Spotlight: The Arts Wellbeing Collective Magazine, Edition 3

SPOTLIGHT PROMOTING POSITIVE MENTAL HEALTH AND WELLBEING IN THE PERFORMING ARTS 2021 | ISSUE 3 THE LOVE IN THE SQUARES: CREATING POWER UP! BACK AFTER INTERVAL: RETURNING TO LIVE PERFORMANCE WALKING THE TALK: LEADING BY EXAMPLE YIRRAMBOI ARTISTS SPEAK THEIR TRUTH

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We acknowledge the Traditional Owners of the lands on which we meet, visit and perform, and pay our respect to Elders past and present.

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About the Arts Wellbeing Collective

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Support Act Wellbeing Helpline: First Nations Dedicated Support Helpline

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The love in the squares: creating Power Up!

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Deadly tips to stress less

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Mental Health Matinées: taking time to learn, connect, rest and reflect

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Our hybrid (accessible) future

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Back after interval: returning to live performance

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Back after interval: tips for leaders, managers and organisations

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SOUND MIND: exploring mental health and the performing arts through music and conversation

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Angels and demons: balancing creative work and Imposter Syndrome

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Musical Chairs: Australia’s first ever arts administrators’ orchestra

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Spotlight on: the pets of Melbourne Theatre Company

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True grit in the arts: resilience can be found where passion meets boundaries

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Walking the talk: leading by example

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YIRRAMBOI artists speak their truth

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Bridging the gap: being the change you wish to see in the industry

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Helpful support services

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Dancers light the way: sharing inspiring stories

Cover images: Close up of technical equipment at Arts Centre Melbourne; and Fog Theatre Group, image by Sarah Walker.

Please note that the health and wellbeing advice contained in this publication is not a substitute for professional advice. Arts Centre Melbourne has taken all reasonable efforts to ensure the accuracy of material contained in this publication. You should always consult a suitably qualified professional before making any decisions that could affect you or others.

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Welcome Welcome to the third edition of Spotlight, the Arts Wellbeing Collective magazine.

When we established the Arts Wellbeing Collective in 2016 and delivered the Pilot Program in 2017, we never could have predicted just how much it would be needed.

The effects of COVID-19 on the performing arts industry have been drastic, and will likely continue to be felt for many years to come.

Arts Centre Melbourne was not immune to these impacts. We are cognisant that our industry will likely never be the same. In some ways, this is a positive. There was much in our industry that needed questioning, and changing for the better.

At Arts Centre Melbourne, we have taken this opportunity to review and refine many parts of our business. This includes examining our role in the industry and in the community and - importantly - how we can continue to support the sector as we navigate through change and uncertainty together.

As part of this work, we had the honour of engaging with hundreds of people across the sector. We valued every conversation. We heard how much the Arts Wellbeing Collective is valued by those who work in the sector. How much it is needed. The work of the Arts Wellbeing Collective is as important now as it has been.

We are strongest when we work together, listen carefully to each other and celebrate the richness of our community and in this regard the Arts Wellbeing Collective has an important role to play.

Born out of a desire to promote positive mental health and wellbeing for every person working in the performing arts industry, the Arts Wellbeing Collective now reaches more than 200,000 people across Australia and, increasingly, internationally.

There are so many examples in the performing arts where individuals and organisations are taking simple steps to prioritise and promote positive mental health and wellbeing for themselves and their teams. These actions combined are building a movement for broader change, systemic reforms and a better future for us all.

It is vital that we share our stories with each other, what’s working and what we’ve learned from our mistakes, so that we can make positive mental health and wellbeing the norm rather than the exception across our industry. This is what Spotlight is all about - sharing stories so that we learn, grow and thrive together.

Thank you to everyone who has so generously shared their stories, experiences and expertise with us. We continue to be overwhelmed by people’s willingness, openness and generosity in supporting the objectives of the Arts Wellbeing Collective.

Together, I know we can make a difference.

Claire Spencer AM Chief Executive Officer, Arts Centre Melbourne

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Arts Wellbeing Collective event Image by Mark Gambino

About the Arts Wellbeing Collective The Arts Wellbeing Collective is an Arts Centre Melbourne initiative that promotes positive mental health in the performing arts industry.

The Arts Wellbeing Collective comprises hundreds of arts and cultural organisations who work together to design innovative and creative prevention initiatives to promote positive mental health in the performing arts industry. Together, we see a future where the performing arts and its people flourish - a thriving performing arts industry where everyone is enabled and empowered to do their best work.

The Arts Wellbeing Collective program features services, resources and training utilising evidence-based tools and strategies from positive psychology, clinical psychology, organisational development and workplace health and safety research. All program elements are specifically tailored to the unique challenges presented by the performing arts industry.

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Since the Pilot Program in 2017, the Arts Wellbeing Collective has grown rapidly to be a comprehensive, sector-wide initiative – the only one of its kind anywhere in the world.

The Arts Wellbeing Collective works across three key focus areas, Being Well, Working Well, and Creating Change, and aims to: •

Increase mental health literacy and promote positive actions by building knowledge and skills in individuals

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Create mentally healthy workplaces by developing organisational capacity for psychosocial safety

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Embed systems-level changes by working with leaders, funders and peak bodies to remove sectorwide issues and pressures

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Shift the narrative by sharing stories of industry best practice and successes to create an optimistic shared vision of the future.

Since our Pilot Program in 2017, the Arts Wellbeing Collective has: •

Grown to more than 400 member organisations, and directly reached more than 200,000 performing arts workers

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Facilitated more than 140 tailored workshops, delivered more than 70 presentations nationally and internationally, and designed more than 90 tailored resources

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Presented accredited Mental Health First Aid training to nearly 300 performing arts workers

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Met with leadership teams across more than 40 performing arts companies to support the development and implementation of their strategic visions for mental health, and completed a further 157 consultations to support companies to create mentally healthy workplaces

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Partnered with Support Act to extend the Support Act Wellbeing Helpline to performing arts workers, including dedicated First Nations Support and Manager Support

In this edition of Spotlight, we’ve highlighted stories of members promoting positive mental health and wellbeing in the performing arts industry. We each hold a valuable piece of the puzzle for creating and sustaining an industry where everyone is enabled to do their best work, and where we all have the opportunity to thrive.

Our members shape everything the Arts Wellbeing Collective is and does. We seek feedback and insights, co-design resources, services and initiatives; and learn and share examples of best practice from across the performing arts industry. This may not be immediately visible – but none of this exists without you: the people and organisations that make up our fabulous, diverse and resilient sector.

Every story matters.

Previous editions of Spotlight have highlighted companies such as: Mark Gogoll Enterprises The company of Mark Gogoll Enterprises generously shared pictures of people from their team as well as performers they represent with their beautiful pets for our second edition of Spotlight and our Pet Collective page. Check it out here artswellbeingcollective.com.au/ resources/pet-collective/ to immediately lift your spirits!

Melbourne Theatre Company Melbourne Theatre Company (MTC) worked with the Arts Wellbeing Collective team on ways to integrate support across the company when producing shows with challenging content. During the 2018 season of Gloria at the Southbank Theatre, a robust system of supports was planned for and embedded in the entire production process, from rehearsals to front-ofhouse briefings and content warnings. Read more at artswellbeingcollective.com.au/resources/caring-for-theteam-of-gloria-at-melbourne-theatre-company/

University of Melbourne Student Union (UMSU) Co-artistic directors, Ellie and Lucy, and the team behind student-run arts festival Mudfest, worked closely with the Arts Wellbeing Collective to plan for and actively embed preventative and protective measures into the Mudfest Festival. This involved vision-planning and creating a strategy for supporting the mental health and wellbeing of the Mudfest team in the leadup to, during, and after the festival.

Become a member All workshops, resources and initiatives provided by the Arts Wellbeing Collective are open access and free of charge. The Arts Wellbeing Collective is free to join, opt-in and obligation-free. To join, simply fill in the membership form on the website.

To find out more about the Arts Wellbeing Collective, download resources, or to become a member, please visit artswellbeingcollective.com.au

What we do:

What we don’t do:

Work in mental health: Health promotion and prevention that enables everyone to do their best work, cope with normal stresses of life, work productively and fruitfully, and make a contribution.

Work in mental illness: Offer clinical treatment, welfare payments or crisis support for people experiencing mental health problems, mental health crisis situations, and/or mental illness.

Primary interventions: Target the causes of mental health problems.

Tertiary interventions: Treat the symptoms of mental health problems.

Systemic, culture change: Work at all levels to build skills and knowledge to enable positive change.

Individual resilience only: Put the onus only on the individual for good mental health.

Collaborate creatively: Seek collective wisdom, co-design interventions, evaluate knowledge transfer and maturity.

Deliver modules: Develop programs in isolation and deliver them through passive knowledge transfer.

Data-led, evidence based and rigorous: Extensively research and utilise best-available evidence. Set new standards of best practice.

Direct resources into commercialised activity: Utilise off the shelf, promotional wellbeing activities, or unproven methodology / products.

Curiously interrogate everything: Examine and explore ways of working, practices, processes, traditions, myths and truisms.

Assume the industry is unchangeable: Help people navigate a problematic industry.

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Allara and Brent Watkins NAIDOC Week 2020 Arts Centre Melbourne Image by Kathy Chambers

Support Act Wellbeing Helpline: First Nations Dedicated Support Helpline AN INTERVIEW WITH JEDISON WELLS The Support Act Wellbeing Helpline is a free, confidential phone counselling service, available 24/7 to anyone anywhere in Australia who works in the performing arts, or other creative industries.

Did you know that the Support Act Wellbeing Helpline also offers dedicated support for First Nations peoples?

The First Nations Dedicated Support Line is available to access any time for an urgent request, or you can book an appointment by phoning 1800 959 500 (Option 3).

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Spotlight chatted with First Nations Dedicated Support Line counsellor, Jedison Wells, Yuwaalaaray woman who works and lives on Gundungurra and Tharawal lands.

Can you tell us a little bit about the First Nations Dedicated Support Helpline?

There is no nation untouched by the crisis in mental health, but within each nation there is a uniqueness influenced by history, geography, community and society.

Our First Nations line seeks to address that uniqueness by first opening our cultural arms, and then extending the counselling arm, helping people to consider all of the influences, such as social, emotional, economic, cultural and spiritual, of the challenges at hand.

What are the benefits of speaking with a counsellor?

Counselling is a safe place to stop, yarn and consider the darkness or discomfort. Even good decisions can make you feel uneasy. With a firm belief in a person’s capacity to influence their own thoughts and behaviour, counsellors assist in finding outcomes that suit an individual’s lifestyle, community and family.

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Counselling is a safe place to stop, yarn and consider the darkness or discomfort. Even good decisions can make you feel uneasy. With a firm belief in a person’s capacity to influence their own thoughts and behaviour, counsellors assist in finding outcomes that suit an individual’s lifestyle, community and family.

What have been the impacts of COVID-19 and our global reckoning with racial equity on people’s social emotional wellbeing?

COVID-19 shone a bright light into some dark corners. With the disappearance of “the crowd”, the shadow of homelessness, unemployment and isolation stretched further than ever before, with people facing hunger and loneliness like never before.

An anxiousness lingers. Coupled with the ever widening scrutiny of privilege, difference, opportunity and accessibility, no one is quite sure of what the future holds. We have much more to share, and ironically, are expecting and expected to share much more to keep safe.

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An anxiousness lingers.

Coupled with the ever widening scrutiny of privilege, difference, opportunity and accessibility, no one is quite sure of what the future holds. We have much more to share, and ironically, are expecting and expected to share much more to keep safe.

What can organisations and leaders do to better support First Nations team members?

There’s no room in the modern world for stereotypes.

Difference affects business, so step up and recognise what needs to stop and what needs to start. I often ask people to think of Australia’s First Nations as they would Europe. You could meet three Europeans but you would have no hesitation in working with each person in a different way once you found out they were French, German and Italian. Commit to finding out about local culture and expectations, commit to figuring out what culturally informed practices are, and commit to the cultural conversations.

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Commit to finding out about local culture and expectations, commit to figuring out what culturally informed practices are, and commit to the cultural conversations.

What do you enjoy most about being a counsellor?

When I work with mob, I am supporting people who have the same Ancestors as me, my story entwines with theirs. I am a part of their history and so a culturally safe experience is important to both of us. I counsel, heal, yarn and support, usually in relation to people’s work or workplaces but it is much more than that.

We don’t yarn about work, we share ideas about being a part of something, about individual contribution to community and economy, and sometimes about the loss of the very essence of who someone is.

I feel I am ever contributing to the latest story of Aboriginal Australia.

The Support Act Wellbeing Helpline Dedicated First Nations Support can be accessed by calling 1800 959 500 and selecting Option 3. Additional supports and resources available include: Yarning SafeNStrong | 1800 959 563 (24/7) Free and confidential counselling service for Aboriginal and Torres Strait Islander Peoples.

WellMob | wellmob.org.au Social, emotional and cultural wellbeing resources for Aboriginal and Torres Strait Islander People.

Beyond Blue | 1300 22 4636 beyondblue.org.au/who-does-it-affect/aboriginaland-torres-strait-islander-people/

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Fog Theatre Group Image by Sarah Walker

The love in the squares: creating Power Up! AN INTERVIEW WITH NILGUN GUVEN, KATE GECK, AND FOG THEATRE Power Up! is a brand new performance energy video by Fog Theatre and video artist Kate Geck.

Fog Theatre is a dynamic and diverse performing arts program for adults with disability where members explore and develop skills in drama, acting, singing, improvisation, script, dance, movement and choreography in a socially, creatively and culturally inclusive, safe and welcoming environment, supported by highly experienced inclusive arts practitioners and accessibility specialists.

Fog Theatre’s bold artistic practice and culture of inclusivity embeds creative leadership development opportunities and nurtures vital pathways to further artistic collaborations, partnerships and exchanges 8

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across industries and sectors, as well as the production and presentation of numerous critically successful theatre and film works since its formation in 1991.

Produced by Vitae Veritas and The Arts Wellbeing Collective, Power Up! was made in the living rooms, bedrooms, kitchens and offices of the performers and creatives during 2020.

Through abundant visuals, music, dancing and voiceover narration, Power Up! explores positively reengaging with performance spaces and creative work after a period of isolation due to COVID-19 lockdowns.

Power Up! is an energising work that moves us all towards increasing connection, getting out and about again, and coming back to the stage.

Led by Artistic Director Nilgun Guven, Power Up! showcases the performances, artworks and voices of Fog Theatre Ensemble, an incredible group of emerging and established theatre and dance artists including Clem Baade, William Bailey, Michael Buxton, India Boyd, Ian Caplan, Tim D’Rozario, John Eslick, Lincoln Holt, Debbie Lissek, Jordan Low, Mattie Michael, Mark Polonsky, Danny Quinlivan, Ruth Ruschinek, Melissa Slaviero, Brinley Stephens and Eleanor Vogdanos.

Power Up! combines the evocative language of the theatre with personal reflections to provide a strong sense of community for all people who work creatively. It is, above all, a resounding affirmation and acknowledgement of hope, encouragement and empowerment for everyone in the performing arts as we get back to creative work, workplaces and collaborations again.

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It is, above all, a resounding affirmation and acknowledgement of hope, encouragement and empowerment for everyone in the performing arts as we get back to creative work, workplaces and collaborations again.

Three distinct versions of the work have been produced: a captioned video work, an audio-described video work and an audio-only version. Deeply immersive and engaging, Power Up! combines bold artistic elements with movement, music and voice to shift the viewer’s energy from isolation and separation towards expansion, fun, and renewed creative connection.

It is just what we all need right now.

Spotlight recently met with Fog Theatre and took part in their weekly face-to-face session.

Spotlight chatted with members of the Ensemble as well as lead artist Nilgun Guven from Vitae Veritas and collaborating video-artist Kate Geck about their new multimedia video work, Power Up! made in conjunction with the Arts Wellbeing Collective.

Tell us a little about the background of Power Up! What was the intention behind this piece?

Nilgun: We have a structure for our days at Fog that includes dancing, singing, acting, lunch, and we celebrate everyone’s birthday and other rituals. A few years ago we asked, is something missing from this day?

The Ensemble often reflect at the end of the day and we asked the question – how do you feel about meditation being part of our days?

Then we began to explore meditation from a physical, breathing, mindfulness point of view as well as sharing visualisations and guiding people through meditations.

It was a really beautiful revelation over time.

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The Ensemble often reflect at the end of the day and we asked the question – how do you feel about meditation being part of our days?... It was a really beautiful revelation over time.

Creatively we then went into mandala making, which was another meditative form of art-making and working together quietly – so we mixed those two and that became the early concept for our show at the time called Signature which led me to seek out Kate.

Fog Theatre Group, Signature Image by Paul Dunn

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Kate: I’d done some other guided meditations in my practice with moving images so when Nilgun got in touch, I thought it sounded really interesting. Then I came out and met everybody and it was just so much fun.

We made the mandalas move and experimented with projecting them onto people so that the performers could move with the texture of their own artworks on their bodies. It was a really interesting process because the mandalas being projected onto the body and the movements were calming and restorative.

Then the Ensemble developed the guided meditation Signature – the Ensemble members wrote the meditation and verbalised it – and we combined that with the moving images of everyone dancing and the projections. It was just great!

The Arts Wellbeing Collective team connected with Nilgun through Signature. We loved it and could see that it was something that could benefit people across the sector. We are so grateful that you reached out, and that we could share the Signature video.

Nilgun: Pleasure. We consciously made it as a gift.

Nilgun: At that time in the Ensemble we were exploring what we appreciated in 2020 as much as what was difficult, and also what we were looking forward to and what the future would bring.

