further information please contact the Dance secretary on (07) 864 3423

DANCE

Fiona Mcl/kenny and Jonathon Cameron-Smith, performing in "My One and.-()n/y" in Body Line last DeceiJlber

APPLICATION PROCEDURES I

Academy of the Arts Applicant Infor­mation Kits wi ll be avai lable from Guid­ance Officers at· all Queensland high schools and the Academy's Dance Sec­retary from 'May. All applicants must complete.the Applicant Information Fo~m included in the kit and submit it to the Academy of the Arts together w ith a cheque or money order for the $20 aud ition fee by 31 October 1994. Appli­cants must also apply to QT AC to be eligible for an offer. For further- details, contacrthe Dance Secretary on (07) 864 342 3.

OPEN CtASSES As part of this year's Dance Week

activities, the Academy of the Arts is opening its doors to anyone interested in watching QUT dance students at work . Classes wi ll be open for viewing from Tuesday 26 April to Friday 29 April inclusive., providing teachers, parents and prospective students with an oppor- . tunity to see the NEW dance faci l ities. For further informationTegarding Dance Week activities contact Ausdance (07) 22 1 9124, and for the QUT open classes, tl(_e Dance Secretary (.97) 864 3423 .