Our Board

CfAT is registered as an Incorporated Association with the Queensland Department of Fair Trading and as a non-profit arts organisation (DGR status) with the Australian Charities and Not-for-profits Commission. We have a purpose-specific Constitution and conform to the governance processes appropriate for an organisation of our scale.

Chair: Peter Cleary

Peter has forty years experience in the arts sector. His primary work was with performance and community arts and cultural regeneration in remote Aboriginal communities of the Gulf of Carpentaria and Central Australia. In that time he organized and managed hundreds of national and international performance touring projects. More recently this experience was extended with four years in government service, managing funding programs for Indigenous Art Centres in FNQ.  Program and project management are his forte and he is seeking to develop new business models that will empower creativity with purpose and social meaning. He maintains a wide engagement with the arts community of the region with particular interest in bringing forward new and diverse cultural expression and intergenerational and intercultural collaboration. Peter understands budgets, funding, business planning, governance and accountability. He also questions and embraces a great diversity of sector and interpersonal networks and thinking through different historical perspectives. He hopes that his experience can prove useful for business planning and structuring of CfAT as an organisation that can bring to Australia a renewed social grace and meaning through intercultural theatre.

Treasurer: Paul Barrett

Paul Barrett is an accomplished Certified Practicing Accountant with extensive experience in senior financial and management roles with Indigenous organisations enhanced by over a decade at Senior Executive level in the Commonwealth Public Service.

Secretary: Catherine Hassall

Catherine is a contemporary performance maker, director, writer and co-Founder of CfAT.  As a a member of various collective theatre companies for more than 30 years, she has developed experiential capacities in all aspects of performance making and production with a focus on interdisciplinary and intercultural collaboration.  She is also skilled in community cultural development & social ecology practises, group facilitation, publicity, IT, administration, catering and event management.  She has a BA in Communications from UTS, Sydney and was secretary of Culture Lab International from 2000-2007.

General Manager: Kay Mays

Kay brings important skills in organisational, operational, strategic and financial management.  She is well-informed regarding board & committee governance practices, project & event management, grant writing, sponsorship development, networking, cross cultural relationships, and community and cultural development practices.  She is a strong advocate for regional arts development and sits on the board of Regional Arts Australia.  She as a BA Creative Industries in Visual Art and Digital Media; GradDip Community Cultural Development, Artist & Designer; Cert 1V Community Development  - Intercultural Exchange (Working effectively in a cross cultural context with Aboriginal and Torres Strait Islanders People and Organisations); Cert 1V Community Development  - Intercultural Exchange (Maintaining Effective Networks); Diploma Solution Orientated Counselling.

Daryl Killin

Daryl has 25 years practical experience in all aspects of tropical forestry, fire and carbon project operations, management and policy development, with time spent in government, corporate roles and now in his private companies. He is an advocate of bringing back Indigenous “firestick” burning techniques. He is currently working with Traditional Owners all over Cape York Peninsula and the Gulf region on fire management programs, managing over 1 million hectares. Daryl has a Degree in Forest Science (Hons), is an accredited trainer, and was the first person in Australia to deliver the module in savannah burning training. He is also an accredited DISC Human Resource Management techniques practitioner, and works within the corporate sector to help foster better team work and project collaboration.  He is a strong supporter of the Arts, occasionally treads the boards in local theatre productions and films, and is an avid painter and photographer.

Guillame 'Willem' Brugman

Guillaume ‘Willem’ Brugman, theatre practitioner (theory & practice) of 40 years international experience.  Co-founder of Centre for Australasian Theatre Inc. - Cairns (March 2012 – ongoing). Founder/Director of Culture Lab International Inc, Cultural Research Theatre Laboratory - Sydney/Blue Mountains/Central Victorian Highlands (1998-2008). Artistic Director ESTA - English Speaking Theatre Amsterdam/the Netherlands (1988-90).  Director International Performance Actions -NYC (1982-85).  Historical Artist-in-the-1st-Person, Plexus International -NYC/Roma/Dakar/Amsterdam/Australia  (1985-ongoing). Actor/Dramaturge “KISS” International Performance Research Group - Europe/USA/Australia (1999-83). Co-founder/Director 'De Tuinfluiter' - Leeuwarden/Friesland (1981-1983). Actor/Dramaturge ‘Tie 3’ – Theatre of the Third World – Europe (1976-79). Theatre Academy – Maastricht/the Netherlands (1973-75).

Lou van Rikxoort

Lou is an artist and environmental entrepreneur. Along with her partner Daryl Killin, she is the Owner/Director of two companies with a focus on the environment and the emerging carbon abatement industry: Native Conifer Carbon Sink & Tropical Forest Tree.  Native Conifer Carbon Sink registered the first Carbon Sequestration Project in Australia in 2011, under the Carbon Farming Initiative (CFI). Situated in Ravenshoe, famous for being Queensland’s highest town, the project aims to reforest 3000 hectares of under-utilised grazing land on the Atherton Tablelands.  Tropical Forest Tree works with Traditional Owners in early savannah burning carbon projects under the Emissions Reduction Fund (ERF). It empowers Traditional Owners and Indigenous communities to implement traditional burning practices, and gives them an economic livelihood independent of government funding.  Lou promotes the relationship of humans in, and for nature through her immersive installations, film-making, visual art, and performance theatre. She aims to heal the human-nature connection lost through the mismanagement and alienation of the landscape.