Fog have an amazing ability to transfer their positivity both in-person and on-screen and to move people. In Signature we created a peaceful, safe, welcoming, selfacceptance piece. Power Up! is more of an invitation back into the world again. In it we acknowledge that this is a time of transition and that it may be an awkward transition. It’s a mixed feelings space, but Fog are forever positive and resilient.

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Power Up! is more of an invitation back into the world again. In it we acknowledge that this is a time of transition and that it may be an awkward transition. It’s a mixed feelings space, but Fog are forever positive and resilient.

Signature and Power Up! are kind of a pair: one where you take the energy down and one where you take it up again. Can you talk about why that felt like the right theme and what drove that choice?

The Ensemble are so ready and able to investigate these ideas and to put their insights and experiences into form and share it with others. We thought Power Up! would be useful for a lot of people and another nice gift.

Kate: When Nilgun and I had our first phone conversation about this piece, it was during lockdown and I was power-walking around my local oval! We talked about offerings to reconnect and re-engage with the world and how important that was going to be for everyone. These were themes that Nilgun had been working on with the Ensemble already. It was a really interesting conversation because it felt like that’s what we needed: a series of gestures to reconnect with the world after so long being isolated and dormant.

It was quite moving to make this piece. There was one session for instance, where we were referring to stage terms – we’re all performers in Fog, including the staff – and these words were so poignant to us, just saying them was poignant. So, we’ve included an audio only version as well that incorporates more of these terms as well.

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Who do you hope Power Up! will reach?

Nilgun: I’m going to say everyone!

Kate: Same! I don’t think it’s specifically for any demographic. It’s for people, particularly people in Melbourne, who have endured all of these lockdowns and prolonged periods of isolation who are now trying to readjust to three dimensions in real time.

Nilgun: There are also people in the background to the creative’s life; their family and their friends, who can equally benefit. Vicariously we’ve been affected by each other’s joys and challenges at the same time over the last year or so it’s for all of us. It’s for everyone.

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There are also people in the background to the creative’s life; their family and their friends, who can equally benefit. Vicariously we’ve been affected by each other’s joys and challenges at the same time over the last year or so it’s for all of us. It’s for everyone.

Why do you think it’s important to look after our mental health and wellbeing?

Kate: It feels like that should have a really zappy simple answer, but it doesn’t! For me, it’s about finding some kind of balance between giving and receiving – to others and to yourself. It’s about not falling off kilter by finding that balance which means you can keep going and keep doing what you need to do.

Nilgun: To be functional (laughs) Kate: Yeah, to keep going (laughs) Nilgun: To not be lonely – and to be at the centre of whatever your experience may be.

To continually refine those skills of tuning into yourself and your surrounds. It’s about being in conversation with lots of things interacting, so finding a balance is constantly at play.

Why do you think it’s important to have a mental health and wellbeing program in our industry?

Kate: That’s another big question! The creative arts is defined by precarity: by long hours and short contracts.

It doesn’t often lend itself to practices of wellbeing.

You have to be able to give quite a lot and I think precarity is really at odds with wellbeing. So it’s good to acknowledge this and to try and embed practices of slowness and care-taking and allowing people to make space for themselves. (To Nilgun) And what you said before about centring yourself so that you can actually have an experience – that’s a really interesting idea.

Nilgun: When I started my career there was nothing like the Arts Wellbeing Collective, so for it to exist and be out there is in and of itself an important and good thing.

For it to continue is just as important. We’re all human, so vulnerable things happen in our lives and not just creatively and that can be very challenging.

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When I started my career there was nothing like the Arts Wellbeing Collective, so for it to exist and be out there is in and of itself an important and good thing. For it to continue is just as important. We’re all human, so vulnerable things happen in our lives and not just creatively and that can be very challenging. artswellbeingcollective.com.au

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With that in mind, what sorts of things do you do to support your own mental health and wellbeing? And what do you do to support the Ensemble when you are all working together?

Nilgun: In supporting my own health, I am practicing setting different kinds of boundaries and learning from others who either role-model or encourage me to include other things in my work/life balance. You need to have a commitment to it – a stronger commitment to not prioritise work constantly or the tasks that are involved in it above everything else. To be able to switch effectively has been really helpful to me personally for the past few years!

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In supporting my own health...

You need to have a commitment to it – a stronger commitment to not prioritise work constantly or the tasks that are involved in it above everything else. To be able to switch effectively has been really helpful to me personally for the past few years!

Kate: I try to do all of the things that we’re reminded to do – I try to look after myself and I try to sleep well and I try to exercise and I try to meditate. I think really what it comes down to is what Nilgun is saying [to Nilgun] and I feel like you’re a few steps ahead of me maybe – but this idea of having boundaries that give yourself permission to prioritise the things that make you happy as opposed to the things that you feel like you need to get done. It’s so difficult! I think it’s about navigating

sets of values as opposed to doing tasks. It’s about creating a set of values that you can prioritise; that you want to do. So instead of exercising or meditating because you’re ‘supposed to’, you’re doing it because you know it makes you feel better and that if you do it you will be better at the things you need to do. It’s really hard though. I’ll let you know when it actually works!

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I think it’s about navigating sets of values as opposed to doing tasks. It’s about creating a set of values that you can prioritise; that you want to do. So instead of exercising or meditating because you’re ‘supposed to’, you’re doing it because you know it makes you feel better.

Nilgun: That’s why it’s so important to know and explore values in the room and with each other, no matter who has what role. To have a sense of that and to make room for those conversations is really helpful, because that then defines the culture that you work within and the types of relationships that can be had.

Values are at play in the Fog setting all the time. It’s all constantly negotiated and compromised – we do check-ins all the time and use other tools to look after each other too. We allow honesty. We ask directly or if we observe something from each other then there’s a lot of peer support for people to get what they need.

We allow care and love to play a part, and humour. It’s a very real space as much as it’s a working professional space.

Mattie and Kate Geck April 2021, image supplied

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Melissa and Marjetka April 2021, image supplied

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Values are at play in the Fog setting all the time. It’s all constantly negotiated and compromised – we do check-ins all the time and use other tools to look after each other too. We allow honesty. We ask directly or if we observe something from each other then there’s a lot of peer support for people to get what they need. We allow care and love to play a part, and humour. It’s a very real space as much as it’s a working professional space.

People arrive with different needs, week to week, and they can take their time or through the creative process what they are experiencing can transform into another thing that can be helpful to them. Sometimes, someone comes in with low energy and just by connection or participation they can put out something different and beneficial.

Being available is important and so is listening. It is all the many micro-moments throughout the day and between weeks that add up. I think the evidence of that is also reflected in who is behind the performers in their support circles – there’s a real awareness that we have an intimate knowledge of each other’s emotional landscapes and mental landscapes and insights into that. We make sure there’s always open communication and exchange around that to inform the Ensemble or to take feedback from them.

We were really struck by how many things that you’re explicitly doing in the room that address and support psychosocial safety, it was great to see.

Nilgun: It’s constantly exercised! We do have curveballs, but we don’t do a censor approach. It’s not like ‘you’re not allowed to’ on anything. People in the Ensemble are communicating, quite directly, and I get feedback all the time about how things are working.

There’s a recognition of other people’s needs and perspectives. The peers are talking to each other about that, they’re defining their own things and the expectations between people or a group. Over the years, it’s evolved to show itself now in that way which is why you see those sorts of things in the room.

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There’s a recognition of other people’s needs and perspectives... they’re defining their own things and the expectations between people or a group. Over the years, it’s evolved to show itself now in that way which is why you see those sorts of things in the room.

What have you enjoyed about making Power Up! and what have you learned along the way?

Kate: I was thinking about the Foggies a lot during lockdown and wondering ‘how are they going?’ When I spent time with them in person a few years ago, it was so apparent how much love and care was in the space.

So I did think about them during lockdown when I knew they wouldn’t be able to get together in the same space.

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It was awesome when Nilgun got in touch and shared some videos from Zoom of the Ensemble connecting.

I felt really overwhelmed because the love was in the squares. It was stunning how all of that energy was flowing between everyone on Zoom and I couldn’t believe how well Fog had translated as an online space.

There was still the same level of energy and laughter but also management of moods and opinions and things that was all still happening in a similar way!

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It was awesome when Nilgun got in touch and shared some videos from Zoom of the Ensemble connecting. I felt really overwhelmed because the love was in the squares.

Kate: I feel really lucky to be back. Signature was one of my favourite projects I’ve worked on – so much fun! (laughs) Nilgun: In making Power Up! we continued the Fog Theatre practice of ongoing feedback to really consolidate the Ensemble’s involvement. The performers have say on what is put out there and they very clearly communicate what they like and what they don’t like.

They’re very generous with their sharing – physically and verbally – and they’re really proud of being part of the arts world and creative industries.

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For me I just really loved seeing everyone’s faces again and seeing when people were seeing each other for the first time. I think there was one video, the first one, that captured that and that was pretty emotional and significant.

Everyone at Fog knows each other so well so it was special when everyone was able to see each other again because everyone feels that way, you know? I felt that way when I saw my friends too! Everyone has these same experiences. It’s a very universally human thing to be overjoyed when you see your friends when you’ve been alone for ages. The Foggie’s experience can be something that other people can relate to and learn from when trying to re-engage with the world.

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Everyone has these same experiences. It’s a very universally human thing to be overjoyed when you see your friends when you’ve been alone for ages.

Nilgun: I think something that the Ensemble can do quite immediately is make people feel comfortable. I don’t want to take that for granted or assume that but there is feeling that you can just drop into your skin with them and we’re hoping that people can feel that in the video. That feeling that it’s okay to be where ever you’re at – to be absolutely non-critical at that moment. But as a creative process, as a collaboration, it’s also been a really interesting challenge creatively. There’s been some very strong parameters in place to transpose all that but also there’s the reception by the world to consider!

Asking, is this what people might need right now? And what are we offering, and why and how? – making those kinds of very intangible things a part of the decision-making processes has been really interesting.

Working with Kate, especially whose practice is in the care space, is the right sort of partnership for this work.

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In making Power Up! we continued the Fog Theatre practice of ongoing feedback to really consolidate the Ensemble’s involvement. The performers have say on what is put out there and they very clearly communicate what they like and what they don’t like. They’re very generous with their sharing – physically and verbally – and they’re really proud of being part of the arts world and creative industries.

Do you have any advice for someone about to start out in the industry? What would you tell someone starting out about how to do creative work in a personally supportive or mentally healthy way?

Kate: Pace yourself and pace your projects. Try to figure out your expectations of what it is you want to achieve and how achievable it might be.

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Pace yourself and pace your projects. Try to figure out your expectations of what it is you want to achieve and how achievable it might be.

Definitely consider the people you’re working with! Try to have as much control over who you work with as possible. This can be hard when you’re starting out!

If you’re having an experience that is good, remember what’s good about it and aim for that to be a benchmark or a standard. And if you’re having a bad experience, do what you can to get through it but then make a decision to maybe not do that again.

Don’t think that just because someone asks you to do something that you have to say yes if it’s not a good situation for you.

It comes back to values – making sure the things that you’re doing as much as possible can line up with what’s important to you because that makes the work more rewarding.

Nilgun: Always ask yourself, was it the best process?

For me, having a shared vision or alignment to the nature and intention of the group, project or work is paramount. Like Kate, I’m also careful about who I choose to work with because I am really aware of the position of responsibility I have in care-taking the artists I manage or am involved with. I’m always reflecting on how things have gone and working to improve things to ensure the artists I work with have safety of experience and that their agency is upheld.

“

Always ask yourself, was it the best process? For me, having a shared vision or alignment to the nature and intention of the group, project or work is paramount.

So my advice would be keep learning, and always enter processes with integrity, especially when negotiating partnerships and collaborations.

It’s hard when you are just starting out, but even in the very early days of your career I think it’s reasonable to expect that there should be clarity, transparency and structure or clear expectations. At the same time in this creative world, you do need to be relatively open and flexible. Therefore you need to know thyself and your boundaries and if you go beyond them – if you’re asked for too much – it should be okay to say ‘woah, let’s just take a minute and review all that.’ Communication is really important.

Kate: In the creative industries, I think everyone feels really lucky to be working here. That means that sometimes boundaries get blurry and you can overcommit or be exploited. I think it’s important for people to remember if you burn out or can’t do the work then you can really suffer. It’s really important to prioritise those practices of care – they make the work better.

“

In the creative industries, I think everyone feels really lucky to be working here. That means that sometimes boundaries get blurry and you can overcommit or be exploited. I think it’s important for people to remember if you burn out or can’t do the work then you can really suffer. It’s really important to prioritise those practices of care – they make the work better.

Nilgun: In terms of Fog Theatre or the inclusive arts space more generally, there’s a lot that we have put in place over the years. We have put into venues or presenters or festivals awareness that these are the types of things that may need to be accommodated or provided. Internally we design schedules that take into account a lot of different factors and care and health and wellbeing really inform that scheduling process.

Why should that not apply for other mainstage or major project designs or schedules as well?

Fog Theatre Group April 2021, image supplied

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“

In terms of Fog Theatre or the inclusive arts space more generally, there’s a lot that we have put in place over the years.

We have put into venues or presenters or festivals awareness that these are the types of things that may need to be accommodated or provided.

Fog Theatre From its foundation in 1991, Fog Theatre’s bold artistic practice and culture of inclusivity embeds creative leadership development opportunities and nurtures vital pathways to further artistic collaborations, partnerships and exchanges across industries and sectors for its members. Fog Theatre has produced and presented numerous critically successful theatre and film works.

For more information, visit vitaeveritas.com.au/fogtheatre.

Internally we design schedules that take into account a lot of different factors and care and health and wellbeing really inform that scheduling process.

Nilgun Guven Vitae Veritas

Why should that not apply for other mainstage or major project designs or schedules as well?

At the centre of VV’s work it champions people, their creative practice and explores the role of artistic experimentation and how this directly informs codesigning accessible creative and aesthetic innovations and strategies for collaboration.

Vitae Veritas is a not-for-profit arts and cultural organisation based in Melbourne with a dedicated aim to promote and support cultural diversity, artistic excellence and inclusive arts leadership.

Where possible and as much as possible, we also build in extra support and we have the right people in our networks to bring in during intense times or if particular people need more support. We really tailor and think what that looks like and what that needs.

Founded by Nilgün Güven, a Turkish-Australian producer, director, artist and culture agent, Vitae Veritas’ ethos and practice is concerned with the intersectionality of human rights, inclusion and access, aesthetic innovation and creative production.

We also think about how that ripples into ‘how can you still do a tech while providing this kind of support?’ We still achieve all the milestones of intense periods and productions.

For more information, visit vitaeveritas.com.au

It comes down to having a really great team, as well as a receptivity and generosity from the people that you’re making the work for or with. You need co-resourcing and co-making for that to happen. Having the right support in place makes it easier for people to adapt to what’s happening and not come in with that stress already.

Kate is an artist who works with code and textiles to create interactive surfaces and immersive spaces. Her PhD explores extended reality (XR) experiences that reimagine human computer interaction to mindfully engage the body, drawing on somaesthetics, offering an alternative to ‘attention-extracting’ design systems.

Experience Power Up! at artswellbeingcollective.com.au

Kate Geck

Kate has exhibited locally, online, and abroad, with funding and commissions from a range of organisations.

As an Industry Fellow in Interior Design at RMIT, Kate collaborates with diverse creative organisations such as Artful Dodgers, Signal Arts, Polyglot Theatre, 100 Stories, Charcoal Lane and Fog Theatre.

For more information, visit kittykake.com

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Spotlight also chatted with the performance and creative team at Fog Theatre about what they do to look after their mental health and wellbeing, how they support each other, how they devise work, and what performing means to them.

What do you do at Fog? Melissa: At Fog we dance, do acting, sing, warm up, stretch, do solos. We move, have adventures, make movies, rehearse, do shows. We use our voice, talk, play instruments, do duets, celebrate birthdays, meditate, share our energy, share our feelings. We work with other artists, performers and volunteers.

What kinds of things do you to look after yourself and to feel happier?

Tim: Making friends and being happy about yourself.

Michael: I make my own coffee and I watch TV shows. If my brain is too small, I do puzzles. If my brain is too big, I go for a walk. If my brain doesn’t work, I watch movies.

Mark: People to see, people to talk, people who can see me. You need to be respectful and also including.

William: I feel good. I like music and dance.

Clem: I go to the park and stand in the middle of the park and let it all out.

Tim: Caring for yourself is to enjoy yourself, and all the fun. I meet new friends, and old friends, and I’m happy about myself.

Melissa: All I know is that if friends, some friends, are happy to me then I would like that.

Tim: I have a personal trainer and I also have a glass of water every day. And I do things to get ready, like have a shower and eat healthy foods in moderation.

How do we look after ourselves at Fog Theatre and make others feel good (or welcome)?

John: Help each other.

Debbie: Making friends, talking to each other.

John: I make them laugh. It makes them very happy.

By doing this [smiles with eye contact].

Michael: I just do what other people would do.

I improvise something! I use my acting method.

Stay in a character. I make people laugh and be entertaining.

Tim: Having good days and a good time and making friends with one another. And having good performances and connecting.

Tim: By being myself. Being friendly and loving to one another. Share my thoughts and being in community.

Tim: Just to be happy about yourself, respect others and be polite to others and have a good time. And to make friends and be friendly to one another with good friendship and loyalty.

Interview continues over page.

Fog Theatre Group April 2021, image supplied

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How do you start devising a show from scratch?

Melissa: It’s like a recipe. A recipe needs ingredients.

We need people- performers, directors, other artists.

We need to know who they are, what they are like, what they want to do. We need to try things, we need ideas and to learn things. We need to find out. We need time and money and support. We need somewhere to perform, a stage. We mix it all up. We like it. We need the audience. They like it.

