I.C.E Annual Report 2017 · Auditor’s Independence Declaration 26 ... Mission of I.C.E., and how...

I.C.E. Annual Report 2017

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I.C.E ANNUAL REPORT 2017

Club Weld/Razzle Dazzle Orchestra | Photo: Lyndal Irons

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I.C.E. creates community-focused and driven art that is bold, imaginative and adventurous; and delivers creative opportunities, cultural empowerment and employment for our communities and artists in Western Sydney, and beyond.

Street Address 8 Victoria Rd, Parramatta, NSW 2150

Postal Address PO Box 4033, Parramatta, NSW 2124

+612 9897 5744

Connect with us online

www.ice.org.au

@ice_org_au

@ice_org_au

34th Information and Cultural Exchange Annual Report ISSN: 1833-5306 © Information and Cultural Exchange (I.C.E) 2017

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Contents

Chairperson’s Report 2

Executive Director’s Report 3

I.C.E. 2017 4

Artistic Program Youth & Community Engagement 7

Screen Cultures 8 Family Creative Hub 9 Multicultural Women’s Hub 10 Training & Curatorial Development 11 Disability 12 First Nations 13 Arab Film Festival Australia 14

Operations & Development Finance 17

Information Technology & Facilities 17 Venue 17 Digital Communication 18 Funding 19 Fundraising 20

Financial Statements Treasurer’s Report 24

Board of Management Report 25 Auditor’s Independence Declaration 26 Statement of Comprehensive Income 27 Statement of Financial Position 28 Statement of Changes in Equity 29 Statement of Cash Flows 30 Notes 31 Statement by Members of the Board 36 Independent Audit Report 37

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Chairperson’s Report

I am both pleased and honoured to present the Chairperson’s Report in this, my first year in the role. As Chairperson of I.C.E I have been privileged to get to know more intimately the work of the organisation, and to see and plan for the challenges ahead. During the year the Board has given much attention to the Mission of I.C.E., and how we want to position ourselves, both in evolving the important role we play in the arts and cultural life of the communities of Western Sydney; and our integral role in the cultural vitality of the region.

The Board has been involved in setting a more aggressive and anticipatory agenda to ensure that I.C.E. maintains its cultural leadership, and continues to be an intrinsic part of the fabric of cultural life in Western Sydney. In doing so, we are reaffirming our commitment to focusing our efforts around those individuals and communities who are vulnerable and/or disadvantaged. Through our programs, leadership and advocacy we seek to move people from this disadvantage through articulated and appropriate programs delivering skills, capacity building; and create art and cultural production which deliver the often unheard voices of people and communities in Western Sydney.

I.C.E. is a purposeful organisation; and we continue to be valued as a key Western Sydney organisation. We do not take this for granted; our staff work hard to be accountable, strategic and bring fresh and rigorous ideas to the table. In doing this, our focus is on uncovering and nurturing work that is unique, frequently poignant, and always purposeful.

I particularly want to highlight and thank our communities, funding partners, the growing number of people who are supporting the organisation through their own dollars, and our colleagues who recognise the work that we do, and are so ready to support us. I would also like to specifically acknowledge the funding we receive from the Australia Council and Create NSW; and the growing support we are receiving from the philanthropic sector and donors. Both I.C.E. and communities we serve benefit from this generosity.

My special thanks to my fellow Board members who are increasingly giving of themselves, and fully grasp that the growth of I.C.E. will need a commensurate increase in the level of governance and direction setting that only a committed and proactive Board can provide.

On behalf of the Board I want to thank John Kirkman our Executive Director. I have worked closely with John in my role as Chair, and I’m constantly surprised and excited by his vision, his capacity, leadership, and mature and respectful stakeholder relationships. Most importantly, John is supported by an extraordinary team of talented individuals who move beyond what is expected to ensure that I.C.E. lives up to its promises; and delivers real, resonant and impactful outcomes for the community.

Our communities are our inspiration, participants, context, driving energy and content. I look forward to I.C.E. maintaining and evolving these deep relationships. Their stories are the things that matter. Our city is evolving; its needs are changing, and I.C.E. will continue to work closely with our communities to ensure that we reflect their voices, their images, needs and aspirations.

I look forward to the next year with excitement and anticipation as we continue to ask our collaborators and ourselves what could be; and seek ways to make this our reality.

Pino Migliorino AMChairman

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Executive Director’s Report

2017 was a year of intense creative production and presentation. The staff ’s hard work featured the roll out of a rich suite of projects long in development, including:

• All Girl Electronic. A training, mentorship and creative development project focusing on young women; electronic music and creating a new generation of electronic music producers; and was led by Julia Mendel and an amazing array of producers/mentors. Funded by the Ian Potter Foundation. The project was a partnership with MusicNSW, FBi Radio and the University of New England.

• Datsun 180b. A community engagement partnership with the Art Gallery of NSW. Led by Victoria Harbutt (I.C.E.) and Jonathan Wilson (AGNSW), the three 2017 components: Manifesto for Tomorrow, Razzle Dazzle Orchestra and Tots to the Gallery gave new meaning to the slogan ‘puts a tiger in your tank’.

• Garage Barbershop. A training, creative production and exhibition project, and partnership with Blacktown Arts Centre, was led by Charles Lomu; and garnered incredible community support and unprecedented levels of social media attention.

• Didi’s Tribe. Part of the Multicultural Women’s Hub social enterprise project creating bespoke ceramic home-wares, Didi’s Tribe was produced by Yamane Fayed; and facilitated, mentored and guided by Anamika and Nicole Lister.

• Carla and Lisa’s Countdown. A partnership with Art Gallery of NSW, ABCTV, Screen Australia and Create NSW (Screen) to develop a short-form documentary series, for ABCiview Art Bites, featuring Auburn-based artists Carla and Lisa Wherby.

A major highlight of the year was working with Fundraising Manager Linda Newton on a raft of fundraising activities. Fundraising is hard, and confronting work. Yet, Linda was able to guide and encourage staff and Board to embrace the challenge.

With her support (and sometimes shove), we were able to achieve great results: $27,733 from The Funding Network for Razzle Dazzle Orchestra, the successful GiveTWICE program, and $100,000 from Impact100 Sydney North for Barbershop.

2017 saw the departure of a number of valued I.C.E. staff: Christian Tancred, Julian Lankshear, Toby Chapman and Pritika Desai. Happily, we were delighted to have Linda Newton, Ivana Jirasek and Morgan Graham join the team.

