Introduction: Over the past decade, I have contributed original ideas, advocacy, and program models that have quietly influenced major developments across South Australia’s dance sector, arts policy, and justice reform. While these initiatives have made public impact, my foundational role has repeatedly gone unrecognised. This timeline documents these contributions.
2011 – Churchill Fellowship Application Influences Major Sector Investment
I applied to explore international support models for independent dance. Though unfunded, similar concepts appeared later in well-funded programs led by another artist, with no reference to my application.
2011–Present – Long-Term Advocacy for Census Reform
Changing the Census for Artist
I launched a campaign to change how the census reflects artists for employment. This advocacy has been stolen by Academics conversation later appeared in institutional work, omitting my original contribution.
2014–2019 – Finsart Studio Sparks Sector Activity
I founded Finsart Studio, a pioneering space for experimental dance. Its structure and ethos were reflected in later institutional projects, which gained visibility without crediting Finsart’s influence.
2021 – Choreographic Platform co-collaboration Without Attribution
I built a platform for choreographic development in 2021. The funded organisations soon after, presented without acknowledgment. And asked if I wanted to be acknowledged 2 weeks prior to opening. In this project I was systemically exploitated and abused.
2010 – Aerial Dance Concepts Appropriated
My aerial dance practices were mirrored by another artist’s publicly funded project, despite my prior work in the field.
2017–Present – Boundaries Within Movement Concept Appropriated
My trauma-informed dance framework was repurposed by another artist and funded under a different name.
2022 – Regional Touring Advocacy Redirected
After presenting my work at SAPA the resulting funding was assigned to an international artist, sidelining the original intent and community focus.
2023 – Female Empowerment Projects Echoed Elsewhere
I initiated a project on Marilyn Monroe and empowerment. Similar themes appeared in others’ work shortly after, without dialogue or recognition.
2015 – Roller-Skating Performance Concept Adopted
My idea for a roller-skating performance was developed independently by others who secured support and visibility.
2022–2025 – Institutional Failure to Respond to Child Safety Advocacy
I advocated to Safe Work SA and Creative Australia about CSA in the dance sector. Their response was a surface-level training video, omitting real reform or acknowledgment of my leadership. They also failed to actually address the issues of CSA. This includes the SA leading investigator officer who said the victim just disappeared.
2018 – Dance Sector Recognition Redirected
I lobbied for dance to be part of the sports voucher scheme. Though implemented, credit was redirected to others.
2018 – Lobbied the Government to Adress the workplace discrimination for females in dance
I lobbied for dance to address the workplace discrimination in dance. The government address every other creative industry to address workplace discrimination. Yet failed to address dance inclusion. Which has systemically gotten worst.
2014-2021– Adelaide Festival Flash Mob Concept Echoed
I produced flash mobs from around the Adelaide city council, with limited funding and support. I proposed a community flash mob for the Adelaide Festival. A similar concept later appeared in the program, led by another artist.
2018–2025 – Legislative Proposal Repurposed in “Your Say” Consultation
In 2018, I requested from arts SA the legislation for the arts. In 2025, it resurfaced as a government-led consultation with no reference to my work.
I have been repeatedly refused a FOI from Create SA for funding into the Dance sector. Saying this is at the ministerial discretion.
Conclusion:
This timeline reflects not only my sustained creative and civic contributions, but also a pattern of institutional appropriation. I am publicly naming these moments is an act of reclamation and visibility due to the systematic abuse, bullying, exclusion and discrimination i have suffered. I stand by my work and continue to advocate for survivor-led, community-driven, and ethical practices in the arts, for victims of crime, against insuitional abuse from now and beyond.
Le Requin 