What do you like about being a performer? What does being a performer mean to you?

Melissa: When I perform on stage inside of me is like a star and my heart comes out. Fog Theatre gives each individual a story to tell. Being at Fog helps me to tell my story and come out. I like spending time with my friends. I like being happy and learning in a good way.

“

When I perform on stage inside of me is like a star and my heart comes out. Fog Theatre gives each individual a story to tell.

Being at Fog helps me to tell my story and come out. I like spending time with my friends. I like being happy and learning in a good way.

Clem: I’ve been performing since ’91. I like performance and dance because I want to show all the community – don’t be scared. The atmosphere of being on stage with Fog, it brings me lots of joy, wonder and beauty to work with such an incredible theatre company. When I move my body I feel inspired and it gives me the energy to focus on my dancing career.

In 2020 when the isolation was challenging and difficult, the Fog Theatre team shared these words to help remind each other…

Let’s remember The sun Our self-esteem To be gorgeous To wear our masks Be good and Watch the footy Let’s remember Being funny Teamwork Drawing Sharing things and Doing things Let’s remember Feeling good Feeling better and Feeling wonderful

John: I get to come here, I like coming here. I like doing this [gets up, dances] dancing.

Jordan: I feel back at Fog, I’m useful. I can talk at Fog. Looking at friends, good friends, and I can talk, it gets bigger. I can get friends. I come here again. Useful.

Ruth: It’s great to be back in 2021! It’s amazing for everyone to be here and perform together.

Experience Power Up! at artswellbeingcollective.com.au

Image by Clem Baade

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Image by Clem Baade

Have a yarn with friends and family Make time for yourself by reading or journaling

Learn a new hobby and have the courage to be imperfect while you’re getting the hang of it

Close your eyes and focus on your breath Connect with the land by spending time outside in nature

Deadly Tips to

Get active by going for a walk or kicking the footy around outside

Stress Less

Reach out to Elders for advice Listen to your favourite music

Get involved in your Community activities that make you proud of who you are and where you’re from Watch funny videos and share them with your friends

Share stories with your friends and family

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Mental Health Matinées: taking time to learn, connect, rest and reflect As many of us in the performing arts industry turned to online delivery through COVID-19, so too did the Arts Wellbeing Collective! Mental Health Matinées was born out of a desire to connect performing arts workers with pertinent mental health support, advice, tools, and techniques, tailored to the ever-changing landscape we were experiencing.

Coco Nkrumah from Reality Based Mindfulness takes us into the world of resilience and mindfulness, and bringing our attention into the present moment. This episode offers short guided meditations and practical techniques for connecting with our state of mind and body, and the relationship between self-care and resilience.

There are now fifteen one-hour webinars available on demand that cover topics from finding purpose, through to navigating change and uncertainty. The series commences with Dr Jane Miskovic-Wheatley from Sage Psychology discussing the importance of looking after ourselves and others, and the wide range of supports available to everyone in the performing arts industry even when we’re not working. Seeking help early, and seeking help often is one of the best things we can do for our mental health and wellbeing.

Susan Eldridge from Notable Values coaches us through ‘pivots and pirouettes’ - transitioning careers within the performing arts industry. Exploring everything from finances, to working style preferences, and skills and competencies, this session is ideal for anyone considering a new role in this vibrant and complex industry.

Psychologist Chris Cheers then delivers a session on self and identity, and the ways in which these can impact our mental health. Chris shares that our values can act as a compass, and gives tools to help set short and long term values-led goals.

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If ever there was a voice that could catch you with its lilting tones and gentle kindness, its Jossy Jimenez, from Jossy Jimenez Wellbeing. Jossy guides us in a physical practise for being kind to ourselves - a straightforward way of attending to and comforting yourself when you need it most.

Dedicate an hour to connect, rest and repair, where you can switch off from the world and be aided by a humble practitioner. The practises shared are easy, and the results are blissful.

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Dedicate an hour to connect, rest and repair, where you can switch off from the world and be aided by a humble practitioner. The practices shared are easy, and the results are blissful.

Our sixth episode invites us to navigate through change and uncertainty, with a focus on increasing the flexibility of our thoughts, feelings and behaviours. Psychologist and performing artist, Dr Anastasia Hronis, from the Australian Institute of Human Wellness gives us tools to accept that which we can’t control, and empowers us to influence what we can. Anastasia expands our notions of self-care to also include setting boundaries, a critical skill in the performing arts industry.

As restrictions began to ease towards the end of 2020, Glenda Chi from WHY Discovery joined us to discuss the importance of purpose for positive mental health and wellbeing. Glenda shares that, “our purpose shifts our mindset to view our lives holistically.” This perspective shift helps us to navigate short-term challenges, as we always have the ‘big picture’ front of mind.

Next, we have Dr Lou Cooper, an emotions-based therapist from Talking Emotions, who explores how we can understand and utilise our emotions to change and improve our life experience. Lou leads us through identifying what we’re feeling, what needs emerge, and what actions those feelings and needs provoke.

This leads us to presence, exploring our emotional state and how our body reacts. If we can identify what may be the root of the emotional state, we can better understand what we - and others - need.

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If we can identify what may be the root of the emotional state, we can better understand what we - and others - need.

Regular Arts Wellbeing Collective contributor, Deone Zanotto from Performance Based Meditation, leads us through a range of meditation exercises for feeling good in the right now. Deone shares, “Stress is something that we will continue to experience... Meditation is not something that eliminates stress from your life. It actually just gives you the tools to deal with stress and respond to stress in a much more elegant way.”

Mental Health Matinées aim to be timely, and this is no better demonstrated than by Eugene Wong from A Stronger Narrative.

Eugene explores sustainable creative practice, and introduces us to the idea the Flourishing Framework – the idea of thriving in what we are doing. Within this framework we explore our basic needs, purpose, belonging, contribution to society, lament and celebration, and sense of meaning. Eugene outlines tangible ways for us to ensure we maintain balance in our lives.

As we approached the end of 2020, we were joined by Jamie Marloo Thomas, a GunaiKurnai man and Maara Descendant, and Co-Creator of Wayapa Wuurrk.

Jamie shared with us why is looking after the earth the best way to look after yourself. Jamie led us through a holistic combination of earth mindfulness, storytelling, an embodiment practice of the 14 elements and taking action to look after the environment. Jamie shared, “We need to reset our understanding of wellbeing by embedding ancient ways of knowing, doing and being into our daily lifestyle and re-activate our reciprocal relationship with the Earth.”

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We need to reset our understanding of wellbeing by embedding ancient ways of knowing, doing and being into our daily lifestyle and re-activate our reciprocal relationship with the Earth.

A fitting finish to 2020, Jossy Jimenez joins us again to lead us through a self-compassion break. Jossy demonstrates that self-compassion involves being gentle and understanding towards ourselves when we suffer, fail or feel inadequate. Jossy shares the three key components of self-compassion; mindfulness, common humanity, and kindness. It was the perfect end to the year that was 2020.

As we entered 2021, Susan Eldridge delivered her second session, ‘exit stage left’, for those of us who may have been contemplating a new career path outside the arts.

Then, Dr Jane Miskovic-Wheatley joined us again for two sessions that explored how to navigate through the mental health and wellbeing impacts of returning to live performance in COVIDSafe settings. On the road again and back after interval explore touring, performance, and the challenges of stress and burnout, and are essential viewing for us all as we adapt, respond and create together.

The Arts Wellbeing Collective team would like to thank all of our incredible contributors who have delivered Mental Health Matinées for us so far. We are grateful for your time, expertise, knowledge and experience.

All Mental Health Matinées are available to watch, share, and explore on demand at artswellbeingcollective.com.au/resource-category/ mental-health-matinees/ artswellbeingcollective.com.au

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Our Hybrid Future Illustration by Bec Sheedy at mildscribbling

Our hybrid (accessible) future WORDS BY KATE LARSEN COVID-19 rushed the world into digital and hybrid ways of working faster than anyone could have imagined.

Unsurprisingly, this led to a lot of reverse-engineering, working-it-out-on-the-job, and many of us getting things wrong. It also led to new ways of working and making from which many don’t want to return.

Almost overnight, artists and organisations could reach more (and more significant) markets. Audiences found more ways to engage than ever before. Importantly, those previously denied access to our programs and services were suddenly only a mouse-click away.

The move to digital and hybrid working immediately made arts employment and engagement more accessible, flexible or even possible for many.

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However, just being more accessible didn’t make our sector accessible, flexible or inclusive enough, nor did it mean those changes stayed in place once we started to re-emerge.

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However, just being more accessible didn’t make our sector accessible, flexible or inclusive enough, nor did it mean those changes stayed in place once we started to re-emerge.

The change also happened in a way that frustrated many Deaf, disabled and regional people in particular, those with caring responsibilities, and allies like myself.

After years of community-led advocacy and self-led access (with slowish and smallish results), Australia’s arts and cultural sector suddenly got a lot more accessible the moment city-based non-disabled people needed it to. In the main, change-makers have also failed to consult with or draw on the expertise of these communities, even though they have become (through necessity) some of Australia’s leading experts on overcoming barriers to engagement with the arts.

Now, as artists and organisations move towards a newnew-normal, we have an opportunity to draw from the best of this recent experience, improve the parts that caused us problems in the past, and reimagine how we make art work onsite and online – in ways that are more flexible, accessible and better for everyone involved.

“

Now, as artists and organisations move towards a new-newnormal, we have an opportunity to draw from the best of this recent experience, improve the parts that caused us problems in the past, and reimagine how we make art work onsite and online – in ways that are more flexible, accessible and better for everyone involved.

The access advantage Making our workplaces and programs more accessible can increase our reach and improve our representation, reputation and income-generating potential. But filling a deficit or adjusting for inequality shouldn’t be our only motivation.

Being more accessible can also connect us to a broader range of artists, contemporary stories and cutting-edge work that is more relevant and reflective of our society – as well as to the strength, resilience and innovation of those who have had to creatively navigate careers and creative practices around an exceptionally inaccessible, city-centric and discriminatory monoculture.

Many organisations are still playing catch-up with their obligations around access, often scheduling a single audio-described or Auslan-interpreted experience as part of a larger project or applying standard access services to digital recordings. Making and sharing our work online automatically increases its accessibility, but doing so alone isn’t enough.

There are many other ways to access the access advantage:

Access the access advantage • Arts and culture excel with diversity. Make sure your organisation is as diverse as the communities it works with and the audiences it serves. Think about who is making the decisions and who is being represented on our stages, in our pages and on our screens.

• Budget for access and inclusion from the start of each year or project.

• Use accessible venues and accessible digital platforms (including accessible ways to ask questions or interact online).

• Ask everyone about their access requirements every time.

• Let people know what to expect in advance (both in terms of how to access our offices, venues, platforms and programs, and how they will need to engage when there).

• Commit to self-audio-description and captioning as best practice minimum access for public programs (many more people benefit from captioning than sign language).

Provide Auslan interpretation, professional audio description and any other access initiatives according to participant or audience requirements.

• Factor in ongoing outreach and relationship-building work with communities, including the creation of pathways and a commitment to informed, community-led practice when making work about or for communities we aren’t a part of ourselves.

• Address digital inequality for artists, participants and audiences by presenting a combination of work online, onsite and outside at a range of price points (including for free), and considering how you can share technology (either with less wellresourced artists or arts organisations or with participants or audiences).

• Make sure your communications are accessible and that your website has at least an AA Web Content Accessible Guidelines (WCAG) access rating.

• Use plain, simple, jargon-free language that everyone can understand. (Visual arts sector, this means you.) Create and share a glossary of the terms you regularly use.

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Budgeting for access and inclusion Access and inclusion are often addressed at the end of a project — if there’s any money left in the budget.

Many of us still think of it as an (expensive) optional extra rather than a legal requirement or creative opportunity, so it’s essential to budget for access and inclusion from the start of each year or project (rather than trying to squeeze it in at the end).

Address the budget(ing) deficit If you are an Australian employer or service provider, you already have a legal obligation to make your programs, services and employment opportunities accessible for Deaf and disabled people. If you’re a sensible one, you know being more accessible is also better for your bottom line.

Unfortunately, many of us are still either unaware of our obligations under the Disability Discrimination Act (DDA) or working with outdated and responsive budgeting models. Some work may be required to address the deficits of past financial policies to make sure you’re compliant.

Redefine what’s ‘reasonable’ (for you) The DDA says we all need to make ‘reasonable adjustments’ to ensure our services and employment opportunities are accessible for Deaf and disabled people but doesn’t define what ‘reasonable’ means (until someone sues you to find out).

In practice, what’s ‘reasonable’ depends upon your circumstances and scale. As disabled people make up at least 20% of the population, it’s reasonable to expect the same amount engage with you– not just as audiences, but as artists, staff and Board members, volunteers and other stakeholders.

“

•

Committing to self-audio-description and captioning as best practice minimum access.

•

Providing sign language interpretation and professional audio description according to participant and audience requirements (remembering to budget for two at a time, as they work in pairs), as well as any other access initiatives (from Easy Read to touch tours or relaxed, lowsensory experiences).

•

Ensuring all your opportunities are accessible and pro-actively appointing or encouraging people from under-represented groups and communities to apply.

Redefine ‘access’

In practice, what’s ‘reasonable’ depends upon your circumstances and scale. As disabled people make up at least 20% of the population, it’s reasonable to expect the same amount engage with you– not just as audiences, but as artists, staff and Board members, volunteers and other stakeholders.

Think about what you consider to be your bare minimum in terms of access provision and whether you think it would be regarded as ‘reasonable’. This may include: • Committing to ongoing outreach and audience development. Trust takes a long time to build and no time at all to lose again. Listen and respond to their interests and needs.

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Our Hybrid Future Illustration by Bec Sheedy at mildscribbling

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What you choose to define as ‘access costs’ is also entirely up to you. Extending your definition of what your access budget can be spent on can help you go beyond the bare minimum and remove barriers for anyone with difficulties accessing your opportunities or services. This could include multilingual as well as Auslan interpretation, travel or childcare costs, or outreach and relationship-building work with under-represented groups and communities.

“

What you choose to define as ‘access costs’ is also entirely up to you. Extending your definition of what your access budget can be spent on can help you go beyond the bare minimum and remove barriers for anyone with difficulties accessing your opportunities or services.

Annual access budget model Include an access budget line in your annual Budget process that can be used across the whole organisation and/or accrue a percentage of any budget surplus into a dedicated access reserve each End of Financial Year.

Project access budget model Include access costs in individual project budgets or funding applications with care, as this may make one project more accessible than others, and donors or panels question why you’re not already meeting your obligations in these ways.

Applying aesthetic access to your art-making will add texture and layers, enhance the experience for all participants, and make it more equitable for everyone to enjoy. When planned and budgeted from the outset, it can also provide a cheaper and more integrated result.

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Level up: the aesthetic access challenge The idea of the ‘aesthetics of access’ was pioneered by Jenny Sealey of Graeae Theatre Company in the UK and introduced into Australia by SA theatre designer and disabled arts leader Gaelle Mellis. Mellis’ 2012 Vitalstatistix production of ‘Take Up Thy Bed and Walk’ incorporated Auslan, audio description, captioning, animations, pre-show touch tours and other accessibility features into the core aesthetic of the work.

Adelaide’s Access2Arts also takes an aesthetic access approach to much of its digital content, including its 2019 films on the UN Convention on the Rights of People with Disabilities, which were not only captioned and audio described but which took an artistic split-screen approach to Auslan interpretation and cast Deaf people instead of hearing sign-language interpreters.

These ideas were taken up at the 2020 National Innovation games by Deaf Victorian artist Chelle Destefano, whose team proposed using colour coded captions of various sizes to express and capture the full range of emotions in performers’ speech.

Now it’s time to take aesthetic access into the digital space.

Instead of thinking of access as an afterthought, incorporate it from the start of your creative development processes – not just as a tool for audiences to experience the work but as an exciting creative opportunity to inform and evolve the content itself.

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Instead of thinking of access as an afterthought, incorporate it from the start of your creative development processes...

This could include things like: • Casting bilingual English/Auslan performers • Projecting different sized or coloured captions as part of a set or online graphic design • Incorporating a descriptive audio or touch tour into an online exhibition • Adapting scripts to include cast members describing their actions, emotions and surroundings alongside their dialogue.

Applying aesthetic access to your art-making will add texture and layers, enhance the experience for all participants, and make it more equitable for everyone to enjoy.

Putting people first post COVID-19 Ours is a sector propped up on the goodwill and hard work of passionate, underpaid individuals. The metaphor of the graceful swan hiding its hard work beneath a smooth surface is better imagined as a steam-punk mechanical beast that can crush those who work it in its gears.

Like many under-resourced sectors staffed by those who believe in it most, our working practices often sacrifice our own or our colleagues’ wellbeing for the sake of ‘the show must go on.’

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Like many under-resourced sectors staffed by those who believe in it most, our working practices often sacrifice our own or our colleagues’ wellbeing for the sake of ‘the show must go on.’

Access and equity are fundamental to this wellbeing but are often considered as afterthoughts or ‘extenuating circumstances,’ viewed as obligations rather than creative opportunities, or ignored altogether.

If 2020 taught us anything, it’s that access and inclusion have never been more critical. Making our work more accessible means more (and more diverse) people can participate in all areas and at all levels of our work – be that as artists, arts workers, audiences or more.

Kate Larsen is an arts, cultural and non-profit consultant with more than 20 years’ experience in the non-profit, government and arts sectors in Australia, Asia and the UK. Website: LarsenKeys.com.au Social: @KateLarsenKeys This article was adapted from Our Hybrid Future, a free guide to making art work onsite and online available at OurHybridFuture.com.au.