Courtney Gibson joined the I.C.E. Board in 2017, whilst Nicolette Lorraway and Mohammed Ahmad stepped down. The year also saw Board Chairperson Tilda Sikes step down, to be replaced by Pino Migliorino. I’d very much like to thank Tilda for her support and encouragement. (I’m delighted she stayed on as a Board member). Incoming Chair, Pino Migliorino hit the deck sprinting. His boundless energy, shrewd advice and passionate advocacy for our work is extraordinary: my thanks also to the other Board members for their expertise and commitment.

In conclusion I’d like to thank the I.C.E. staff: they are extraordinary. Their commitment to excellence, hard work and the communities they work with, is without question. I also thank all of our funding and project partners (all listed throughout this report). Their generosity and faith enables I.C.E. to work with, and for extraordinary people: our communities.

John KirkmanExecutive Director

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I.C.E. 2017

944,574TV/Radio audiences

2.1 MillionValue for print, online, TV and radio coverage

27,399Web sessions

People attended live I.C.E. events

5,280

6,407Community members using our facility

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1,612Participants Engaged

Facebook likes

18,714

Artists Employed

218

Facebook reach

304,966Web users

3,615

Partnerships

31Projects Delivered

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The 2017 Community Cultural Development and Artistic Program delivered projects that creatively engaged culturally diverse communities from across Western Sydney via seven key program areas:

• Youth & Community • Screen Cultures• Family Creative Hub• Multicultural Women’s Hub • Training & Curatorial Development• First Nations • Disability

Throughout 2017 I.C.E. continued to work with some of Western Sydney’s most at-risk, socially excluded and economically disadvantaged people including Aboriginal children and families, refugee and newly arrived migrant mothers and children, disengaged young people from culturally diverse backgrounds (via both in school and outreach programs), emerging artists and cultural/screen producers, emerging creative enterprises, and people living with Disability and mental health challenges.

The 2017 program continued to explore new ways of working with communities, and facilitating a deeper engagement with project participants resulting in quality cultural production and direct community benefit. Highlights included:

• All Girl Electronic. An all-female electronic music training, creative production and recording/performance/broadcasting project.

• Didi’s Tribe. A social enterprise development project involving women from South Asian background establishing a bespoke ceramic/home wares business.

• Garage Barbershop. A skills, creative development and exhibition project for young men in Blacktown based on learning the skills and culture of barbering.

• Manifesto for Tomorrow. Young people from Granville and Auburn working with the Art Gallery of NSW to create new manifestos to guide the gallery’s future.

• Milky Pop Kid. short film that addressed issues about the representation of people with disability screened at the Sydney Film Festival.

• Musicians on the autism spectrum creating/recording music at the Sydney Opera House and as Razzle Dazzle Orchestra, creating/performing music at the Art Gallery of NSW.

The 2017 Community Cultural Development and Artistic Program was produced by:

• Fadia Abboud. Co-Director, Arab Film Festival Australia• Eddie Abd. Producer, Family Creative Hub**• Toby Chapman. Producer, sub/Urban Cultures*• Colin Kinchela. Producer, First Nations Projects• Pritika Desai. Producer, Multicultural Women’s Hub*• Yamane Fayed. (Acting) Producer, Hub Programs*** • Barry Gamba. Producer, Screen Cultures• Victoria Harbutt. Producer, Training & Curatorial

Development• Julia Mendel. Producer, Youth & Community Engagement***• Steven Ross. Arts Ready Aboriginal Trainee• Christian Tancred. Producer, Community Engagement*• Mouna Zaylah. Co-Director, Arab Film Festival Australia

* Resigned/**On leave/***New appointment

Artistic Programs

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Youth & Community EngagementIn 2017 Youth & Community Engagement worked to engage young people and communities via contemporary youth culture; increased access to art and technology; and support of education and employment pathways.

2017 Highlights included:

• All Girl Electronic. 36 workshops in electronic music production for female, transgender and non-binary Western Sydney youth facilitated by Del Lumanta, Hannah Lockwood and Nicola Morton. Participants were mentored by experienced producers, active in Sydney’s music scene, including Sofie Loizou (Anomie), Rainbow Chan and Sarah Belkner and presented/performed tracks produced at live events, including the End of an AGE Showcase.

"Without the program I would honestly not be where I am today as an artist and I would have not had the awesome opportunities

I’ve received if it wasn’t for the help of All Girl Electronic." (All Girl Electronic participant)

• Here or Wherever. 10-week training and mentorship program in writing and visual communication for young people from Auburn/Cumberland LGA. Students formed an editorial team to meet weekly at Auburn Youth Centre after school. Designer Jarmaine Stojanovic and artist/writer Rebecca Gallo guided the group to make their own youth-led street publication full of poetry, photography, drawings and interviews. The group received mentorship from industry professionals including writers James Roy and Ben Peek, journalist Bernard Zuel, photographer Katrina James and illustrator Dave Wells. Westwords partnered on the project; Underbelly Arts Festival supported the project.

• Manifesto For Tomorrow. Students from Auburn Girls and Granville Boys High Schools researched, developed and delivered digital manifestos on the Art Gallery of NSW’s future. Students visited the State Library of NSW and Hyde Park Barracks before embedding in their Gallery Manifesto Headquarters, to work with artists Marian Abboud, Josh Harle, Amrita Hepi and Andrew Yee, Gallery and I.C.E. staff on the development of the manifestos.

"I’m a man of the future, I desire one thing: I desire digital masterpieces that address all the senses, such as sound, touch and smell as well as sight…. I demand change because the

future IS change." (Manifesto excerpt)

• Open Access Studios (Auburn and Parramatta). Provided young people free, supported access to the recording studio at I.C.E. on Fridays and at Auburn Youth Centre on Wednesdays. The focus was on self-directed training and development for participants in music production. The program provided access for participants facing barriers to access including mental health issues and social isolation.

• Granville Boys Editing Workshops. A two-week intensive training workshop for Year 7 to 10 students from Granville Boys High School to learn and develop skills in screen and sound editing.

Julia MendelProducer, Community Engagement

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Screen CulturesAs Western Sydney’s screen sector continued to grow exponentially, the I.C.E Screen Cultures Program met increased demand by brokering strategic screen industry partnerships that provided opportunities for emerging screen producers, screenwriters and content makers from diverse communities across Western Sydney. Emphasis was placed on building a strong, flexible network of Western Sydney-based producers and providing skills development programming to build capacity for this emerging cohort.

2017 highlights included:

• Produce Perfect. An eight-week skills development program that built the capacity of emerging screen content producers. A partnership with Australian Film, Television & Radio School (AFTRS) and Screen Producers Australia (SPA).

• Custom Made – Writers Room Workshops. A program for emerging screenwriters from diverse communities in Western Sydney. Teams of emerging writers developed original concepts for various screen-based formats, mentored by professional producers whose credits include ABC, SBS, Screentime, Southern Star Entertainment, Jungle, Matchbox Pictures, and Freemantle Media Australia.

• Indigenous Screen Talent Escalator. Indigenous emerging screen content producers supported to develop story material for original short-form comedy/drama web series, Bubaa and Hopeless.

• Afro Sistahs. Early story development with a collective of seven young Afro Australian women, devising a short-form comedy series set in an African beauty salon in Western Sydney.

• Over 140 attendees at presentations from ABC Children’s TV and SBS TV (including SBS, NITV, SBS On Demand, SBS

Viceland and the Food Network) to emerging and established screen content producers.

• Monthly access meetings (Hot Desk West and In House @ I.C.E.) for both Screen Australia and Create NSW/Screen staff to meet one-on-one with local filmmakers.

• Industry Attachments. Brokered opportunities for paid professional attachments for emerging practitioners to work on productions with Giant Dwarf, CJZ, Lingo Pictures, Causeway Films and Blackfella Films.

"The program was very focused on film producing at a professional level, which was such an eye-opener. I now feel

equipped with enough knowledge to develop a slate of projects and my ability to pitch an idea has grown."

Vonne Patiag, Produce Perfect participant 2017

Barry GambaProducer, Screen Cultures

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Family Creative HubThe 2017 Family Creative Hub program supported and creatively engaged newly arrived refugee, asylum seeker and migrant mothers and their preschool children living in Parramatta, Auburn, Westmead and surrounding suburbs. The program delivered projects that provided the settling families with essential digital and English literacy training, links to vital support services and facilitated opportunities to contribute to the cultural and artistic landscape of Western Sydney.

The Family Creative Hub worked with families from a range of cultural backgrounds (countries of origin included India, Sri Lanka, China, Afghanistan, Syria, Iraq and Iran) during a yearlong program of creative projects. Importantly, the program provided the mothers with links to training and educational opportunities with the Family Creative Hub successfully engaging mothers from past projects as paid contractors and volunteers on a range of 2017 projects.

During 2017, the program delivered projects at I.C.E. (Parramatta), Auburn and Westmead and offered weekly arts focused workshops skilling mothers in digital photography, video making, storytelling and creative writing. The program focused on the children too: offering activities that promoted their social skills, numeracy, literacy and motor skills - all invaluable for their school readiness.


• i-Maps Parra. A creative digital mapping project, which delivered a 10-month long series of workshops, engaged over 30 families with preschool children living in and around Parramatta. Supported by five artists/facilitators the women and their children created digital and hand authored maps, audio recordings, photographs and videos. The content will

populate a website enabling new migrant families to explore and navigate Parramatta.

• Westmead Sparkles. A digital picture-book making project which engaged Westmead based mothers and preschoolers in creating a school readiness book reflective of the families’ experiences and cultural lives.

• Auburn Digital Pods. A tailored digital and English literacy project engaging newly arrived families from South Asia and in particular Tamil speaking women. The project, which will continue in 2018, delivered essential everyday digital skills (including accessing online services, safe web navigation, using email) and conversational English learning, in an informal, family friendly setting (onsite childcare was provided for mothers).

• Tots to the Gallery. A fun, engaging project for newly arrived families to explore art and connect with the Art Gallery of NSW. The project offered free excursions and guided tours of the Art Gallery of NSW where families and their preschool children created, played and learned in a supported environment.

Eddie AbdProducer, Family Creative Hub

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Multicultural Women’s Hub"This is an amazing program! I couldn’t believe that we created all those artworks, it took me a while to realise that it was our own work… I will miss this training during the holidays and

look forward to the next workshops next year!"Shubhangi, Didi’s Tribe participant

In 2017, I.C.E. continued the development of the Multicultural Women’s Hub program by supporting Western Sydney women from diverse cultural backgrounds to access and engage in social and creative enterprise training and professional skills development.

Throughout 2017 the program continued to thrive: unique social enterprise initiatives were developed; work continued on the consolidation and ongoing development of three Hubs (Parramatta, Auburn and Granville) and research and development for new Hubs in Fairfield and Blacktown commenced.

2017 Hubs in development were:

• Didi’s Tribe. A collective of artists based in Parramatta creating and selling bespoke ceramic home-wares inspired by traditional Indian designs.

• Spellbound Storytime. An Auburn-based collective of multilingual storytellers worked on a social enterprise that incorporated early childhood education, storytelling and picture book publishing.

• The Kitchen. A culinary-based social enterprise exploring cooking through culture and stories based in Granville.

2017 highlights include:

• Successfully engaged 708 sessional participants in community consultations, creative enterprise development and business

planning workshops, industry based mentorship, excursions and hands-on-training.

• 53 participants across hubs in Auburn, Granville, Parramatta (and engaging 36 potential Fairfield and Blacktown Hub participants).

• Developed a strategic partnership with TAFE NSW to provide tailor-made skills based workshops.

• Spellbound Storytime. Participants successfully completed two TAFE training modules and obtaining a Certificate of Attainment in Early Childhood Literacy and Community Engagement.

• Spellbound Storytime. Participants successfully presented storytelling sessions to families attending Auburn Library’s Children Storytime.

• Didi’s Tribe. The end-of-year showcase celebrated their incredible design achievements and the blossoming of their enterprise.

• The Kitchen. Participants received a Hospitality and Community Engagement training (and Certificate of Attainment) from TAFE Outreach, which helped them in the coordination, planning and delivery of the annual Eid Dinner at Granville Boys High School: an amazing celebration of food, community spirit and culture.

Yamane FayedProducer, Multicultural Women’s Hub

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Training and Curatorial DevelopmentThe Training and Curatorial Development program supported the professional, and curatorial development of artists and cultural workers; community arts and cultural development (CACD) projects, tertiary students and academics across Western Sydney and internationally.

2017 highlights include:

• Garage Barbershop Exhibition. Showing at Blacktown Art Centre, the exhibition featured photo-documentation and portraiture work created by Harold David over the course of the Garage Barbershop project. The exhibition included a working barbershop installation offering free cuts for the duration of the exhibition.

• Iraqi Youth Speak Up Training and Mentorship Project. Western Sydney Iraqi young people were trained/mentored in cultural event creation and production in a 10-week program. The training was experiential: the group delivered an actual event, a public youth forum for the 2017 Shanasheel Iraqi Cultural Festival. The training covered key elements of cultural production: group and project structure, development of rationale, creating and adhering to budgets, devising content, contracting artists, marketing and on-site event management. The project culminated in the participant-produced, Speak Up Youth Forum at Fairfield Museum and Gallery.