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PASIFIX at Live at the Bowl, Sidney Myer Music Bowl 2021 Image by Mark Gambino

Back after interval: returning to live performance THANKS TO CHRIS CHEERS, DR ANASTASIA HRONIS, AND DR JANE MISKOVIC-WHEATLEY FOR THEIR ASSISTANCE WITH THIS SERIES Looking after your mental health as we return to creative work and workplaces - tips for practitioners and performing arts workers

Whilst there may be a sense of excitement to return to these spaces, there may also be new challenges that bring on hesitation, stress and anxiety.

As COVID-19 restrictions ease across Australia, many of us are beginning a gradual return to work in the performing arts industry.

The good news is that there’s lots we can do to look after our mental health and wellbeing, to support the people around us, and to help get our creative community back on stage.

We also recognise that much of our creative community remain without their usual prospects, and others are working overtime to try and reopen those opportunities.

Whether we’re working, training, rehearsing, presenting or touring, we’re likely doing so after a prolonged period away. As we navigate this return to our creative practice and work roles within a new context, it’s normal to feel a range of emotions. This will be a process of change that will be experienced differently by each of us.

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Reflect and move forward The last 12 months has been – in at least some part – challenging for most of us. Although seemingly endless at times, we do need to remember that this is a temporary state and in Australia we are already forging ahead.

It can be helpful to take a moment to reflect on a few key questions:

• • •

What was a difficulty you want to leave behind in 2020?

What opportunity did 2020 give you that you want to take forward into 2021?

What new goal do you want to strive for?

For example, diversifying your creative practice, managing work-life balance, or enhancing your self-care.

The impact on our mental health and wellbeing Mental health challenges may not be caused directly by a personal experience of COVID-19, but by the impact COVID-19 and the associated public health response may have on our lives. Our mental health and wellbeing can be impacted by many things – reduced freedoms of movement and association, changes to our financial and living situations, concern for loved ones and many other factors that have been amplified through this time. We may not even be consciously aware of the ways in which we have changed in response to the events of the last year.

Early in the pandemic response, we may have hoped we could quickly go ‘back to normal’. While we have worked hard in Australia to have ‘donut days’ and with some states reaching ‘elimination’, these indicators of low risk are contrasted with the snap lockdowns and border closures that have occurred in recent months to contain outbreaks. In this context, it makes sense that our responses to re-entering workplaces will vary from person to person, and even from week to week!

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It makes sense that our responses to re-entering workplaces will vary from person to person, and even from week to week!

Continuing to adapt Restrictions to work and performance in the arts industry vary considerably across Australia currently and may continue to change in unpredictable ways.

For some of us, the time away from our creative work and workplaces might have only been relatively short, compared to others who may have only recently returned to COVIDSafe performances after almost a year away, whilst others may still not be able to return.

Even as we welcome back audiences, it’s important to be aware that we are still navigating change. Nothing about our current situation is yet behind us; we have not returned to normal. We are still learning, adapting and finding our way forward.

Navigating change is not just for a global pandemic – the skills we practise now will help us find our way through other changes in the future. To be well placed to adapt as needed, it is so important to take care of yourself and to recognise the need for support early.

Navigating change together This is a good time to reflect on what brings us together, and what we share even as our situations differ. Our sense of community in the performing arts is a strength that will help protect us from feeling isolated and alone in our emotional responses. This is a great time to embrace this community. Reach out to your colleagues, friends and peers and support each other in any way you can.

This is also our opportunity to look after ourselves and each other as we adapt together to our changed environment. Just as we became used to the restrictions and behaviours needed to keep us COVIDSafe such as keeping our distance, wearing masks and washing our hands, we are well equipped to develop and implement new ways of working to better support each other as we return to work and to work-sites.

The experience of COVID-19 has highlighted a need for change that has been long established in the arts community, such as flexible work practice, managing illness and injury while continuing to work well, and feeling safe and supported to disclose mental health concerns. If this experience has taught us anything, it has taught us that physical and mental health are paramount for a safe and sustainable industry, so let’s not let that lesson go to waste.

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If this experience has taught us anything, it has taught us that physical and mental health are paramount for a safe and sustainable industry, so let’s not let that lesson go to waste.

There is no ‘normal’ response Just as these challenges are varied and unpredictable, so too are the emotional responses of those around you. For some people, anxiety may be heightened as spaces that were previously enjoyable now feel odd, uncomfortable or confronting. The continued threat of lockdowns and restrictions may also encourage a constant, low level of worry about possible closures and cancellations.

For some people, this may show up as anger, stress, and for others as lack of motivation or apathy. Other people may be coping with low mood and a sense of loss related to cancelled work opportunities, or the loss of freedoms to create work the way it was originally imagined. With so many varied responses, it will be important to show compassion, empathy and understanding to those around you, but also toward yourself and your own emotional responses.

Whatever you feel or experience during re-entry to work or the pursuit of work, your reactions and emotions are valid. artswellbeingcollective.com.au

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They are a normal reaction to an abnormal situation, and you are not alone. Try to allow time and space for these emotions to just exist, and practise kindness to those around you but also to yourself.

Possible guilt about still having a job when others do not Some people might be returning to work while others remain unemployed, some theatres may be open; and others closed. Acknowledge that the situation is unfair, but also recognise the bigger picture; remember that we are in a health crisis and that health must come first. No one chose this situation and it is no one’s fault.

If you’re feeling guilty about returning to work while others may not be able to as yet, accept that this is a normal way to feel, and allow yourself to experience your emotions. Try to reframe to remember that some people must work to ensure the future of the work. In other words, the future of the performing arts industry depends on those of us still working. What we do now will result in opportunities for others to come back to, and will ensure the industry does not collapse.

Remember the basics It’s more important than ever to be taking care of your body, head, and heart, and be asking for help. Give yourself the best chance at feeling good by focusing on the basics – eating and sleeping well, exercising, doing things that you enjoy, staying connected, asking for (and accepting!) help and support. We have complex problems to solve, so let’s not make our strategies to help ourselves stay strong and resilient to face those problems any more complicated than they need to be.

Lots of small, simple strategies done consistently is the key to sustainable self-care.

You’re probably already aware of many of these strategies. But knowing what you’re supposed to do is different to actually doing it! Prioritising self-care takes more than simply understanding its importance.

Identifying the motivation or learning why these strategies are so important helps keep you on track.

Ensure that you have routines and boundaries in place to make self-care a norm and a habit, not a chore or a bonus that you get to if you have time. If you are pressed, do 15 minutes on a self-care strategy rather than an hour – it is better to be consistent than perfect.

Give yourself a runway Before a plane takes off, it gradually gathers speed. If you can, ease your way back into professional life, don’t try to ‘take off’ before you are ready. Your first week or two back might feel overwhelming. If possible, move at a pace that is comfortable for you, but also challenges you to try something different regularly – each day or every couple of days. This helps build your tolerance to things that might feel overwhelming if you do them all at once.

Take note of what you’re achieving and celebrate ‘wins’, no matter how big or small. Keep a growth mindset during this period, by trying to view this period as a period of learning and development, rather than of 100% competency and perfection.

If you do start to feel overwhelmed, try to focus on rest and connection. Pay attention to how your energy levels are going and aim for a balance between time spent alone and time spent with others. Managing your commitments effectively will give you more time and space to do the things that give you energy.

Midsumma Festival at Live at the Bowl, Sidney Myer Music Bowl 2021 Image by Suzanne Balding

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Remember what’s in your control The actions we have taken as a community have contributed to where we are today, and generally, people have been willing and responsible in complying with public health directions. As we return to work, we might experience different behaviours from those around us. While you can’t control how other people behave, you can control your own behaviours.

Role model the behaviour you wish to see, find ways to express concerns or frustrations in a constructive way (for example, journaling or speaking with someone helpful), and tell someone if you see behaviours that might negatively impact or endanger others.

Boundaries Now could be a good time to consider the boundaries you keep at work. How often do you check work emails, and at what time of the day? What hours do you work?

How much work do you do for free?

It could be useful to see your re-entry to work, and to working on-site, as an opportunity to set new boundaries, especially those that prioritise you and your self-care. It is best to set a boundary at the beginning of something if you can, as they can be easier to remember and stick to this way.

Setting reasonable boundaries within the requirements of our work roles is a self-valuing move. Setting and maintaining healthy boundaries sends a message to your unconscious that you matter and that your personal time, relationships, and other priorities are as significant as work. Even though your mind might tell you otherwise, you are not being unreasonable when you stick to a work-life boundary. Remember: ‘No’ is a complete sentence. You also tend to be more focused, creative and productive when you are feeling your best, so setting boundaries is a win-win for yourself as well as your team or collaborators.

Ask for help

Looking after your mental health as we return to creative work and workplaces - tips for performers and creatives As we transition towards COVIDSafe settings, we’ve seen our theatre capacities slowly increase from 0% to 100%.

However, for those of us who are returning to rehearsing, performing, auditioning, and creating, we might not have had the chance to build up our mental and physical strength slowly. Unlike our theatre capacities, we might have gone from 0% to 100% very quickly.

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However, for those of us who are returning to rehearsing, performing, auditioning, and creating, we might not have had the chance to build up our mental and physical strength slowly.

Unlike our theatre capacities, we might have gone from 0% to 100% very quickly.

If we continue pushing ourselves at 100% before we’re ready without taking action to protect ourselves, we may be creating a recipe for burnout. If the somewhat sudden return to the intensity of the world of the performing arts has left you feeling overwhelmed, you’re not alone.

The mental and physical strain of performing was wellknown before COVID-19. It hasn’t suddenly become easier now that our theatres are reopening. Add to that the complex and sometimes competing emotions of excitement, gratitude, sadness, frustration, and many more that we might be feeling, it’s no surprise that we might be looking for some tips and techniques for navigating this unusual time.

Ask for help from a professional, a peer, colleague, employer, company manager, stage manager, supervisor, mentor, friend – you are not alone. Ask for help and accept it. Remember, support is for prevention as much as it is for crisis.

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If you are worried about someone, ask if they are ok, and if you are still concerned, stay with them and connect them with other supports.

Returning to performance

If you feel like you are in crisis, reach out and do not be alone. If you need support, please speak to your GP about options available to you for mental health support.

Support Act Wellbeing Helpline 1800 959 500 Lifeline 13 11 14 Beyond Blue 1300 22 4636 If you or someone you know is at immediate risk, please contact the Emergency Services on 000.

The mental and physical strain of performing was well-known before COVID-19. It hasn’t suddenly become easier now that our theatres are reopening.

It’s normal to feel a bit rusty and out of form after a long period of reduced practise and performance.

Getting back into the routines of practicing and performing can be difficult, particularly if we’re constantly comparing how we’re feeling now to how we felt at our peak.

Instead of being overly critical, harsh, or judgemental to yourself, aim to treat yourself with kindness and compassion.

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Remind yourself of just how difficult the impact of COVID-19 may have been for you, your peers, colleagues, friends, family and others. Remind yourself that nothing could have prepared you for the scale of the pandemic and its consequences. Speak to yourself the way you would to a good friend or family member who is struggling – gently and with kindness.

For many of us, self-compassion might not come naturally and can feel a bit self-indulgent or uncomfortable. This means we actually have to consciously practise being kind and loving to ourselves.

Self-compassion involves validating our emotions and accepting them without judgement. Rather than telling ourselves that we ‘shouldn’t’ feel a particular way, or that we’re overreacting or being too sensitive, selfcompassion invites us to recognise and acknowledge our own emotional experiences, and to make space for them rather than trying to push them away.

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Rather than telling ourselves that we ‘shouldn’t’ feel a particular way, or that we’re overreacting or being too sensitive, selfcompassion invites us to recognise and acknowledge our own emotional experiences, and to make space for them rather than trying to push them away.

If you’re feeling out of practise and not up to the performance standard you previously held, selfcompassion may sound something like, “it sucks that I’m out of practise. I feel frustrated than I’m not at the level that I was at before. I know that with consistent effort and practise, I’ll be able to do well, just like I’ve been able to do in the past.”

Working with performance nerves Feeling nervous before performing after a long period away is very common, and the tips and techniques used in this guide are for more than just returning after the events of 2020. We can use them after any time away, including holidays and time out of the industry for any reason including parental or caring responsibilities and recovery from illness and injury.

We know that the more we do something, the easier and less anxiety provoking it becomes over time.

So naturally, the more often we are performing, the more our nerves and any anxiousness should ease.

The opposite is also true – if we have a period of time without performing, it’s possible that nerves and anxieties about performing may creep back in – even if we’ve never experienced them before.

Nerves in and of themselves are not a bad thing. We don’t need to aim to get rid of them, but to channel them in a way that is helpful.

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Nerves in and of themselves are not a bad thing. We don’t need to aim to get rid of them, but to channel them in a way that is helpful.

Start small and build up If you can, ease yourself back into performing. You may want to consider starting with smaller performances, for example, smaller crowds, performances for friends and family. If you utilise social media, you may want to consider doing live streams either instead of or alongside a smaller performance. Some people find the distance that social media provides helps them feel somewhat ‘invisible’ on the other end of the screen.

SojuGang presents SorBaes at Live at the Bowl, Sidney Myer Music Bowl 2021 Image by James Henry

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Seeing the number of viewers in a tiny box can be less intimidating and overwhelming than performing in front of a crowd of hundreds or thousands of people.

Rainbow Families Cabaret at Live at the Bowl, Sidney Myer Music Bowl 2021 Image by Mark Gambino

Be aware of your thoughts In general, anxiety tends to be driven by our thought processes. If we’re thinking about all the things that may go wrong, negative reviews, harsh judgement, or the possibility of not getting another gig, it makes sense that we’d feel anxious, worried, or overwhelmed. The problem with this is that our feelings influence what we do and how we perform. This sort of negative anxiety is less likely to help us perform at our best. Instead of focusing on these worrisome thoughts, try to think of the helpful and realistic things that you know to be true.

Write yourself a list to help prompt you of all the times you have had successful performances. Think about times where you’ve had meaningful engagement with your audience, great chemistry onstage, electric moments where the words simply jump off the page, kind audience responses, great feedback, difficult parts of songs/dances/roles that you’ve been able to nail, skills that you’ve tried and mastered.

Remind yourself of all of the hundreds of hours you have put into learning and exploring your art form, the training, the practise sessions, time spent analysing character, physicality, voice, movement, story. Remind yourself of why you perform, what you love about it and why you keep going.

Keeping your positive prior experiences front of mind helps channel your nervous energy in a positive way and enhance your performance, rather than overwhelm you with anxiety. You know how to do this. You have these skills. A great tip is to write out these things in advance, and read over them before a performance, as it can be hard to remember all of your wonderful achievements, learnings and accomplishments when emotions are running high.

Revisit routines Routines are important when we’re trying to establish a pattern of behaviour. Whether conscious or unconscious, you would likely have had some routines when performing regularly. How much sleep were you getting? How often were you rehearsing? What kinds of foods were you eating? These may have changed during COVID-19, and may need to be adjusted as you re-enter the routine of performing.

As well as your physical habits, what mental patterns did you have? Maybe it was a pre-performance “peptalk”, or a piece of music that helped get you in the zone. This is a great opportunity to revisit old patterns that worked for you in the past, and also develop new ones. What have you learnt about yourself and your practice from the time away? What did you miss? See if you can use some of these learnings to create new routines that serve as regular reminders of all those things you love about performance.

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Performing to smaller audiences Due to the actions that venues and theatres are taking to keep us and our audiences safe, there may be times when we’re performing to fewer people than we’re used to in a space. You may not be able to see their facial expressions if they are wearing masks, or, it may be that people are unable to sing and dance along, or engage with immersive performance in the same way as preCOVID-19. This can be disappointing and difficult to navigate, especially if the ‘vibe’ of the show typically came from people singing, dancing and getting involved in the performance. Fewer people might even simply mean that the applause is not as loud or as full as we may like!

Dealing with these realities requires one important thing: acceptance. Acceptance requires us to shift from emotional states of frustration, anger or resentment, and allows us to ‘let go’. Acceptance helps us acknowledge that certain things are out of our control, and that no matter how much we wish they were different, we cannot change them.

Focusing on things that are out of our control can be upsetting and frustrating. Instead, it can be more helpful and empowering to focus on things that are within our control, and that we can influence and change.

There is so much in your control – how you show up to rehearsals, the way you treat other people, how you role model COVIDSafe practices, your attitude to learning and creating, and the energy you bring into a space, just to name a few.

Not performing as much as you’d like As the performing industry recovers from the impacts of COVID-19, there may be fewer opportunities and less work for people in the performing arts and entertainment industries.

This might result in feelings of frustration, disappointment, anger and resentment for you. Again, acceptance that these situations are out of our control is key, and focusing on what we can control will help us feel more empowered.

It is easy to become disheartened in these circumstances. To maintain motivation and momentum, keep reminding yourself of why you do the work you do.

If you need to, write it out and keep it somewhere handy to read over. Have reminders of highlights of your career so far somewhere where you can see them, whether they be photos, promotional materials, reviews or thank you cards. Recovery for our sector will take more time than we’d like it to, so aim to balance both your long-term goals and your short-term needs. What can you learn or explore within, and beyond, your work that will help you get through today and set you up for the future?

Ask for help You are not alone – ask for help and accept it from a professional, a peer, colleague, employer, company manager, stage manager, supervisor, mentor, or friend.

Remember, support is for prevention as much as it is for crisis.

If you are worried about someone, ask if they are ok, and if you are still concerned, stay with them and connect them with other supports. If you or someone you know is at immediate risk, please contact the Emergency Services on 000.

If you feel like you are in crisis, reach out and do not be alone. If you need support, please speak to your GP about options available to you for mental health support.