• From A Culture Different To Your Own. A series of online seminars developed and produced for the University of New South Wales‘s Built Environment Faculty course, Designing Diversity: Architecture and Urbanism in a Multicultural Context. The seminars presented frank observations, case studies, anecdotes, theory and advice to consider when working with people from cultures different to one’s own; candid interviews

with people from African, Lebanese, First Nations and Samoan backgrounds and ‘real life’ learning/reporting tasks for students.

• Bangladesh Prime Ministerial Office Visit. 20 members of the Bangladesh Prime Ministers Office visited to discuss I.C.E.s work as a community art and cultural development organisation. Their research was around the role arts and cultural programs could play in combatting the radicalisation of young people in Bangladesh.

• Johnnies and Mehmets at the Institute of Public Understanding of the Past, York University. Created in 2015, the Johnnies & Mehmets digital memorial and website project was presented at the Placeless Memories: Digital Constructions of Memory and Identity Conference, York University. The conference considered the nature of memory and identity construction online and in digital formats, and explored issues concerning the use of these digital memories as a resource for scholars. The project was selected for its innovation in ‘memorialisation’ and its’ unique community development processes.

• Curatorial development activities included: - All Girl Electronic - guidance provided to the project Producer as a two-year program and a successful Ian Potter Foundation grant application were developed. - Here or Wherever - curatorial guidance toward the project’s scope and rationale. - Aboriginal Digital Traineeship - experiential training in creative process and artistic collaboration during the production From A Culture Different To Your Own seminars.

Victoria HarbuttProducer, Training and Curatorial Development

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DisabilityI.C.E. continued to facilitate and produce a program for people with Disability that placed experimentation, technology and innovation at its’ core and provided training, creative development, production, performance, broadcast and professional development opportunities.

• Class With The Motel Sisters. A series of contemporary art classes for patients in Westmead Hospital’s Department of Adolescent and Young Adult Medicine, led by artists, Naomi Oliver and Liam Benson (The Motel Sisters). Patients critically examined everyday social media and user-generated content and created hand-made memes, Snapchat filters and green screen non-narrative videos in response.

• Carla and Lisa’s Countdown. A web-series following Auburn artists, Carla and Lisa Wherby as they examine the work and lives of their favourite Australian artists in AGNSW Collection. Originally developed during the 2015 My Life My Art project, I.C.E. supported the formation of an independent production company to produce the series for the ABC Arts/Screen Australia’s Art Bites.

• The Milky Pop Kid. Produced as part of the 2016 My Life My Art project, this short film was selected for the 2017 Sydney Film Festival Screenability program; showing at The Dendy, Newtown over two nights. Johanna Garvin’s film tackled issues around the representation of people with disability and the importance of those with disability being able to tell their own story.

• Club Weld at Sydney Opera House. Members of the I.C.E based, supported studio for musicians on the autism spectrum undertook a three-day recording residency at the Sydney Opera House for 2017 Vivid Live. The resulting Remix The House

album, created in collaboration with Vivid guest producers Rainbow Chan, Dro Carey and Seekae, premiered on FBi Radio and was released online. Ahead of the release musician Jerrah Patston was interviewed on ABC Morning Radio by Wendy Harmer.

“We are deeply impressed with Club Weld’s creation of an autonomous creative environment. We love their emphasis on

creation of new work and their high standards in helping these musicians find and realise their vision, so it’s a great pleasure for

us to host this remarkable project.” Ben Marshall, Sydney Opera House Head of Contemporary Music &

Vivid LIVE Curator

• Razzle Dazzle Orchestra: Club Weld musicians participated in the first year of a curatorial research; music creation and performance program with Art Gallery of NSW, inspired by the artist Roy de Maistre. Musicians visited the gallery for specially curated private viewings; five compositions were later performed at the AGNSW by the musicians; project facilitators, Sam Worrad, Jerry Kahale and Pasko Schravemade and guest electronic musician, Nicola Morton.

“Club Weld is a shining example of how inspired, dynamic and flexible programming can break down barriers to social, creative

and educative participation and community engagement...”Deborah Jones, AGNSW, Study Room Coordinator

Victoria HarbuttProducer, Training & Curatorial Development

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First NationsIn 2017, the First Nations program worked with contemporary community development processes that focused on creating access to the Arts, technology, supporting educational and employment pathways, and providing social inclusion initiatives to a broad cross section of disadvantaged Western Sydney First Nation communities.


• Garage Barbershop. Self-trained barber and arts worker Charles Lomu delivered training, creative engagement and production, and personal development to young men from Blacktown/Mt Druitt. The 10-week program saw a core group of five young men (The Original Five) develop barbering skills, undertake digital arts training, and participate in the creation of self-determined multimedia artworks that explored/re-defined contemporary representations of masculinity. Photographer Harold David captured the training sessions in a body of reportage/portraiture, later exhibited at Blacktown Arts Centre.

• Kooly Country. Based In Cranebrook, the project supported local Aboriginal community participants in creative writing workshops (with outcomes transcribed, recorded digitally and matched with images and footage to create non-linear narratives) and was delivered by First Nations artists/ facilitators: Corey Webster, Phoebe Grainer and Brendan Blacklock. Throughout the project knowledge building and sharing brought healing and cohesion to participants and community members. Practicing Ceremony in a culturally safe environment provided motivation; a respectful opportunity to solidify cultural identity and belonging and made welfare and educational pathways and links accessible, relevant and secure.

• Around A Fire. Presented at the Koolyangarra Child & Family Centre in Cranebrook, this event was the outcome of Kooly

Country and provided a space where participants shared their creative compositions, listened to the stories of their Elders and contributed to a deeper, wider understanding of inter-generational interpretations of Country, community and culture. Participants and facilitators came from many First Nations (Australian): Wiradjuri, Biripi, Ngaragal/Gomeroi, Gomeroi, Kuku Djungan, Yuin, Ngiyampaa Wayilwan.

• Aboriginal Digital Producer Traineeship. Funded by CreateNSW, and in partnership with Arts Ready, I.C.E.’s first Aboriginal Digital Producer Trainee successfully assisted in 20 projects throughout 2017. The trainee Steven Ross’ duties encapsulated the roles and responsibilities of a Digital Producer and provided opportunities to learn through action. Steven learnt aspects of administration, marketing and advertising, venue and technical responsibilities, database recording and maintenance, project planning, community liaison, digital production, creative collaboration, marketing and communication.

Colin KinchelaFirst Nations Creative Producer

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Arab Film Festival AustraliaIn 2017 the Arab Film Festival Australia (AFFA) celebrated its 17th year of bringing Arab stories to Australian screens, further establishing it as a major Australian cultural event. Festival directors Mouna Zaylah and Fadia Abboud together produced another dynamic festival in 2017 enjoyed by Arabic-speaking and non-Arabic audiences alike in Sydney (Riverside Theatres, Parramatta), Melbourne (Cinema Nova, Carlton), Canberra (National Film and Sound Archive) and, for the second year, Perth (Curtin University).

The festival screened 11 contemporary films - features and shorts - from Australia, Lebanon, Egypt, Algeria, Jordan, Palestine, Iraq and Tunisia. AFFA 2017 special guests were Sophie Boutros, director of the opening night film Mahbas (Lebanon), and Osamah Sami, lead actor of Ali’s Wedding (Australia).


• Sold out event for Ali’s Wedding; an Arab community premiere and gala event with actor Osamah Sami and musical performance by Arabic band, Malkat El Tubbel.

• The festival featured on the front cover of City Hub magazine,

with top festival film picks and an interview with Festival Co-director Fadia Abboud and Mahbas director, Sophie Boutros.

• Consolidation of a partnership with Knafeh Bakery, bringing the bearded bakers and film together to celebrate Arab cultures in Western Sydney.

Arab Film Festival Australia was made possible with the generous, ongoing support of Information and Cultural Exchange (I.C.E.), the AFFA Committee: Dr. Mehal Krayem, Alissar Gazal, Dr. Paula Abood, Firas Naji, Michael Mohammed Ahmad and Osama Abdul-Nabi; and partners: Council for Australian-Arab Relations (CAAR), Create NSW, Abu Dhabi Tourism and Culture Authority, City of Parramatta, Dubai International Film Festival, Riverside Theatres, Cinema Nova Carlton, National Film and Sound Archive, Curtin University, Knafeh Bakery, World Media International, MySat, Radio 2moro, Just Pixels, Arabic Pages, Panorama Arabic Newspaper and Port Bar.

Osama Abdul-NabiArab Film Festival Australia Committee

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I.C.E. Foyer | Photo: Katrina James

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Operations & Development

I.C.E. Operations provided financial, administrative, venue, technical and logistic support toward smooth operations and project implementation while I.C.E. Development covered the organisation’s communication, grants and fundraising activities.

2017 Operations and Development Team

• Safia Amadou. Venue and Reception Officer• Morgan Graham. Digital Communication

Officer***

• Ivana Jirasek. Grants Manager***• Julian Lankshear. IT and Facilities Officer*• Kannaki Nadesan. Bookkeeper• Linda Newton. Fundraising Manager***• Kayur Shrestha. Manager, Finance and

Administration

*Resigned/**On leave/***New appointment

(NB: $49, 009 carried over to 2018)

Philanthropy

$193,013

Arts Funding (Govt.)

$1,099,392Non Arts Funding (Govt.)

$189,468Self-generated Income

$225,543

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Finance2017 continued to be a year of measured success. I.C.E. remained focused on its effort to diversify its income sources, increase its resource income stream (venue and equipment hire) and build on future reserves. Funding from the government continued to be the primary source of revenue, representing 73% of the total income in 2017; philanthropic funding increased to 14%; earned income from venue and equipment hire was 13%.

Year-end annual income was $1.658 million with an expenditure of $1.641 million, resulting in an operating surplus of $16,772. With liquidity ratio of 1.32 and increase in net assets by 23%, I.C.E. has strengthened its financial health. Provisions for asset refurbishment and staff entitlements have been made. The aim for the coming year is to keep this momentum going and build on the reserve and improve liquidity to contribute towards I.C.E.’s long-term sustainability.

IT and FacilitiesI.C.E. continued to support community groups, local artists and organisations with subsidised, low cost or in-kind equipment for creative output. Supporting Producers and programs throughout the year was a major focus of IT and Facilities.

With support received from our funders, I.C.E. added important hardware to its inventory to support projects with new digital technology and audio equipment to support its music programs (Club Weld and All Girl Electronic). Access to this equipment and technologies will enhance and grow I.C.E.’s ability to provide resources to our community.

Venue I.C.E. continued to offer accessible, flexible and affordable hire of its wide range of spaces – hot desks, event space, training lab, audio suite and meeting room - for local community groups, emerging arts practitioners, entrepreneurs, organisations and individuals.

Throughout 2017, I.C.E. achieved its’ aim to increase venue usage and better serve our community: the venue continued to grow into an active and lively space with multiple groups and workshops frequently being run simultaneously. I.C.E. projects continued to bring vibrancy into the space with more children and families visiting. Venue income increased by 12% from 2016 to 2017, exceeding the targets set.

The highlights for 2017 include:

• Hosting the 2017 Parramasala Festival Language Festival and A Discussion on South Asian Diaspora.

• The Museum of Applied Arts and Sciences (MAAS) brought their popular digital workshops to Parramatta during school holidays. Young creators learned coding and electronics design at these workshops.

• Hosting the SBS Roadshow 2017 for the first time in Western Sydney (providing artists with invaluable opportunity to meet the SBS commissioning team).

Kayur ShresthaManager, Finance and Administration

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Digital Communication I.C.E. continued to build a strong online presence through social media and digital channels throughout 2017, complimented by specific paid advertising campaigns on social media, and through targeted publicity in traditional media streams/platforms. Digital content including website banners and flyers, social media tiles, short video clips, photos and photo albums, blog posts, web pages and newsletters were produced, uploaded and shared online.

Social Media was integral to I.C.E. updates and digital content being shared to wide audiences. Participants, organisations and networks regularly shared I.C.E. content on platforms including Instagram, Facebook and Twitter; increasing I.C.E.’s online audience and digital reach. Social media allowed I.C.E. to interact directly and instantly with current and potential participants and partners.

Website growth was ongoing as new projects were added to the I.C.E. site. The I.C.E. Blog was used to detail the evolution of, and activities within, I.C.E. programs. As content was added the cross-linking of pages on the website presented a more robust global picture of I.C.E. programming.


• Garage Barbershop. Received a large amount of publicity throughout 2017 including a feature interview for The Feed (SBS Viceland) aired on TV, viewable online and shared through The Feed social media channels; an editorial piece in the Sydney Morning Herald (‘Mentoring teens: Charles Lomu’s barbershop the focus of Harold David exhibition’) and a radio interview with project facilitator Charles Lomu on The Edge 96.1.

• All Girl Electronic. Tapped into diverse audiences throughout the year. Several of the musicians performed at Parramatta Lanes

and THE PLOT music festival; interviews included a Girls Rock Sydney interview with All Girl Electronic musician Tru’; Sydney Westies interview with project Producer Julia Mendel and musicians Tru’ and Alex, and a Purple Sneakers feature titled ‘Gender Diversity, Greater Representation and The Plot: Debunking Myths for Festival Line-Ups’ in which Julia Mendel was interviewed.