Support Act Wellbeing Helpline 1800 959 500 Lifeline 13 11 14 Beyond Blue 1300 22 4636

BLAKTIVISM at Live at the Bowl, Sidney Myer Music Bowl 2021 Image by Tiffany Garvie

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Arts Centre Melbourne interior Image by Mark Gambino

Back after interval: tips for leaders, managers and organisations Effectively preparing our teams, companies and organisations as we return to work and to work-sites is critical to promoting positive mental health and wellbeing. Fortunately, there are plenty of preventative, proactive steps to take to ensure our people are given every opportunity to do their best work as we rebuild and recover the performing arts industry.

Plan Reopening during COVID-19 demands interpreting complex rules, restrictions, guidelines and the daily ‘new normal’. Promoting positive mental health and wellbeing shouldn’t feel like an optional extra, or a pain to add on, but something that is good for everyone if prioritised, planned for and implemented.

Self-care is non-negotiable Think about ways you can lead through modelling good self-care behaviour and promoting structures in your workplaces that support individual self-care on an ongoing basis. It is the old adage of, ‘fitting your own oxygen mask first’, or that it’s impossible to pour from an empty cup. If you are not well, and prioritising

your own self-care, you will not be able to take care of others. If your teams are struggling, their work will suffer.

Self-care, and enabling others to prioritise their self-care can really only have positive outcomes!

Move forward to better, not back to normal In our eagerness to get back to work, we may inadvertently return to practices that weren’t serving us pre-COVID-19, and which will likely be even more difficult to navigate now.

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In our eagerness to get back to work, we may inadvertently return to practices that weren’t serving us pre-COVID-19, and which will likely be even more difficult to navigate now.

Taking the time now to think about our ways of working and setting ourselves up for the future will pay dividends in both the short and the long term. artswellbeingcollective.com.au

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Arts Centre Melbourne interior, close up of hand sanitiser Image by Mark Gambino

This might involve implementing more secure forms of work to give people greater financial certainty, addressing schedules that were causing burnout, or shining a light on problematic systems and structures that had previously gone unexamined.

Allow time We are so accustomed to working to a deadline in the performing arts that it’s easy to forget that we’re often the ones who have set the deadline in the first place!

While there are certainly deadlines out of our control, which ones might be in our control? Can we allow more time?

Restrictions may ease, and recommendations may change, but these are circumstances not catalysts for change. No one will win a prize for reopening first, or getting all team members back onsite, or the most audience in a space. Allow time for adjustment, reflection and processing to reopen stronger and smarter than before.

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Restrictions may ease, and recommendations may change, but these are circumstances not catalysts for change. No one will win a prize for reopening first, or getting all team members back onsite, or the most audience in a space. Allow time for adjustment, reflection and processing to reopen stronger and smarter than before.

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Allow space Space is key, both literally and figuratively! COVID-19 requires us to think in terms of square metre rules and physical distancing, but it also offers an opportunity to consider the idea of space.

What opportunities exist for phased returns; for hybrid working models; for digital tools and integration; for planning work-spaces to support our teams to connect and to do their best work?

COVID-19 has upended notions of flexible work. Let’s ensure we plan our spaces to be enablers of creativity, connection, compassion and innovation.

This is our opportunity to think differently about worklife balance. Examine working from home and flexible work arrangements through a lens of trust, compassion, and what people need to do their best work and thrive in their work and home lives.

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This is our opportunity to think differently about worklife balance. Examine working from home and flexible work arrangements through a lens of trust, compassion, and what people need to do their best work and thrive in their work and home lives.

Communicate Uncertainty and adaptability have been the catchcries of 2020 and will likely continue to be so through 2021. During a rapidly evolving global health crisis, uncertainty is unavoidable, but we can mitigate some of the negative mental health and wellbeing impacts of this uncertainty through good communication.

Sharing information regularly and transparently contributes to psycho-social safety and helps avoid gossip, misinformation and guesswork. As we work through COVIDSafe events, you may feel a pressure to give people a sense of certainty, by planning for or outlining every possible outcome. Crisis planning requires us to pay attention, follow guidance and keep up with new information as it arises.

Do not miss opportunities to celebrate and validate your teams, artists and audiences. Offer regular, small moments of celebration which give people time to savour the joy of being together, creating and making again. Have fun with ‘welcome back’ packs, COVID-19 safe gatherings, or simply a short surprise speech from a member of the company to acknowledge the moment.

Take the time to re-experience the joy of a live audience, embrace their joy in seeing live theatre again, and take a moment when you can to thank them for coming back and to encourage them to come back again!

Seek support

However, sometimes there are factors that are simply outside of your control. Be honest and open about decision making and considerations, and don’t be afraid to say, “I don’t know what will happen, but we will work it out together.”

You are not alone. Support is available for you, your team, and your company. Encourage your team members to seek support, and role model help seeking yourself. The Support Act Wellbeing Helpline and the Manager Support Hotline are there for you, staffed by clinicians with an understanding of the unique challenges faced in the performing arts industry. These services are completely confidential and free of charge.

Offer clarity

Offer support

If you are in a position of leadership, you may also have to mediate between people who have different ideas of risk and the importance of COVIDSafe procedures.

In these situations, it is important to be clear and authoritative regarding COVIDSafe guidelines and procedures that are non-negotiable and explain these using clear and relevant examples.

The broader conversations in the community about mental health through COVID-19 have ensured that wellbeing is well and truly in the spotlight. Take this opportunity to have an explicit conversation about mental health and wellbeing with your team. There are so many freely available resources and services now, and accessing psychological care has never been easier.

Make the time, pull together the resources, and start – or continue – the conversation.

You may also like to reflect on your own attitudes toward the COVIDSafe procedures and how this may impact the way you communicate them to others.

If you are struggling to understand or keep across requirements to operate safely, slow down and seek assistance. It is better to be sure that you are bringing your team and audiences back safely than to risk the consequences of getting it wrong.

Celebrate Even in our changed circumstances, there is much to be celebrated about the reopening of theatres and venues, having work on our stages again and the inimitable magic of live performance.

Support available Support Act Wellbeing Helpline 1800 959 500 Manager Support Hotline 1800 818 728 Additional resources The Arts Wellbeing Collective team has developed several resources that you can draw on. Visit artswellbeingcollective.com.au for more information.

Don’t feel like you must implement everything all at once – never underestimate the power of small, cumulative actions.

Backstage at Arts Centre Melbourne Image by Mark Gambino

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Exploring mental health and the performing arts through music and conversation WORDS BY CLAIRE PEARSON AND ALEX RATHGEBER Accomplished musical theatre performer and actor, Alex Rathgeber is all about giving back to the industry which has given him so much. He talks about his latest project SOUND MIND, the first major project from his new production company, Maker Productions. SOUND MIND was recently delivered in partnership with Arts Centre Melbourne for the Arts Wellbeing Collective.

Growing up in Horsham, Victoria, like many performers, Alex involved himself in school choirs and local theatre groups to pursue his passion and love of the arts.

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Alex’s talents were recognised and fostered whilst growing up and when he finished school, he auditioned and was accepted into the three-year music theatre program at the Western Australian Academy of Performing Arts (WAAPA) in Perth.

Some 15 years later, Alex Rathgeber is a well-known name in the musical theatre industry. He’s played alongside Australia’s top musical theatre performers like Anthony Warlow, Caroline O’Connor, Nancye Hayes, Rhonda Burchmore, Jemma Rix and Todd McKenney.

He has performed a lead role on the West End in the iconic production of The Phantom of the Opera, and received a Helpmann Award for playing Billy Crocker in Anything Goes. But the highs are not without the lows.

“It’s been a fantastic journey with just so many contrasting experiences. There have been great career highs, there have been incredible career lows as well. I think those lows are just sort of part what we know and understand to be life in the arts.”

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There have been great career highs, there have been incredible career lows as well. I think those lows are just sort of part what we know and understand to be life in the arts.

After a phenomenally successful concert performance with the Melbourne Symphony Orchestra of Jeykll and Hyde at the end of 2019, Alex and his partner had their bags packed for a major life move to New York. Then, as for many of us, in March 2020 their plans were halted in their tracks. Now that heading overseas was no longer a viable option, Alex had to decide what to do next.

“I thought about what things I’d wanted to do for a long time, here in Australia, which I was going to wait until coming back to have a go at.”

Having worked across various productions within the entertainment industry, Alex realised he wanted to keep finding ways to give back to the industry which has given him so much.

“I feel in some way I can look back and contribute things I’ve learnt, things that might be useful for other people, and also do something where I can have a creative outlet which is something more than just figuring out the next job I’m going to do, or the next role I’m going to play.”

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I feel in some way I can look back and contribute - things I’ve learnt, things that might be useful for other people, and also do something where I can have a creative outlet which is something more than just figuring out the next job I’m going to do, or the next role I’m going to play.

“I looked at producing and directing and thought I would push myself into new experiences in those areas.

Something new that is specifically within the industry that I’ve loved all these years.”

After much thought and advice from industry contacts and friends, Alex committed to exploring work as a producer.

“We (together with Elise McCann of Oriel Entertainment Group) made a one-off online event called Heart Sounds that celebrated International Nurses’ Day, and last year (2020) was also the official Year of the Nurse and the Midwife. Within the context of COVID-19, we wanted to look at also celebrating the wider healthcare workforce.”

So, Alex and Elise gathered several performing artists and musical theatre performers from around Australia for a one-off concert in May 2020. The concert also featured first-hand accounts from front line healthcare workers.

“We made a 90-minute concert, in 11 days. And it was thrilling to do that.”

Their aims were two-fold - not only to support the healthcare workforce, but to support and employ artists at a time they had lost work, with many artists ineligible for JobKeeper.

“I was quite frustrated by that and wanted to do something that would employ artists.”

After this experience, Alex could see the impact COVID-19 was having on his own industry and knew it was his next project.

“I spent quite a few weeks developing something that was looking at mental health in the performing arts.

I think I’d shied away from looking at our industry previously. Then I realised, if you can’t address something like mental health in the performing arts at a time like this, when there is limited support and people really are struggling – then it’s never going to happen.”

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I spent quite a few weeks developing something that was looking at mental health in the performing arts. I think I’d shied away from looking at our industry previously. Then I realised, if you can’t address something like mental health in the performing arts at a time like this, when there is limited support and people really are struggling – then it’s never going to happen.

Alex got in touch with the team at the Arts Wellbeing Collective, which led to a transformative and innovative project that would engage performers across Australia, creating new works and having open discussions about mental health between artists.

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Alex and the Arts Wellbeing Collective team wanted to create an opportunity for artists to come on board and be employed but most importantly as Alex says to “have a sense of engagement, purpose and a sense of togetherness and solidarity” - for those involved, but also for those viewing it.

The result is SOUND MIND - six online episodes featuring more than 40 artists in front and behind the camera - a music mini-series exploring mental health and the performing arts made readily available online.

Produced by the Arts Wellbeing Collective and Maker Productions, SOUND MIND was launched on World Mental Health Day 2020. Each episode celebrates those things we love about performance – connection, meaning, purpose, engagement, sharing and storytelling, while also sharing personal experiences of mental health and wellbeing.

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Produced by the Arts Wellbeing Collective and Maker Productions, SOUND MIND was launched on World Mental Health Day 2020. Each episode celebrates those things we love about performance – connection, meaning, purpose, engagement, sharing and storytelling, while also sharing personal experiences of mental health and wellbeing.

Each episode has a different theme, host and performing artists involved. They create an original piece of work which is then intermixed with snippets of interviews where those involved share their personal experiences of 2020.

It features an impressive list of Australian talent including Alinta Chidzey, Ben Mingay, Fem Belling, Daniel Edmonds, Naomi Price, Michael Tyack AM, Maggie Mckenna, James Majoos, Clare Kahn, Tony Taylor, Nancye Hayes AM, Deborah Brown, Adam Bull, Alice Topp, Bert LaBonte, Esther Hannaford, Casey Donovan and Jude Perl. Each episode is hosted by a different performer including Gorgi Coghlan, Maria Angelico, Gyton Grantley, Fiona Choi, Tom Gleisner and Rob Mills.

Alex hoped that a group of artists sharing their personal stories would also help other artists get through what was a challenging time for everyone - especially in Victoria, the epicentre of Australia’s second wave.

“Everybody was sitting at home with these incredible skills and gifts and this passion and desire to be using those skills and gifts - and not just use them, but to affect other people with them, and to lift other people and to further enhance that sense of togetherness and shared experience. To involve each of the different people in each episode, and to share those unique angles they had about the time we are going through…

I was just hopeful there would be people who could relate to what these artists were experiencing and what they were going through.”

Alex explains the experience of the COVID-19 lockdown affected each artist and their creativity differently.

Alinta Chidzey, Fem Belling, Casey Donovan, and Jude Perl in Episode 1: EMBRACE

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Fiona Choi, Episode 2: TAME

“Some people felt the impulse to write new music, felt a freedom of being at home and felt a freedom to explore new music and that kind of thing. And other times, some had this complete sense of despair - what is this all for?

Where is this even heading? I have no urge or inclination to do anything creative. I just want to stop. I just want to go for a walk. Feeling really helpless.”

Alex found some common themes came through, no matter the artists or their level of experience.

“Throughout the chats, there was that sense that we’re all in this together and we’re all trying to find our way through. And it’s really important to find every way possible of supporting one another and looking out for those who might be really struggling at a time like this.”

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Throughout the chats, there was that sense that we’re all in this together and we’re all trying to find our way through.

Being the producer who oversaw the entire project was certainly inspiring for Alex, as each episode had a different pace, tone and rhythm depending on the artists involved and their contribution.

“I just loved, as a producer being able to connect personally with every different person that was involved in making it...“

Nancye Hayes AM and Tony Taylor in Episode 3: TOMORROW

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Marcus Corowa in Episode 4: SUNNY DAYS

“I was in isolation and it was something really special to have that connection with everyone. To be able to facilitate other people’s creativity was a real gift too.

Firstly, to ask people to come onboard and put their faith and trust in me in this idea, but to also give them the creative licence to go away and come up with their own ideas.”

Just weeks prior to the creation of SOUND MIND, the Black Lives Matter protests peaked, and the movement reverberated deeply around Australia and the world.

Alex said he was mindful of wanting to stand as an ally, and create a safe space where artists involved in the project from Black, Indigenous and People of Colour communities could share their voices and be heard.

Alex is adamant we affect people in our daily life with the projects we create or perform.

“I was really proud we were able to have Casey Donovan, Deborah Brown, Marcus Corowa and this amazing collection of people from those communities as guests - who are just the most incredible artists - and as well as being artists, they’re great leaders. To have them illuminating the space for others, particularly younger members of the BIPOC community. I was so honoured to have them as part of SOUND MIND.”

“Even if you can raise somebody’s spirit for one day or one hour and if it got them through a really tough time, it was worth it.”

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Even if you can raise somebody’s spirit for one day or one hour and if it got them through a really tough time, it was worth it.

The feedback Alex received about the SOUND MIND collaborations was encouraging and had resonated with viewers.

Deborah Brown in Episode 5: WATER

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“I had quite a few people write and say that it was raw and honest and not overly produced - it was relatable.

There were people in there who were high profile, who had really normal and relatable experiences and that was really comforting.”

After the exploration of SOUND MIND, when asked where he thinks the industry is now heading due to COVID-19 he thinks ingenuity and innovation are key.

“I do think that innovative projects that have potential to employ and engage people in new and different ways, like we did with SOUND MIND, that aren’t necessarily your conventional productions and are a different way of employing people… I think there’s just so much possibility in that area. I think anyone who has the capacity to create a bold, innovative and new way of doing things should go for it.”

“I think overall it’s just a case of banding together, even more than we have before. Digging deep to hang in there. Exploring as many new ways of being a creative person as possible. But for anyone who has been feeling an ongoing sense of despair or helplessness - which are very valid feelings to be feeling in this type of climate…

I have to say - don’t hesitate to reach out, to share your experiences, or to offer your support to somebody else who might need an extra bit of encouragement. It might be someone who’s very good at putting on a brave face and doesn’t normally give much away in terms of the kind of support they might need.”

“There’s a whole different level of awareness that we need to tap into – creating unprecedented levels of support for each other and which will hopefully ripple out into the work we do, and out into the wider community.”

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There’s a whole different level of awareness that we need to tap into – creating unprecedented levels of support for each other and which will hopefully ripple out into the work we do, and out into the wider community.

So, how does Alex personally deal with maintaining his own mental health and wellbeing?

“Exercise and keeping healthy and fit has always been something I’ve relied on and used as a way to maintain a sense of grounded-ness and evenness in moderating the highs and lows.”

“I think one of the other big things is also reaching out – connecting. Not just through Facebook and social media, but really picking up the phone with friends and industry contacts. And, if possible, to meet in person.

Organising a drink or a walk or a catch up together. Just to create that connectedness… And have a laugh! It’s really easy to get bogged down in trying to just survive, or change the world! Especially at a time like this.”

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I think one of the other big things is also reaching out – connecting.

Not just through Facebook and social media, but really picking up the phone with friends and industry contacts.

One of Alex’s final comments, and his hope for SOUND MIND, is to remind those listening to have the strength to continue.

“Music and expressive, creative language have never been more important in our lifetime in terms of lifting us out of this. That is where I recognise it is so important to keep the music playing, keep writing, keep talking, all of those things.”

“We have to really lean into the challenge and not shy away at a time like this when it would be really easy to. To find that courage, to keep putting in that effort, putting in the hard yakka. We’ve got work to do – we will get through this and we will get through it together.”

You can access all six episodes of SOUND MIND at artswellbeingcollective.com.au and you can find out more about Alex’s company, Maker Productions at makerproductions.com.au

Ben Mingay in Episode 6: SPEAK

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Angels and demons: balancing creative work and Imposter Syndrome WORDS BY FERNANDA FAIN-BINDA Have you ever felt like a fraud? Worried that it’s only a matter of time before everyone sees the ‘real’ you?