• The I.C.E. Screen Cultures program continued to receive excellent publicity, particularly for the My Life My Art project, with participant Johanna Garvin’s film The Milky Pop Kid being selected for the Sydney Film Festival Screenability program. Notably, Mazoe Ford interviewed Johanna Garvin for an editorial piece for ABC News (‘Sydney Film Festival ’s Screenability puts spotlight on people living with disabilities).

• Following the December 2016 launch of Club Weld’s Feedback album and music videos, Charbel Nehme’s track Feelings was screened nationally on ABCTV’s Rage in February 2017.

• The Club Weld album, Remix The House premiered on FBi Radio’s Ears Have Ears program; and Wendy Harmer interviewed musician Jerrah Patston on ABC Radio Sydney about his track ahead of the album launch.

Moving forward, social media will continue to use instant, sharable and engaging snapshots into I.C.E. projects to reach the widest possible audiences in the shortest amount of time, complimented by selective profiling of projects and programs via targeted publicity.

Morgan GrahamDigital Communication Officer

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FundingI.C.E kept its reliance on Government funding to 73% in 2017 - a core strategic objective since 2013. Importantly, income from Trusts, Foundations and corporate grants increased to 14% of total 2017 (and self-generated income at 13% of same).

I.C.E. secured support from a range of funding streams in 2017, including: federal, state and local government sector, corporate grants, foundations, trusts and revenue from resources income. I.C.E. saw great success in securing funds from Philanthropic giving circles; Impact 100 Sydney North and The Funding Network.

2017 private sector multi-year funding included:

• Crown Resorts Foundation and Packer Family Foundation

• Impact100 Sydney North• Thyne Reid Foundation• The Ian Potter Foundation• The Funding Network• Scanlon Foundation (SSI).

2017 public sector multi-year funding included:

• Create NSW• Australia Council for the Arts• Multicultural NSW• NSW Department of Family and Community

Services.

2017 project funding/support/partnerships included:

• Australia Council for the Arts• Art Gallery of NSW• Auburn Girls High School

• Australian Film Television and Radio School (AFTRS)

• Blacktown Arts Centre• Blacktown Club Grants• City of Parramatta• Club Grants Parramatta• Cumberland Council• Create NSW• Dooleys, Lidcombe• NSW Department of Family and Community

Services• Fairfield City Council• Granville Boys High School• Iraqi Australian University Graduates Forum• Museum of Applied Arts and Sciences

(MAAS)• Music NSW• Penrith City Council• Screen Australia• Screen Producers Association• Sydney Opera House Trust• Westwords • Sydney Children’s Hospital at Westmead• University of New South Wales• University of New England • FBi Radio.

Kayur ShresthaManager, Finance and Administration

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Fundraising In 2017 I.C.E. implemented a fundraising plan supporting a key strategic goal to build long-term sustainability through broadened funding streams. The focus was increasing private support from individuals, philanthropic organisations and the business community. This support would be directed to key I.C.E. projects and also included general (untied) funding.

In 2017 I.C.E. took the first steps towards achieving its objectives by establishing the inaugural fundraising and development team, comprising:

• Linda Newton. Fundraising Manager (P/T, 1 day per week)

• Ivana Jirasek. Grants Manager (P/T, 1 day per week)

• Morgan Graham. Digital Communication Officer’ (P/T 2 days per week).

The team’s broad areas of focus were:

• Philanthropy (grants from PAFs and Foundations)

• Fundraising (donations from individuals via specific campaigns)

• Digital communication• Database• Business Partnerships.

In 2017, the fundraising and development team successfully:

• Provided fundraising leadership and coordination

• Ensured I.C.E. developed and delivered

customised fundraising campaigns• Enhanced staff and Board confidence/

capacity in fundraising • Implemented a whole-of-organisation

approach to fundraising • Provided insight into what works and what

doesn’t in securing support• Increased Board and staff confidence/capacity

in garnering new donors• Improved staff capacity to manage private

donor relationships • Maximised social media in the delivery of

fundraising campaigns.

2017 highlights:

• Successful pitch to The Funding Network garnering $27,733 for the Razzle Dazzle Orchestra disability music project.

• Received the inaugural ‘Impact 100 Sydney North’ $100,000 transformational funding grant for the forthcoming Barbershop youth development project.

• Secured 2019 funding of $100,000 from the Crown Resorts Foundation and Packer Family Foundation.

• Achieved Trust/Foundations income of $193,013 (exceeded target by 24%).

• Generated $43,027 from giving/ fundraising, including via an online campaign (exceeding target by 72%).

Linda Newton Fundraising Manager

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1

2

4 5

3

22


8

6 7

1. Garage Barbershop, photo by Ali Mousawi

2. Club Weld, photo by Victoria Harbutt

3. Didi’s Tribe, photo by Yamane Fayed

4. Manifesto for Tomorrow, photo by Elle Jansen

5. Spellbound Storytime, photo by Yamane Fayed

6. Garage Barbershop, photo by Ali Mousawi

7. All Girl Electronic, photo by Katrina James

8. i-Maps Parra, photo by Eddie Abd

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I.C.E ANNUAL REPORT 2017 | Financial Statements

Financial Statements

Information and Cultural Exchange Inc. 31 December 2017

Treasurer’s Report 24

Board of Management Report 25

Auditor’s Independence Declaration 26

Statement of Comprehensive Income 27

Statement of Financial Position 28

Statement of Changes in Equity 29

Statement of Cash Flows 30

Notes 31

Statement by Members of the Board 36

Independent Audit Report 37

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Treasurer’s ReportAt the end of 2017 calendar year, I.C.E. remained in a sound financial position, posting an operating profit of $16,772 and an accumulated surplus of $89,699. The detail of the year’s financial results and audited financial statements are provided within the annual report.

Pleasingly, 2017 has again seen increasing diversification of the organisation’s funding sources as well as an increase in cash reserves. Increased revenue from resources income (venue and equipment hire) has enabled the organisation to commit more resources towards direct project delivery. This reflects our focus over the past four years to provide greater financial resilience within the organisation to support its ongoing work in an increasingly uncertain future.

On behalf of the Board, I would like to sincerely thank the following key funders for their support: Create NSW, Australia Council for the Arts, Screen Australia, the NSW Department of Family and Community Services, the Department of Foreign Affairs and Trade Council for Australia-Arab Relations, Multicultural NSW, The Scanlon Foundation/Settlement Services International, Migration Council Australia and the Refuge of Hope, The Crown Resorts Foundation and Packer Family Foundation, the Thyne Reid Foundation and The Ian Potter Foundation, The Funding Network and Impact100 Sydney North.

I would also like to extend sincere thanks to some of our key project and operational partners, Abu Dhabi Tourism and Culture Authority, the Catholic Diocese of Parramatta, Rugby League World Cup 2017, Fairfield City Council, Knafeh Bakery, City of Parramatta, Cumberland Council, Dooleys Lidcombe, Blacktown City Council and Penrith City Council, Parramatta Clubgrants, Blacktown Clubgrants. My thanks also go to all the AFFA ‘Habibis’ and GiveTwice donors – your continued support of this flagship event is sincerely appreciated.

This funding and support is critical to the development and delivery of cultural and creative programs in Western Sydney enabling our organisation to give voice, support and opportunity to many communities across our region (and beyond) and without which I.C.E. would not be able to undertake these programs, nor be able to develop and resource/support the talented I.C.E. staff producing these programs in Western Sydney.

I would like to thank the Finance and Administration Manager, Kayur Shrestha, for his continued diligence and professionalism. He has been instrumental in the ongoing management of the organisational accounts and in helping the project teams prepare, manage and account for their programs. This in turn ensures that I.C.E.’s overall community impact is increased and the impact of our supporter funding is maximised.

I would also like to thank the I.C.E. Board and the Executive Director, John Kirkman for their relentless stewardship over the past twelve months. Their commitment to I.C.E., our staff and the community is greatly appreciated.

We enter 2018 in a strong financial position with multi-year funding from Create NSW, the Australia Council for the Arts, FACS and Create NSW (Screen) and look forward to expanding both our reach and our impact over the next year.

Zorvan JurisicTreasurer

I.C.E ANNUAL REPORT 2017 | Treasurer’s Report

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I.C.E ANNUAL REPORT 2017 | Board of Management Report

Board of Management Report

26

Auditor’s Independence Declaration

I.C.E ANNUAL REPORT 2017 | Auditor’s Independence Declaration

27

I.C.E ANNUAL REPORT 2017 | Statement of Comprehensive Income

Information and Cultural Exchange Inc.Statement of Comprehensive Income

For the year ended 31 December 2017

2017 2016

$___ $___

INCOME

Create NSW - Triennial Funding 330,000 330,000

Create NSW - Other Funding 39,912 14,688

Dept of Education - 155,880

Australia Council for the Arts 327,876 33,124

Create NSW (Screen NSW) 113,198 171,750

Screen Australia 62,040 28,095

Department of Family & Community Services NSW 109,220 113,387

Department of Foreign Affairs and Trade 50,000 40,000

Trust / Foundation 144,005 155,306

Local Government 71,504 44,178

Multicultural NSW 92,913 83,333

Other Small Grants 22,269 117,493

Unexpended grants 69,929 121,950

Interest Received 18,982 15,581

Donations 4,941 3,124

Other Income 201,619 166,690

TOTAL INCOME 1,658,408 1,594,578

LESS: EXPENDITURE

Employee benefits expense 816,161 817,639

Depreciation expense 69,929 134,144

Insurance expense 15,109 13,089

Media and marketing expenses 72,821 25,306

Programmes and production expenses 255,824 288,789

Rent and Utilities 25,330 27,937

Contractor expenses 199,114 175,563

Administration expenses 97,915 77,816

Provision for assets refurbishments 89,433 29,590

TOTAL EXPENDITURE 1,641,636 1,589,873

SURPLUS FROM OPERATIONS 16,772 4,705

The accompanying Notes form part of these financial statements.

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Information and Cultural Exchange Inc.Statement of Financial Position

As at 31 December 2017

NOTE

2017 2016

$___ $___

CURRENT ASSETS

Cash and Cash Equivalents 3 1,127,125 1,227,876

Receivables 4 17,416 14,180

Prepaid Expenses 9,436 7,350

TOTAL CURRENT ASSETS 1,153,977 1,249,406

NON-CURRENT ASSETS

Property Plant & Equipment 5 451,847 497,846

TOTAL NON-CURRENT ASSETS 451,847 497,846

TOTAL ASSETS 1,605,824 1,747,252

CURRENT LIABILITIES

Payables 6 129,381 151,159

Deferred Income 7 734,385 924,432

Employee Benefits 8 8,011 15,511

TOTAL CURRENT LIABILITIES 871,777 1,091,102

NON-CURRENT LIABILITIES

Employee Benefits 8 74,896 33,273

Deferred Capital Grant 9 454,430 524,359

Provision for assets refurbishments 10 115,023 25,590

TOTAL NON-CURRENT LIABILITIES 644,349 583,222

TOTAL LIABILITIES 1,516,125 1,674,325

NET ASSETS 89,699 72,927

EQUITY

Accumulated surplus 89,699 72,927

TOTAL EQUITY 89,699 72,927


I.C.E ANNUAL REPORT 2017 | Statement of Financial Position

29

I.C.E ANNUAL REPORT 2017 | Statement of Changes in Equity

Information and Cultural Exchange Inc.Statement of Changes in Equity


2017 2016

$___ $___

ACCUMULATED SURPLUS

Accumulated surplus at the beginning of the financial year 72,927 68,222

Add: Net surplus attributable to the Association 16,772 4,705

Accumulated surplus at end of the financial year 89,699 72,927


30

Information and Cultural Exchange Inc.Statement of Cash Flows


2017 2016

NOTES $___ $___

Cash Flows from Operating Activities

Receipts from Government and others 1,465,644 2,032,353

Payments to suppliers and employees (1,561,448) (1,345,812)

Interest received 18,982 15,581

Net cash provided by (used in) operating activities (b) below (76,821) 702,122

Cash Flows from Investing Activities

Payment for property, plant and equipment (23,931) (8,709)

Net cash provided by (used in) investing activities (23,931) (8,709)

Net increase/(decrease) in cash held (100,751) 693,413

Cash at beginning of year 1,227,876 534,463

Cash at end of year 1,127,125 1,227,876

Cash Flow Information

(a) Reconciliation of Cash

Cash at bank 1,126,525 1,227,549

Cash on hand 600 327

Total Cash at end of year 1,127,125 1,227,876

(b) Reconciliation of Cash Flow from Operations with

Surplus from ordinary activities 16,772 4,705

Depreciation 69,929 134,144

Changes in Assets and Liabilities

(Increase)/Decrease in receivable (3,236) 97,204

(Increase)/Decrease in prepayments (2,086) 4,508

Increase/(Decrease) in payable (21,778) 84,167

Increase/(Decrease) in deferred income (190,047) 377,743

Increase/(Decrease) in provisions 53,626 (349)

Net cash provided by (used in) operating activities (76,821) 702,122

Net cash provided by (used in) operating activities

I.C.E ANNUAL REPORT 2017 | Statement of Cash Flows

31

I.C.E ANNUAL REPORT 2017 | Notes

Notes1. STATEMENT OF ACCOUNTING POLICIES

The financial statements are general purpose financial statements that have been prepared in accordance with Australian Accounting Standards - Reduced Disclosure Requirements and the Australian Charities and Not for Profits Commission Act 2012.