This anxious feeling of constantly outrunning your own downfall, of feeling guilty for having ‘convinced’ everyone, is exhausting. It takes a lot of energy to convince ourselves that we’re rubbish, but that’s what many of us do. It’s called Imposter Syndrome.

First identified as a psychological pattern by Dr Pauline R. Clance and Dr Suzanne A. Imes in 1978, imposter syndrome thrives when intelligent people seek external validation, but focus on negative feedback, or work in competitive environments that demand perfection.

Environments like the performing arts.

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Imposter syndrome is considered a psychological experience, not a disorder, and something that will affect up to 70% of us in our lifetimes. It is natural, but deeply uncomfortable.

Spotlight asked two experts for their advice, and four industry professionals explained how imposter syndrome affects them.

“My work is to increase people’s awareness and skills of how they can be the best they can be,” says Professor Gene Moyle, psychologist and Associate Dean at the Queensland University of Technology. There are several ‘cultural shifts’ that she identifies as being key to muting our imposter syndrome.

“I support people to not think about perfection.

Perfection doesn’t actually exist. You’re battling with yourself and your own self-talk,” says Professor Moyle.

According to her, the performing arts industry needs “to create the psychological safety for somebody to be vulnerable and feel like that’s not going to have repercussions.”

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I support people to not think about perfection. Perfection doesn’t actually exist. You’re battling with yourself and your own self-talk.

The idea of psychological safety comes from Harvard Business School Professor Amy Edmondson. She argues that people will perform better if they feel safe at work, and that safety manifests itself in admitting mistakes, and understanding that all levels of an organisation are learning together. That’s the theory, but who wants to test it?

“I don’t feel like you could ever go to someone and say: ‘My mental health isn’t where I’d like it to be at the moment, could you cut me some slack?’ says ‘Li’, 30, a dancer now based in Melbourne. “In one show in the UK, there was a moment when I was feeling really crap, and I showed it, and I was sent home. The show must go on!”

In the performing arts industry, we often seek validation from our audience, peers, and critics, but we can also internalise every instance of bad feedback or lack of empathy.

This creates a sense of shame, which convinces imposters that they’re justified in their self-doubt. “The individual doesn’t think they have imposter syndrome – they think they really are an imposter!” says Dr Jessamy Hibberd, author of The Imposter Cure (Aster, 2019).

Recently, Li contacted his dream dance studio to ask if they’d be interested in hiring him. The studio asked him to send examples of his choreography.

Li stalled. His sense of not being good enough peaked when he compared himself to the studio teachers’ videos online. So, he didn’t reply.

Imposter syndrome isn’t just feeling that you’re not good enough; it’s all the opportunities you avoid, it’s the chances you talk yourself out of, it’s all the times you decide not to draw attention to yourself.

“Talking about it is helpful because, when it’s kept a secret, there is shame attached to it,” advises Dr Hibberd, whose work looks at breaking that pattern.

A sense of shame, and exhaustion, resonates with ‘Sophie’, from Canberra, who finds her imposter syndrome “crippling”. She’s in her fourth performing arts career, having left the others due to self-doubt.

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Talking about it is helpful because, when it’s kept a secret, there is shame attached to it.

“I constantly feel like I’m failing at things, even if I’m not.

I’m always waiting for somebody to say, ‘There’s been a mistake and you don’t belong here,’” she says. Sophie has lived with this feeling for years. Sometimes it would get too much, and avoidance helped her to cope. “I found it very hard to turn up,” she says.

Currently in a job that combines authority with creativity, Sophie is overworking. “I’ve always thought that if I’m not very good, I can at least work harder than everyone else. (But) I’m extremely overtired and feel like I’m drowning... I have days when I want to say to my boss, ‘Are you sorry that you gave me this job?’”

Shaun-Anthony making Surviving Sunset

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Chloé Zuel in Hamilton, Australia Image by Daniel Boud

The antidote to imposter syndrome, says Dr Hibberd, is “acceptance of what it really means to be human.”

We cannot get over it, without understanding where it comes from. “It can be helpful to externalise it,” she says, “and understand that this isn’t your voice, but the voice of your fears.”

It is possible to talk about imposter syndrome safely, as musical theatre actress Chloé Zuel found out recently.

When she was teamed with Broadway musical stars for an online event, she froze.

“I had a full-blown meltdown about it. When I spoke to the organiser, he was so beautiful. He said, ‘It sounds to me like you’re having an imposter syndrome moment.’”

Chloé realised that this feeling was a constant in her career, one that she could take steps to control.

“I love musical theatre, but I started to really assess whether I had gotten to where I am because I have brown skin and they needed people like me, and not (my) talent. Or whether it was luck. And I don’t have the answer,” she says.

Ahead of her role as Eliza in Hamilton, Chloé employed a combination of singing classes and meditation techniques to ward off imposter syndrome. “I try and see myself from above and catch myself when I see negative patterns,” she explains. “I try to lead my brain, but it is a conscious effort.”

Crippling imposter syndrome doesn’t have to be a constant part of your life.

Within the performing arts, self-doubt can be dialled down by leaders who normalise nerves, and who respond with empathy to colleagues who talk about it.

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Leaders could consider overwork as indicative of other issues, such as imposter syndrome, rather than just the normal way of working.

Actor and documentary producer Shaun-Anthony Robinson, 40, is torn between wanting to create art and feeling that he has no right to. “I still feel like I’m not good enough. You go home thinking ‘Oh my god, I f*cked up, they’re never going to ask me back.’”

Shaun-Anthony’s working on a documentary about Australian actors in Hollywood, and has to believe in it.

“When you’re showing that you don’t have confidence in yourself, no one’s gonna have confidence in you. It’s a revolving door. Maybe we need to validate ourselves,” he says.

“Sometimes our brains don’t work for us, they work against us,” says Professor Moyle. “You have the ability to influence and control your own thinking. I describe having a forcefield around me and only I allow what people say to come in, or to bounce off it.”

Chloé believes that we have to juggle high expectations with a certain lack of control over the final product. “It’s learning to say: that was my best in this moment. No performance is going to be exactly the same, is it? It’s okay to be human, to make a mistake. It’s okay.”

Critical feedback is part of the performing arts, but so is insecurity, and an awareness that talent can be subjective. Perfection will always be out of reach. One way of coping with imposter syndrome may be to let others know that we believe in them, even when they don’t. Because we know that doubt too.

Tips and tools to manage Imposter Syndrome • Taking on a new professional role or responsibility can trigger a sense that you’ve somehow ‘tricked’ people into giving it to you.

US sketch artist Carl Richards described his imposter syndrome in The New York Times as striking “when you’re most vulnerable… when you’re bumping against the limits of your ability”. Perhaps you have been given this opportunity precisely because you can handle it, or because people trust you to grow.

• You are not alone when you feel imperfect.

Beyoncé visualised a performer without selfdoubt and become Sasha Fierce. Actors Sam Neil, Tom Hanks, Meryl Streep, Emma Watson, and comic legend Tina Fey have all spoken about feeling paralysed by self-doubt, too.

• Work on internalising your success to fend off future imposter syndrome. “Take on board success so that you can look at the full picture of your life – rather than just the bits you’re unhappy with. Keep track of all your achievements. Celebrate the little things, no matter how small. Take compliments on board without making excuses,” says Dr Jessamy Hibberd, author of The Imposter Cure.

• As a community, we can build the psychological safety to not be perfect. Perfect is impossible, vulnerable is real.

• In 2019, former US First Lady Michelle Obama spoke about turning the tables for minorities.

“I speak as someone who has been at so many powerful tables now, someone who’s worked in every sector, someone who’s done a lot: there are a lot of people who don’t belong there. At every table I thought it was me. And after a bit, I realised, ‘No, it’s him!’ They’ve been told they belong there, but they don’t. It’s just a presumption. All I can tell you is that the person sitting next to you was told that he belongs there, based on nothing, and you were told that you weren’t. Both things are wrong, oftentimes.”

• Sadly, not everyone will respond as well as we’d like them to when we communicate imposter thoughts. Don’t let a lack of empathy dictate how you feel. Consider what would have been helpful to you, and where you can seek that help from.

• Imposter syndrome is self-doubt magnified. It can lead to stress, overwork, and exhaustion. If you are experiencing - or starting to experience - thoughts and feelings that aren’t helpful for you, you don’t have to tackle it alone. There are many helpful strategies for managing feelings of self-doubt and imposter syndrome. Talk to your loved ones, seek help from your GP, or call the Support Act Wellbeing Helpline on 1800 959 500.

Elandrah Eramiha, Chloé Zuel and Akina Edmonds in Hamilton, Australia Image by Daniel Boud

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Class at The Australian Ballet Image by Kate Longley

Walking the talk: leading by example WORDS BY CLAIRE PEARSON AND JESS JELLIE As the Company Manager of The Australian Ballet, for Jess Jellie, every day is different. From working out touring schedules, to liaising with venues on behalf of the company (and ensuring they are COVIDSafe), to working out why there is a funny smell in the dressing rooms, Jess does what she can to make The Australian Ballet the best it can be. Lately, Jess has found her role is also critically important in assisting the company to support their mental health and wellbeing, particularly through what has been a most challenging time.

“I tend to be the one who looks at operational processes. That’s an area I can see black holes quite easily and effectively, compared to the artistic staff who are focused on which bit of repertoire are we going to teach or how are we going to get class done today, I’ll be asking what’s our process for all the COVIDSafe plans we’ve had to put in place? How do we report if someone must go off and get a test, who needs to know this? How do we all notify each other if people need time off or need support?”

The Australian Ballet, like all performing arts companies, took a hit in 2020 when their opening season for the year was cancelled only three shows in. With staff and artists sent home, and classes and rehearsals being completed online, a global pandemic played out with the future unknown. Jess had to adapt to support the company and take on new responsibilities in her role.

“We had to be flexible, we took some of our regular meetings and re-purposed them. Instead of talking about our to do lists we put more emphasis on our mental health and wellbeing. How are people feeling working from home? Have the dancers got everything they need? What can we do to support them in this transition?”

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Instead of talking about our to do lists we put more emphasis on our mental health and wellbeing.

How are people feeling working from home? Have the dancers got everything they need? What can we do to support them in this transition?

“I spent a lot of time pre-empting the next set of changes and how to help facilitate that, so it was smooth for everybody. At times I also became the tracker of the people to be honest, especially with border closures and dancers returning to be with their families throughout the longer lockdowns. Where is everybody? How is everybody in those places and spaces, both physically and mentally?”

“Early on I became very aware of the sense of purpose.

That was a big thing that shifted in everybody. I spent many conversations on the phone or online with dancers and staff talking about how to get comfortable with the un-comfortableness of not knowing when we were going to perform again and get back to doing what we love. “

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Early on I became very aware of the sense of purpose. That was a big thing that shifted in everybody. I spent many conversations on the phone or online with dancers and staff talking about how to get comfortable with the uncomfortableness of not knowing when we were going to perform again and get back to doing what we love.

Jump forward to March 2021 – The Australian Ballet was one of the first major companies to have a live and COVIDSafe show in Melbourne, opening up with their Summer Series at the Margaret Court Arena.

“Nearly 50% of tickets sold were to first time ticket buyers” Jess says, with the general public hungry for forms of live entertainment.

“It was amazing to see new faces in the audience wanting to participate and experience something different to what may have interested them pre pandemic. Then mix this with our loyal subscribers and audience members, it just made for such a warm and welcoming return back to the stage. It was really special”.

The year of 2020 highlighted to Jess that her role as Company Manager was an important one to keep supporting staff and company members through an incredibly challenging time. This includes the area of mental health and wellbeing support, which as Company Manager, she had already been attempting to include more into the conversation over the past few years.

Prior to COVID-19, Jess’s interest in supporting technical and artistic staff was evident. As someone who has worked with various touring companies over the years (Including Bell Shakespeare and Poetry In Action), she was one of the primary voices in the creation of the Tour Well resource, one of the first and most popular resources published by the Arts Wellbeing Collective.

“That was a space I could really give back to the industry. I’ve had so many great mentors over the years help support me in this industry, using my touring experiences I knew I could really help the next set of touring parties hit the road and put some suggestions out there”.

She is now assisting the Arts Wellbeing Collective on a new resource called Support Well which is all about how performing arts workers can support themselves and each other in looking after their mental health and wellbeing in one easy resource.

“We started to unpick this space, what are the barriers which really stop us from asking for help? It was really interesting to see why we hold back.

Is it because we all compare ourselves to each other thinking everyone else has it worse off than us? Is it because of a financial concern? Is it because we don’t know where to go for help or what kind of help is actually helpful?”

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We started to unpick this space, what are the barriers which really stop us from asking for help? It was really interesting to see why we hold back. Is it because we all compare ourselves to each other thinking everyone else has it worse off than us? Is it because of a financial concern? Is it because we don’t know where to go for help or what kind of help is actually helpful?

Jess hopes the resource will assist in debunking myths or truisms within the industry and clarify incorrect assumptions arts workers may have about mental health. The resource also aims to improve mental health literacy in the arts.

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“So, an example of the resource might be, showing people the difference between a counsellor, a psychologist and a psychiatrist because with so many options it’s confusing. Or providing easy tips on what you can do yourself to monitor your own wellbeing and mental health.”

Since graduating from NIDA’s Theatre Production course in 2008, Jess now has many years of experience working within the diverse arts landscape and has seen common trends when arts workers need support.

“Being on the inside of many different companies and organisation over the years I’ve witnessed the day to day hurdles of what we all go through. A blessing for me throughout COVID-19 lockdowns was that I had some dedicated time to investigate these.”

So, what are the main barriers to seeking help or support?

“From the research, surveys, and interviews I did I think the most common takeaway was that everyone thought their problems weren’t big enough to be a problem or an issue.”

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From the research, surveys, and interviews I did I think the most common takeaway was that everyone thought their problems weren’t big enough to be a problem or an issue.

“It’s about de-bunking the fact that you don’t have to get to crisis point to get help. People tend to think it has to be a big life episode - a major relationship breakdown or the loss of someone dear, unexpected trauma or a breakdown needs to happen in order to get help.”

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“Whereas it could just be you and a co-worker have two different communication styles and that doesn’t work well in your working relationship. So, then you get anxious every time you have to meet with them and over time that anxiety builds and builds and builds.

That’s something which might trigger your mental health to slide.”

So, it is about recognising the little everyday things can also affect us and if we can catch these things earlier, then we can all be in a happier and safer place.”

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It’s about de-bunking the fact that you don’t have to get to crisis point to get help. People tend to think it has to be a big life episode...[Whereas] it is about recognising the little everyday things can also affect us and if we can catch these things earlier, then we can all be in a happier and safer place.

“A lot of the time it’s easier for us to think, “Oh, it will fix itself, it will blow over.” But sometimes we actually have to be brave and go, “No. Let’s fix it.” Let’s put the effort and the time in now, instead of brushing it away or putting a band aid solution on things.”

Jess talks about how she often heard artists and coworkers say they were unsure about how they were feeling and unable to identify what felt wrong.

“It’s easier to explain to ourselves or others when we think we know what the root of the problem is, but sometimes we don’t know.”

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A lot of the time it’s easier for us to think, “Oh, it will fix itself, it will blow over.” But sometimes we actually have to be brave and go, “No. Let’s fix it.” Let’s put the effort and the time in now, instead of brushing it away or putting a band aid solution on things.

Jess thinks the more we have open and frank conversations about mental health and wellbeing, and that the more we do, the more we normalise that it is ok not to be ok.

“We see people in our lives and we think, “They seem to have it all together,” but no one actually has it all together. I think the more we hear from the people around us talking about their problems too, the more we can go, “Oh, maybe there are things in my life I can improve by talking to someone or reaching out for help as well.”

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We see people in our lives and we think, “They seem to have it all together,” but no one actually has it all together. I think the more we hear from the people around us talking about their problems too, the more we can go, “Oh, maybe there are things in my life I can improve by talking to someone or reaching out for help as well.”

But these conversations and scenarios are not easy, and so it is important that there is support to learn more about mental health literacy or how to start a conversation.

“At The Australian Ballet we’ve had some staff complete their Mental Health First Aid training. I’ve seen shifts of conversations change from, “I don’t know how to talk to that person. I don’t know how to approach that,” to people identifying, “That person seems different lately, what can I do to support them?”

Jess is very aware of her role as a leader in this space and talks about what she does in her role to lead by example.

“I am very mindful that I need to ‘walk the talk’. I talk about it all the time, so I need to make sure that I follow through. So, there have been days when I say, “I’m really sorry, I can’t come in today, just need a mental health day,” and I call it instead of pretending I’m unwell.”

“Or if someone at work asks how I am, I respond honestly with how I’m feeling instead of faking smiling followed with a “Fine!”. I think the more people who see other colleagues talking openly like this in the workplace then the more likely it is they will do so too. Leading by example is the biggest thing I try to do. It can be extremely hard because you’re under so many pressures as well, but you can’t take care of others if you don’t take care of yourself.”

In fact, that was one of the biggest lessons Jess had whilst compiling self-care tips for others - she realised how much she needed to look after herself, and have boundaries within a busy role.

“As someone who cares for a lot of people, it’s also in my power to care for myself in that space.”

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As someone who cares for a lot of people, it’s also in my power to care for myself in that space.

Jess highlights going forward into 2021 and beyond will be a new reality for performing arts companies.

“How do you keep bringing people together when you can’t all be in one place? How can we all think a little bit differently and outside of the box? We’ve gone through a new wave of change and with that should come new ways of working and new ways of thinking.”

“And change is exciting - using that excitement as an impetus to change the culture or look at how we can invigorate our companies. And that invigoration then also leads to an amazing new product on the stage or an amazing piece of art.”

Jess cites how COVID-19 has meant that now going on tour requires a new level of organisation and awareness for companies, as well as the mind shift that comes with operating throughout a pandemic. And, that we all play a role in keeping an ongoing awareness of the wellbeing challenges.

“It’s just being mindful as an industry –we’ve each gone through a really different experience. Everyone one of us had our own personal experience within this time and as an industry we’ve all had vastly different experiences.

In terms of what companies were allowed to do and what they weren’t allowed to do, how we as individuals lost our purpose or found it, how they’ve come together or how they’ve drifted apart. I think it’s just about approaching everyone with a kindness, so that we can come together and move forward.”

And when we do bounce back, we will go, “Wow, that was pretty amazing what we all just did and that we did it together!”

Support Well will be available soon on the Arts Wellbeing Collective website. For more information on The Australian Ballet, visit australianballet.com.au artswellbeingcollective.com.au

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Rachael Maza, Artistic Director ILBIJERRI Theatre Company Image by Tiffany Garvie

YIRRAMBOI artists speak their truth There is a deep connection to storytelling within First Nations culture which has occurred for thousands of years on the Australian continent. The 2021 YIRRAMBOI Festival – a premier First Nations arts and cultural festival across the City of Melbourne in May 2021 saw these stories take centre stage. Partnering for the third time, Arts Centre Melbourne and YIRRAMBOI continue to develop a relationship based on deep listening and truth-telling.

The festival began on the forecourt of Arts Centre Melbourne’s Theatres Building, under the Spire, with a Welcome to Country and Smoking Ceremony, followed by cleansing all nine levels of the building with healing smoke to rid it of bad spirits and promote the wellbeing of all who work and visit.

YIRRAMBOI means ‘tomorrow’ in the shared local languages of the Woiwurrung and Boon Wurrung peoples, and this year’s festival reflected how past struggles and labour have enabled a new generation of artists and theatre makers to flourish.

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“There’s a lot of amazing people that have worked to create our voice in this space,” says Rachael Maza, Artistic Director of ILBIJERRI Theatre Company. The iconic local group celebrated its 30-year anniversary this year and is the longest running Aboriginal and Torres Strait Islander theatre company in Australia.

“There’s no way this could have happened without the blood, sweat and tears of those community members who acknowledged and identified the gross need for First Nations stories told our way for our mob,” she says. “When I started out as an actor in my day, most of the work that was coming my way was written by white fellas. When I finally started directing I felt like the gaff(er) had been ripped from my mouth and I could talk.”

Rachael has been the company’s Creative Director now for 13 years and has relished the opportunities to drive her own narrative across a complex and realistic spectrum of First Nations characters on stage.

“I believe that theatre and the arts can offer different perspectives to a story and has the ability to change national narratives,” she says. “I believe that even if we change one heart and one mind in the audience, which I’m absolutely certain that we do, then the carrying impact of that can be profound.”

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I believe that theatre and the arts can offer different perspectives to a story and has the ability to change national narratives. I believe that even if we change one heart and one mind in the audience, which I’m absolutely certain that we do, then the carrying impact of that can be profound.

These national narratives continue to be addressed with justice through the arts. For playwright, artist and performer Declan Furber Gillick, creating art comes from a similar motivation – to change the pervasive national narratives around First Nations people.

“In 2016 I was working at an Aboriginal Legal Aid service in my home town Alice Springs when the ABC Four Corners investigation into Don Dale Youth Detention Centre aired,” he says.

“I was working with young people and their families in the courts, as well as with adult offenders. I watched the episode and felt a combination of exasperation, anger, fatigue and a kind of gratitude that the episode had gone to air. But I also felt numb. I took note of the numbness and I resolved to investigate it.”

The resulting work is Bighouse Dreaming, also a part of YIRRAMBOI 2021, which examines incredibly complex social relations that had led to this moment in our history: a moment in which adolescents were being abused in detention centres.

“I don’t want it to be a didactic play that I want to be absorbed and calmly agreed upon. I want to foster critical public thought and awaken people to an analysis that we’re missing in intellectual public life,” says Declan. “It’s just one of the sticks of dynamite in the backpack.”

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I don’t want it to be a didactic play that I want to be absorbed and calmly agreed upon. I want to foster critical public thought and awaken people to an analysis that we’re missing in intellectual public life.

“I think we’ve seen a real kind of renaissance of First Nations storytelling in the arts. An organisation and platform like YIRRAMBOI is a real testament to organising ourselves and demanding space to control our own narratives. You can tell there’s been a kind of cultural switch in Melbourne where people are more aware of the stories that need to be told and are prioritising these kinds of works,” he says.

Basking in this renaissance are artists like Allara, Theo McMahon and James Howard who created soundscapes for Yulendji, an audio project that sung out across the Birrarung (Yarra River) over the course of YIRRAMBOI. Known for producing sonic installations reflecting culture, Country and politics, the trio created soundscapes that reflected on the past, present and future of this land’s ancient and evolving river.

“Considering I was composing in the Boon Wurrung space, I consulted with [Boon Wurrung elder] N’Arweet Carolyn Briggs,” says James. “And the question was, ‘How do we think about our future as First Nations people?’ Our discussion revolved around the cycling of time, and how stories and lessons from the Dreamtime can inform us going forward.”

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“And the question was, ‘How do we think about our future as First Nations people?’ Our discussion revolved around the cycling of time, and how stories and lessons from the Dreamtime can inform us going forward.

“I would ask any performer, conductor, producer to consider: ‘what does it mean for me to be practicing on stolen Country, celebrating the arts and values of colonisers?’ We need a shift in which all practitioners should acknowledge and understand their privilege, and imagine what a process of decolonisation would look like and what their role in that process is.”

For James it is clear that we all have something to learn from the stories that have been told on this country for generations. First Nations stories can teach us new ways of thinking and listening and can provide us a clear path into the future.

“The circumstances that led to the last ‘time of chaos’ – a dissonant relationship with Country, not following Bunjil’s law of caring for Country – seemed to resonate with the state of the world right now,” he says. “Then the waters rose and washed away the social structures, leading to new beginnings. It was a time of destruction, but also a time of beauty and new potential.”

For more information on the companies mentioned, visit yirramboi.com.au and ilbijerri.com.au

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LIGHT THE WAY book cover Image supplied

Dancers light the way: sharing inspiring stories AN INTERVIEW WITH KELLEY ABBEY Kelley Abbey is one of Australia’s most accomplished and respected creative directors, choreographers and performers in film, TV and musical theatre. During COVID-19, Kelley was approached by Louise Telford about the idea of doing a small book documenting the stories of dancers.

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Excited about the idea, she jumped on board as a coproducer and the book expanded into a much bigger project. In addition, Kelley and Louise generously chose to donate a portion of the sales from LIGHT THE WAY to the Arts Wellbeing Collective, to help support the mental health and wellbeing of our dancers.

LIGHT THE WAY documents the artistic journeys of 55 Australian dancers and choreographers, such as dance icons like David Atkins OAM, Nancye Hayes AM, Timomatic, and Caroline O’Connor to name a few, alongside a range of new up and coming talent.

The first edition of what will be a series of three books celebrating Australian dance talent, features stories from dancers representing an array of ages, genders, dance genres and diversities.

The Arts Wellbeing Collective team had a chat with this living legend to ask her about the book and why mental health and wellbeing is so important to her.

Why was it important to you to have a place where dancers stories are heard?

Dancers train from a very early age and their dance careers are generally short lived. They are usually not at the forefront of the broader entertainment industry, and they often get paid the least! Dancers go through a lot of blood, sweat and tears for their art including sometimes painful injuries.

Louise and I thought that it was timely to document Australian dancers’ lives. To celebrate their commitment and artistry in the industry. We were very surprised to realise it had never been done!

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Louise and I thought that it was timely to document Australian dancers’ lives. To celebrate their commitment and artistry in the industry.

You and Louise are very kindly donating a portion of profits to the Arts Wellbeing Collective. Have you always been passionate about supporting the mental health and wellbeing of performing artists?

We’re super passionate about supporting mental health in the performing arts. It’s something we haven’t had a lot of in the past and I feel this is something that performers need more than most.

It’s not uncommon for people working in the performing arts to experience mental health problems. It’s an industry where we endure rejection, media critique, and enormous highs followed by enormous lows and bouts of unemployment.

In addition, we can develop an identity that is usually attached to what it is we ‘do’. I find this even more so with dancers who usually start training when they’re aged three or four years old! Dancers can tend to not know ‘who they are’ when they are unemployed, injured, or aged out of the industry.

COVID-19 has been a really tough time for everyone in the arts, and it’s organisations like the Arts Wellbeing Collective that provide invaluable support.

LIGHT THE WAY is available for purchase at lightthewaydancecollective.com

We also wanted to educate young dancers about who came before them as well as reading the stories about the young rising dance talent they currently look up to.

The stories are inspiring as you realise that the journey of every individual artist is magnificently unique and didn’t happen overnight. Readers not only get to hear about their amazing career highlights but also their setbacks.

You have such a vast representation of age, experience, and styles featured in the book. Was there anyone you felt especially excited to feature?

I was like a young teenager sitting in on the interviews with David Atkins OAM and Nancye Hayes AM! I have such high respect for both of them not only for their body of work but for who they are as human beings.

David in particular has been a great mentor for me.

I was also very excited about Stephen Page being featured. His story is so inspiring.

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The stories are inspiring as you realise that the journey of every individual artist is magnificently unique and didn’t happen overnight.

Kelley Abbey Image supplied

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Musical Chairs project team (left to right) Jin Long (image by Jared Enano), Alex Owens (image by Jade Biezen), Chai Jie Low (image by Jonah Pang)

Musical Chairs: Australia’s first ever arts administrators’ orchestra WORDS BY SUSAN ELDRIDGE AND CHAI JIE LOW The performing arts industry struggles with silos - clashes between ‘creatives’ and ‘management’, ‘administrators’ and ‘artists’. These false divisions can leave us feeling misunderstood, stressed and frustrated.

And yet the truth remains that no matter whether we’re backstage, onstage, or offstage, we’re united by our passion for the performing arts, the power of storytelling and performance, and our belief in every part of the vast ecosystem playing a role in creating a thriving industry.

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With this in mind, three early career arts administrators have been selected as the project team behind Australia’s first Arts Administrators Orchestra project.

Jin Tong Long, Chai Jie Low and Alex Owens will help classical music administrators all over Australia to reconnect with their own instrumental skills, play music together and undertake professional development through the inaugural launch of MUSICAL CHAIRS: The Administrators Orchestra.

MUSICAL CHAIRS will be hosted by the Tasmanian Symphony Orchestra in January 2022. Caroline Sharpen, CEO of Tasmanian Symphony Orchestra said that the orchestra was delighted to be the hosting partner for the project.

“This unique and innovative initiative will provide an invaluable opportunity for administrators to switch places with musicians and shift their perspective to the practical joys of music-making – which is the reason most of us became involved in arts administration in the first place! We’re equally thrilled that the project will be fully delivered by a team of emerging administrators who will be flexing their capabilities to present dynamic and participatory experience.”

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This unique and innovative initiative will provide an invaluable opportunity for administrators to switch places with musicians and shift their perspective to the practical joys of music-making – which is the reason most of us became involved in arts administration in the first place!

We’re equally thrilled that the project will be fully delivered by a team of emerging administrators who will be flexing their capabilities to present dynamic and participatory experience.

The project is the brainchild of leading innovator, consultant and talent development expert, Susan Eldridge. Founder of Notable Values, Susan’s vision is to equip and support decision makers within the arts sector to solve long-standing systemic problems and create human-centred solutions.

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There is ample opportunity in higher education and on the job to learn theory and technical skills, but there is a huge gap in how we prepare and support decision makers to work well with others.

Our teams need to be equipped with skills in empathy, active listening, conflict negotiation and emotional regulation. MUSICAL CHAIRS: The Administrators Orchestra is designed for administrators at all stages of their career to learn and practice those skills in a safe and supportive environment.”

Jin, Chai Jie and Alex all balance portfolio careers as professional performers, music educators and arts administrators. They will work closely under the mentorship of Susan to enable classical music administrators to build community, strengthen professional relationships across the sector through this innovative learning program.

All profits from this project will support bursaries and scholarships for early career administrators to undertake additional professional development and individual mentorship in 2022.

MUSICAL CHAIRS: The Administrators Orchestra is a great example of how we can see our roles as “and” rather than “or”, focusing on learning, growing, and connecting. Together, we can appreciate the vast range of knowledge, skills, and experience that typically extends well beyond someone’s current role title.

For more information about MUSICAL CHAIRS: The Administrators Orchestra, visit notablevalues.com/ musicalchairs

“Having worked in learning design for the classical sector for a number of years, I’m concerned about the missing links in our training model. There is ample opportunity in higher education and on the job to learn theory and technical skills, but there is a huge gap in how we prepare and support decision makers to work well with others.”

“Our teams need to be equipped with skills in empathy, active listening, conflict negotiation and emotional regulation. MUSICAL CHAIRS: The Administrators Orchestra is designed for administrators at all stages of their career to learn and practice those skills in a safe and supportive environment.”

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SPOTLIGHT ON: The pets of Melbourne Theatre Company

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It’s hard to put into words the happiness that a pet can bring someone.

You might be the one caring for your pet but they support and care for you in unspoken ways. Whether it’s a dog wagging their tail and greeting you at the door, a cat or bunny snuggled in your lap or a bird singing to you, pets provide companionship and unconditional affection.

The bond you share with a pet can do a lot to support your mental health.

Beyond Blue | Pets and their impact on mental health beyondblue.org.au/personal-best/pillar/supporting-yourself/ pets-and-their-impact-on-mental-health

Virginia Lovett and dog Peggy

Rupert Sherwood and cat Koko

Rupert Sherwood’s cat Koko

Harper St Clair’s cat Garbage

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Julie Leung’s dog Barry

Jurga Celikiene’s cat Chanel N°5

Brittany Coombs’ dog Polly

Jacob Battista’s dog Lily and Colin Penn’s dog Ruby

Wendy Trieu’s guinea pig Elsa

Mellita Ilich’s cats Pepe and Peaches

Whitney McNamara’s dog Stella

Jurga Celikiene’s cat Duse

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Tess Crow Image by Eduardo Cossio

True grit in the arts: resilience can be found where passion meets boundaries WORDS BY FERNANDA FAIN-BINDA “Instability is the enemy of good mental health,” says psychologist Chris Cheers. The performing arts may convey to outsiders that it’s the epitome of rejectionsurviving resilience, or that job satisfaction makes up for a gig economy. The reality is that the structural and financial instability prevalent in the arts in Australia takes a toll on our mental health.

In order to appreciate the resilience this sector demands we need to accept what is within our control, and what we can contest.

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As individuals we can celebrate how we practise ‘adaptive resilience’; learning from each challenge we face and then applying that knowledge to our next stage of growth. Awareness of this learning, and its many, unwritten, time-consuming forms, should give performing arts professionals considerable pride.

We spoke to five professionals on the difference between surviving and thriving, and how they negotiate potential risk factors in their head.

“In the arts you put so much of yourself into your work, which is often undervalued,” says Cheers, from his Melbourne psychology practice. “The interesting challenge is naming and (then) accepting that it’s very difficult to find stability (in the performing arts), and that you need to find security in other areas of your life.”

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In the arts you put so much of yourself into your work, which is often undervalued... The interesting challenge is naming and (then) accepting that it’s very difficult to find stability (in the performing arts), and that you need to find security in other areas of your life.

This rings true for script supervisor Sabi, a twenty-year film industry veteran. “For me, it’s a matter of accepting that it’s one of the negative parts of this industry,” she says. When faced with cancelled jobs, or lack of control, she reminds herself that she has power.

“I say to myself: Do I accept this, or do I pull out?”

Living life with an element of risk becomes a choice that you lean into, rather than resent, says a passionate musician.

“It’s never not risky,” says Tess Crow, 35, from Inglewood, WA. “It’s really hard to be a musician in this town, but if you love it, you’re going to keep doing it regardless. This is my passion, and it helps my mental health to realise that I’m doing what I love, as well as what I need to survive.”

Tess performs and composes music, while also working as a music teacher, managing bands, doing graphic design, and working at a drug and alcohol rehab centre.

Acceptance of what you can change, and maintaining a life outside your art form, is key. So is normalizing diverse income streams.

“We have to get away from this idea that to take jobs outside the arts is somehow a failure. It’s seen as ‘less than’, and I just see it as a necessary part of the current capitalist society,” says Cheers.

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We have to get away from this idea that to take jobs outside the arts is somehow a failure. It’s seen as ‘less than’, and I just see it as a necessary part of the current capitalist society.

The five creatives who spoke to Spotlight for this piece had eighteen separate income streams among them in order to mitigate the risks of low pay, irregular work and long hours. Plus three unpaid jobs: Parent, Board Member, Volunteer.

Romi Kupfer, aged 30, a theatremaker, director and producer, held down seven jobs before the pandemic changed life in Melbourne. This mix allowed her to focus on producing the art that she wanted and pay her rent and bills with work as a drama teacher, synagogue events producer and writer. “I’ve chosen not to rely on my artistic work for any income,” she says.

But then COVID-19 happened.

Romi will increase her rates now that, as she puts it, “I’ve got one-and-a-half-jobs left”.

She’s also aware that applying for funding has limited return on investment. “I got four grants last year,” she says, “but I applied for thirty.”

One tip that Romi’s learnt is that rejection shouldn’t mean too much.