Australian Accounting Standards set out accounting policies that the AASB has concluded would result in financial statements containing relevant and reliable information about transactions, events and conditions to which they apply. Material accounting policies adopted in the preparation of these financial statements are presented below and have been consistently applied unless otherwise stated.

The financial report has been prepared on an accruals basis and is based on historic costs, modified, where applicable, by the measurement at fair value of selected non-current assets, financial assets and financial liabilities. The following is a summary of the material accounting policies adopted by the company in the preparation and presentation of the financial report. The accounting policies have been consistently applied, unless otherwise stated.

(a) Incorporated Association

The services were incorporated on 1st May, 1986 as an incorporated Association. The members liability is limited to the extent of any unpaid membership fees.

(b) Revenue Recognition

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.

Government Grants from funding authorities received in advance is deferred to the period to which it relates and the conditions attaching to the grants will be met.

Government grants relating to property, plant & equipment are treated as deferred revenue and released to the profit or loss over the expected useful lives of the assets concerned.

(c) Economic Dependence

Information and Cultural Exchange Inc. is reliant on the public sector arts & community welfare / development funding (eg: Create NSW, Australia Council for the Arts, Multicultural NSW, Family & Community Services - FACS) for the majority of its revenue used to operate the business. At the date of this report the Board of Management has no reason (despite the highly competitive and finite nature of government sector arts funding ) to believe that these funding streams will not continue to support Information and Cultural Exchange Inc. (I.C.E).

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(d) Employee Benefits

Provision is made for Long Service Leave and Annual Leave estimated to be payable to employees on the basis of statutory and contractual requirements. 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 the entitlements are recognised as liabilities. Contributions are made by the Association to an employees’ superannuation fund and are charged as expenses when incurred.

(e) Income Tax

The entity is exempt from income tax under Section 50-5 of the Income Tax Assessment Act 1997.

(f ) Provisions

Provisions are recognised when there is a present legal or constructive obligation as a result of past event; it is probable that an outflow of resources will be required to settle the obligation; and the amount has been reliably estimated.

(g) Impairment

At the end of each reporting period, the company assesses whether there is objective evidence that a financial instrument has been impaired. Impairment losses are recognised in the statement of profit or loss and other comprehensive income.

(h) Comparatives

Where necessary, comparative information has been reclassified to achieve consistency in disclosure with current financial year amounts and other disclosures.

(i) Use of Estimates and Judgements

The preparation of financial statements requires management to make judgements, estimates and assumption that affect the application of accounting policies and the reported amounts of assets, liabilities, income and expenses. Actual results may differ from these estimates. Estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimates is revised and in any future periods affected.

(j) New and amended standards adopted by the Association

The Association has adopted all the amendments to Australian Accounting standards issued by the Australian Accounting Standards Board, which are relevant to and effective for the Association’s financial statements for the annual period beginning 01 July 2016.


33


2017 2016

$___ $___

2 AUDITOR'S REMUNERATION

Remuneration of the Auditor for:

- Auditing the financial statements 6,000 6,000

- Auditing the specific projects - 1,400

6,000 7,400

3 CASH AND CASH EQUIVALENTS

Cash at Bank 1,126,525 1,227,549

Cash on Hand 600 327

1,127,125 1,227,876

4 RECEIVABLES

Trade Debtors 17,116 14,180

Other receivables 300 -

17,416 14,180

5 PROPERTY PLANT & EQUIPMENT

Building Improvements

Furniture & Fixtures

Equipment & Computers Total

Cost

Balance 1 January 2017 1,284,605 91,435 549,826 1,925,866

Additions - 436 23,493 23,930

Disposals - - - -

Balance 31 December 2017 1,284,605 91,872 573,319 1,949,796

Depreciation

Balance 1 January 2017 796,362 87,934 543,725 1,428,020.50

Depreciation 65,099 864 3,966 69,929

Disposals - - - -

Balance 31 December 2017 861,461 88,798 547,691 1,497,949

WDV 31 December 2017 423,144 3,074 25,629 451,847

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2017 2016

$___ $___

6 PAYABLES

Accruals 60,851 30,647

Trade Creditors 65,423 107,029

Other Creditors 2,626 11,227

Credit Cards 481 2,256

129,381 151,159

7 DEFERRED INCOME

Australia Council 143,925 185,376

Create NSW 50,000 369,912

Other Grants in Advance 495,415 305,964

Other Funds received in Advance 45,045 61,500

Other Earned income received in advance - 1,680

734,385 924,432

8 EMPLOYEE BENEFITS

Current Liabilities

Annual Leave 8,011 15,511

Non-Current Liabilities

Long Service Leave 24,392 16,773

Maternity Leave 50,504 16,500

74,896 33,273


35

2017 2016

$___ $___

9 DEFERRED CAPITAL GRANT

Unexpended Capital Grant 454,430 524,359

The deferred revenue arises as a result of the benefit received from a government grant to establishing the office in 2010 in lease premises, at 8 Victoria Road, Par-ramatta. The lease has been renewed and , is valid upto 30 June 2019, with a final option to renew for further five years.

10 PROVISION FOR ASSETS REFURBISHMENTS

Provision for Building Maintenance 49,000 4,000

Provision for Equipment 53,023 17,277

Provision for Furniture 13,000 4,314

115,023 25,590

11 RELATED PARTY TRANSACTIONS

No committee member receive directly or indirectly any fees, bonuses or other remuneration as a consequence of their appointment to the committee. Transactions between related parties are on normal commercial terms and conditions no more favourable than those available to other parties unless otherwise stated. Committee members are reimbursed for direct expenses they incur on behalf of the association.

The management of the committee and Key Management Personnel are as follows;-

Pino MigliorinoZoran JurisicSusan GibbesonMark AbourizkSophia KouyoumdjianTilda SikesKon GouriotisCourtney GibsonMohammed AhmadNicolette Lorraway John Kirkman

ChairpersonTreasurer Secretary Board MemberBoard MemberBoard MemberBoard MemberBoard Member (Appointed on 15/03/2017) Board Member (Resigned on 05/02/2018)Board Member (Resigned on 13/09/2017)Executive Director


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I.C.E ANNUAL REPORT 2017 | Statement by Members of the Board

Statement by Members of the Board

37

Independent Audit Report

I.C.E ANNUAL REPORT 2017 | Independent Audit Report

38


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