Romi Kupfer Image by Pia Johnson

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“It’s not about whether you’re good enough or not, it’s about if you’re right or not for that role. I think it’s much better to be in the places that need you, and where you can grow,” she advises.

One of the counterbalances to financial instability and rejection is networking, which works through the power of likeability. And it doesn’t matter whether you’re social or shy: you have to let people know you’re there.

Harriet Oxley, 45, is an established costume designer for clients such as Chunky Move, Victorian Opera and Stephanie Lake. Harriet describes herself as “not a great networker, but with the confidence to just reach out to people, send some emails or make some cold calls.”

She puts that confidence down to her fashion training.

In terms of what works when building your network, Harriet says “It’s not just talent, you have to be reliable, and likeable.”

Harriet worked her way in and up in the live performance industry while raising three kids, although she’s quick to point out that it cost her many sleepless nights of worry. “Looking back,” she says, “I’d tell myself that it’s all going to work out. And to try not to be insecure.”

Networks pay back for script supervisor Sabi, too, who will protect the working relationships she’s invested in.

Jobs with those in her network are worth more, even if they’re paid less, than jobs outside her network.

Theatremaker Romi casts her plays from people she meets rather than relying on a brief audition. Potential for strong collaboration takes time to judge, she says.

A networked person, with a clear sense of mission, who reflects on experiences to respond better next time, is the definition of what former Arts Council England North Director Mark Robinson terms ‘Adaptive Resilience’.

Since 2010, his paper Making Adaptive Resilience Real has been used to promote entrepreneurial strategies for arts organisations. Robinson is exploring how this can be used by individuals working in the arts today.

“There’s something about purpose, about the skills of someone looking positively at whatever is there, but thinking: How do I make this as positive as possible? The habits and construction of that is really key to adaptive resilience,” he says from Stockton-on-Tees, in North East England.

“Artists are in a pretty good position to do that, because it’s almost part of the artistic process to find ways through a cultural experience.”

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There’s something about purpose, about the skills of someone looking positively at whatever is there, but thinking: How do I make this as positive as possible?

The habits and construction of that is really key to adaptive resilience.

Harriet Oxley (right) and team at Circus Oz Image by Aaron Walker

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Abe Watson and Willow at MTC

As well as a strong sense of being in the right job, learning from experiences, being part of a network is key to learning healthy survival, says Robinson.

“When you look at the electoral cycle of every three years or so, that just isn’t enough to set up a consistent, long-term Arts and Culture Policy,” he argues.

“Who can I establish equitable and lasting relationships with? Who can I connect to? People that are isolated are going to struggle. Ultimately, who loves you enough to save you?”

Greater government support would help the sector as a whole, undeniably. Self-care cannot just be an individual responsibility. “We need to talk about organisational self-care, too,” says psychologist Chris Cheers. “What is the organisation doing for the self-care of the individual?”

Not everyone gets a chance to enter the arts, and to start making those networks. Part of what Robinson wants to explore is who has the agency to be resilient.

Diversity is key for a healthy arts industry. Low wages can support a heteronormative economy, where the arts are seen as ‘female’ or optional.

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Not everyone gets a chance to enter the arts, and to start making those networks. Part of what Robinson wants to explore is who has the agency to be resilient.

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Self-care cannot just be an individual responsibility. “We need to talk about organisational selfcare, too,” says psychologist Chris Cheers. “What is the organisation doing for the self-care of the individual?”

There is an age element here, too. Gaining experience in the performing arts can seem a young person’s game: lots of passion and almost no wages.

The need to play an active role in one’s professional community, while coping with low wages, long hours, and a lack of job stability heightens the potential for burn-out.

The reality is that learning through experience, understanding networks, and choosing self-care are all skills that favour maturity.

Abe Watson, 25, a production manager with Melbourne Theatre Company, wrote his MA thesis on the topic. “I love this industry, but it makes me so angry to see how many people have left it,” he says.

Perhaps resilience is passion, matured. This means that it’s the newest, and most isolated, people in our community who need our help the most. We need to communicate that the learning along the way takes time, but it’s worth it, before the end.

For Abe, sweeping industry change is needed. artswellbeingcollective.com.au

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Tips and tools for resilient thinking • Make a distinction between your professional self and your whole self. “Being an artist is a really important part of who you are. It’s not all of who you are,” says Chris Cheers.

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Being an artist is a really important part of who you are.

It’s not all of who you are.

• Maintain contact with family and friends from other industries but be clear that your industry makes different demands on you.

“Communicate that you are coming to the birthday party in two weeks’ time (for example), but because of what’s important to you, you’re saying yes now, but that could change,” says Cheers.

• For the parent-child relationship, it’s also important to communicate that your physical availability is not reflective of emotional unavailability. As Chris says, “How do you own that you are outside of the (presumed) normal system? How do you say to your partner or children: ‘Our family looks different, I’m not going to try and pretend that I’ll be there for every school concert, or whatever the other parents are doing’, or ‘I might not even be home at night for months’? You’re going to say, ‘Our special time is different, I can promise you that. At 9am every morning, we’re going to have our special breakfast time, and that’s what our family does.’ It’s about being able to name and own what’s important to you, and doing it with intention.”

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...Communicate that your physical availability is not reflective of emotional unavailability.

• Going to the gym makes all the difference for Abe Watson. “It keeps me mentally and physically healthy. I do have times when it goes out the window, but when I’m only at normallevel craziness, I try to book workouts in my calendar like a meeting. Sometimes that means being pretty flexible: going in my lunchbreak is one way to make sure I actually leave my desk!

The hardest thing is just getting to the gym, but once you’re there it’s a great stress reliever.”

• When there is less work, do more self-care.

Costume designer Harriet Oxley turns to yoga five times a week if she can.

• For Harriet, resilience means letting things go.

“Try not to agonize over things. You learn what it means to be pragmatic, and when to hold on to your vision. But, ultimately, working is about making compromises and just rolling with it.”

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You learn what it means to be pragmatic, and when to hold on to your vision. But, ultimately, working is about making compromises and just rolling with it.

• Consider the passion that set you on this career path. Our interviewees used words like ‘obsession’, ‘addiction’, and ‘life-long passion’.

These are intense feelings: acknowledge that these don’t follow 9-5 workday patterns.

Accept that you deserve an ‘off’ switch.

• Talk about it. If you’re starting to feel burnt out, or like you could use some more tools to help with resilient thinking, there is free, confidential support available. Call the Support Act Wellbeing Helpline on 1800 959 500 to get someone else’s perspective.

Tess Crow

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Hannah Friebel Image supplied

Bridging the gap: being the change you wish to see in the industry WORDS BY CLAIRE PEARSON AND HANNAH FRIEBEL

Hannah Friebel once had a ballet teacher tell her, “Hannah, if you applied the same work ethic you did to ballet, to anything else, you would be unstoppable.”

In interviewing Hannah, it’s easy to see why her teacher said this. Hannah’s intelligence, passion, and determination is clear. She is not only a professionally trained and experienced dancer, she’s transformed her life by applying her strong work ethic to other areas too.

It was after Hannah’s own experience of mental health problems and the mental health and hospital system in 2015 that things really changed for Hannah. Since then, Hannah has integrated advocacy for mental health and wellbeing into her practice, completing her Bachelor of Arts and Psychology in 2019. It was during her own recovery period that Hannah reflected on mental health literacy and awareness in the performing arts,

particularly in the dance industry. She also considered what she had seen others go through in the industry, many of whom had struggled with mental health problems without getting the support they needed, often for fear it would impact their next opportunity.

Entertainment Assist and Victoria University’s report, Working in the Australian Entertainment Industry: Final Report (van den Eynde, Fisher & Sonn, 2016) put numbers to what Hannah had been seeing and experiencing. This report showed higher prevalence of common mental health problems across the entertainment industry, including the dance industry, than what is seen in the general population.

Hannah believes in the value and necessity of mental health education, and was struck that discussions of mental health was not a normal part of dance education. artswellbeingcollective.com.au

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As a highly physical art form, Hannah shares that the use of the body and the, “complications that come with that” in dance are not always fully realised by those outside of the industry.

“You are using your body and emotions and being so vulnerable and putting yourself on the line on stage day after day after day – that has an impact.”

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You are using your body and emotions and being so vulnerable and putting yourself on the line on stage day after day after day – that has an impact.

In June 2020, Ausdance released the findings from research that was conducted earlier in the year to understand the impact of COVID-19 on the dance community. As of June 2020, 1693 dance workers were impacted, 44 professional projects lost and a total of approximately $2 million dollars of income. When you combine the existing mental health challenges of working in the dance industry with the impact of something as disruptive and devastating as COVID-19, it’s clear that positive, cultural, systemic change is needed to ensure our dance community can thrive.

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When you combine the existing mental health challenges of working in the dance industry with the impact of something as disruptive and devastating as COVID-19, it’s clear that positive, cultural, systemic change is needed to ensure our dance community can thrive.

Hannah has absolute clarity on this challenge. She says that as long as the priorities of dance companies is on what the audiences see, rather than what is happening behind the stage, “we’re never going to be able to give duty of care to the dancers who are creating works. I’m of the opinion that the way we care for our artists in society actually measures the health of our society.”

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...as long as the priorities of dance companies is on what the audiences see, rather than what is happening behind the stage, we’re never going to be able to give duty of care to the dancers who are creating works.

The capability, interest and engagement with creating mentally healthy workplaces varies greatly across the performing arts industry. Some companies are at the forefront of best practice, while others proceed without considering the needs of the team members involved, and many companies falling somewhere between the two extremes.

As the conversation around mental health and wellbeing in the workplace intensifies, and a shift in legislation may be on the horizon, the need for designing creative work and workplaces with mental health and wellbeing front of mind is critical. “[Currently], there is very little independent regulation around these things and very little way to hold people accountable to mental health best practice, and what I call psychological safe dance practice:” Hannah is actively contributing to moving this conversation forward in a positive meaningful way.

Through the creation Grace Dance Company, she aims to help bridge the gap between dancers and mental health practitioners, and ensure conversations about mental health are at the centre of creative practice.

Sincerely Survivor Image supplied

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The inaugural production of Grace Dance Company was Sincerely Survivor, which explores mental health advocacy through the arts. After experiencing the impact her own mental health crisis had on limiting her dance practice, Hannah shares that, “through Sincerely Survivor, I’ve found a way to reclaim my dance practice in the context of mental health.”

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After experiencing the impact her own mental health crisis had on limiting her dance practice, Hannah shares that, “through Sincerely Survivor, I’ve found a way to reclaim my dance practice in the context of mental health.”

Originally meaning to be a ‘normal’ live dance piece, COVID-19 hit and Hannah and co-creators had to adapt quickly. Fortunately, the team had more than 50 hours of footage from five different residencies, and were able to utilise this treasure trove to create a digitally accessible 50-minute work.

Sincerly Survivor was then delivered online as part of the 2020 Melbourne Fringe Festival, as well as Adelaide Fringe Festival, and is soon to premiere internationally.

The piece has been described as a, “powerful, raw and personal production,” (Adelaide Fringe Feed, Critic Reviews, MindShare).

Hannah explains the aim of creating Grace Dance Company is so she can provide a safe space where people with lived experience of mental health problems can find healing through the arts, peer support and storytelling.

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Hannah explains the aim of creating Grace Dance Company is so she can provide a safe space where people with lived experience of mental health problems can find healing through the arts, peer support and storytelling.

“A way to tap into that unspoken element of mental ill health…and really provide a bridge between the broader mental health community and the dance community.”

Sincerely Survivor involved several residencies in its creation, with dancers performing in real abandoned psychiatric hospitals and asylums, many of which have an unfortunate history in their care for patients. Hannah shares that as part of Sincerely Survivor, “We wanted to go into these spaces and honour these stories.”

Sincerely Survivor involves challenging and sometimes confronting themes, engagement with unusual physical spaces, and exploration of high risk material. Hannah was determined to make the work as safe as possible for the cast and crew throughout the entirety of the creative process. Examples of this included: •

Ensuring a clinical supervisor, counsellor and art therapist were available for cast and crew.

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Actively advertising, utilising, and referring company members to the Support Act Wellbeing Helpline (24/7 phone counselling service available to anyone who usually works in the creative industries).

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Engaging an accessibility consultant, with particular skills in mental health, neurodiversity, and trauma informed practice.

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Carefully crafted trigger and trauma informed warnings for audience members.

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Listings of mental health resources on the Grace Dance Company website shared with audiences and dance communities experiencing the show.

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Working closely with dancers on the expectations, scope and requirements of their role. Ensuring it was clear that their role comprised mental health advocacy, and the opportunity for transformative change that brings to them and their broader community.

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Extensive safeguards were extremely important as the company explored the unspoken elements of mental health and mental illness through dance, and thus needed clear flags to demonstrate energy, comfort and care.

“You can’t actually put everything into words. Not everything can be a tick box…This is a way they [the audience] can look towards someone with lived experience and actually understand it through the lens of empathy and artistry. It is art enabling empathy, and really learning to hold space for the stuff that happens outside of words, and happens outside of numbers, and happens outside of anything we can express verbally.

This is an offering. I wanted to do my part to tell my story in the hope that others might find the strength to share theirs and find their voice as well.”

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It is art enabling empathy, and really learning to hold space for the stuff that happens outside of words, and happens outside of numbers, and happens outside of anything we can express verbally.

This is an offering. I wanted to do my part to tell my story in the hope that others might find the strength to share theirs and find their voice as well. artswellbeingcollective.com.au

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With regards to positive change in the dance sector, Hannah believes there are some key steps to create a thriving dance community, which, even before COVID-19 were well overdue. Hannah sees great opportunities for positive change across mental health, wellbeing, inclusiveness, and diversity, and that education is a great place to start.

“We need to educate our educators. Educate our directors. Educate our dancers.”

Hannah depicts what developing a safer and more inclusive dance industry could look like - one in which ensures stories of lived experience are heard, and focuses on: •

Equipping dance educators with skills, knowledge and resources to enable them to adopt mentally healthy, inclusive practices, and know how and where to refer people for support.

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Creating pathways for tailored support for the dance community across a range of allied health professionals (e.g. physiotherapists, psychologists).

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‘Top down’ change including policy reform, education, and regular reporting to ensure accountability and learnings captured and shared.

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‘Bottom up’ change including the ability for dancers to feel safe to hold space for each other with nonjudgemental peer support, and to share the role of advocacy.

“You don’t have to only dance. Dance is not your only interest. We need a future of diversity and sometimes that looks like cross disciplinary practice. Dance cannot be your own only identity. We must safeguard against that. It’s about how we identify, and we have a relationship with dance.”

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You don’t have to only dance.

Dance is not your only interest.

We need a future of diversity and sometimes that looks like cross disciplinary practice. Dance cannot be your own only identity.

We must safeguard against that.

It’s about how we identify, and we have a relationship with dance.

Hannah once felt unsure as to whether she could continue in the dance industry. But now that her dance practice continues through Grace Dance Company, she has a firm belief about the industry going forward.

“As far as I’m concerned, there is no future if it is not inclusive, and if it is not diverse and if it is not sustainable. And this is my commitment for reform. This is the future I want to be a part of.”

Critically too, Hannah notes that another cultural shift must occur with how we perceive our creative identity.

Self-worth in the dance industry in particular may benefit from a renewed sense of what a relationship with dancing means in terms of identity and purpose.

“

Just like Hannah’s dance teacher told her all those years ago- that she could be unstoppable if she applied herself to any area of life she chose, Hannah wants other dancers to know they must believe in themselves and that their knowledge, skills and experiences are transferrable.

For more information on Hannah and her work, visit hannahgabriellefriebel.com | gracedance.co | sincerelysurvivor.org

As far as I’m concerned, there is no future if it is not inclusive, and if it is not diverse and if it is not sustainable...This is the future I want to be a part of.

Sincerely Survivor Image supplied

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Helpful support services It is ok to ask for help. If you, or someone you know is having a rough time, don’t carry on alone. Ask for help and accept it. If life is in danger, call 000.

Free, confidential mental health support is available 24/7. Remember, support is for prevention as much as it is for crisis. Don’t ever worry that you’re not distressed or upset enough. Working in the performing arts can be tough, and you’re only human.

Support Act Wellbeing Helpline: 1800 959 500 (24/7) First Nations Support: 1800 959 500 (Option 3) Manager Support Hotline: 1800 818 728

DirectLine (alcohol and drug counselling) 1800 888 236

BeyondBlue: 1300 22 4636 (24/7)

Kids Helpline: 1800 55 1800 (24/7)

Lifeline: 13 11 14 (24/7)

WorkSafe Victoria Advisory Service: 1800 136 089

Suicide Call Back Service 1300 659 467 (24/7)

National Relay Service is available for people who are deaf or have a hearing or speech impairment. Chat options are also available.

Visit artswellbeingcollective.com.au/get-help for more information.

SANE Australia: 1800 187 263 (9am to 5pm, Monday to Friday) QLife (LGBTQI): 1800 184 527 (3pm to midnight) Mensline: 1300 789 978 (24/7) Griefline: 1300 845 745 (12pm to 3am)

Gambling Help: 1800 858 858 (24/7)

People who do not use English as their first language can get free translation support from the Translating and Interpreting Service tisnational.gov.au

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The Arts Wellbeing Collective Winner, Principal Award – Most Outstanding Fundraising Project, FIA Awards for Excellence 2021 Joint Winner, Best Pivot Award, FIA Awards for Excellence 2021 Claire Spencer AM, Finalist, Australian Mental Health Prize 2020 Winner, Martin Seligman Health and Wellbeing Award, AHRI Awards 2019 Finalist, VicHealth Awards, Improving Mental Wellbeing 2017, 2018, 2019 Finalist, Australian HR Awards, Best Health & Wellbeing Program 2017

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