How has the coronavirus crisis affected you as a professional performing artist so far?

The immediate change was a sudden stop of our season of “Volt” with The Australian Ballet, followed one week later by the move to working from home, once the government announced gym and indoor sporting activities need to cease. It was a strange feeling to have worked so hard collectively for many months to stage the triple bill and then to close the night after the premiere. The dancers are all doing class from home, setting up our small dance spaces amidst furniture, pets and children. We stream a class daily that is lead by one of the ballet staff who at this point are still allowed into the studios to film. While the change in pace and adjustment to the new “normal” is still novel, everyone seems to be coping very well with the major change in our lives.

However there is a great deal of uncertainty about when we will be allowed to perform again and what that repertoire will be. I suspect as this time of isolation lengthens our personal motivation and discipline will be put to the test. It feels as though someone has hit pause on life. For dancers, time is so precious, so fleeting you don’t want to waste a moment. I really feel for many young dancers, pre or newly professional that were really pushing to achieve their dreams when this all happened. At a time when the planet is facing such a serious health issue, to despair over the closing of a season seems a little selfish, but I think the many emotions dancers will feel are all valid.

Are you exploring any alternatives for staying connected to your art and to your audience during this time? Do you have any suggestions for other dancers?

Thank goodness for the internet! I have already spent way more time than I normally like on my devices learning how to work new programs such as Zoom and Microsoft Teams. My plan is to do our company online class daily, but then also watch a lot of other teachers around the world taking their own remote classes as a learning tool.

I have been updating my “working from home” situation on my social media account and subsequently have had this aired on ABC breakfast television! After this happened I received a lovely message from a ballet supporter who has a barre that she wants to lend to my husband Ty (fellow principal artist of TAB) and I so that we can use it instead of our dining chairs weighted down with potting mix.

There is a lot of kindness coming from the community in this time, it has allowed us to use social media to make some really warm connections. I’ve been told that Marquee TV is a great Arts Channel to stream, it has lots of amazing performances to watch to keep us inspired in this time off.

I’m also really interested to see how full time ballet schools cope with this time off. I am associated with both the ABS and the National Theatre Ballet School in Melbourne, both of which have full-time diploma courses. The logistics for educators across the country to deliver classes to students remotely is huge and with ballet in particular the challenges are even greater.

What strategies are you using to take care of yourself during this time of uncertainty and isolation?

My 17 month old daughter Bonnie is my biggest “strategy” for keeping a routine! She is awake early and likes her daily schedule of sleeping, playing and snacking. Ty and I have woven our ballet and body conditioning plan around her routine so that we maximise the time she is resting and then when she is awake we get the joy of spending more precious time with her.

In so many ways I am enjoying this new pace of life. We are not sitting in the car commuting before work, instead we are doing pilates and conditioning in the comfort of our lounge room before immediately shifting into the garage where we do class. Following class we put on our sneakers and head to the local oval where we can do a bit of cardio with safe social distancing. The benefits of fresh air, sunshine, rest and good nutrition are so important in this time where we all need to stay as healthy as possible. 

Our boss, David McAllister has been such a great leader in this time of uncertainty. He is endlessly positive and has encouraged us to focus on using the time to heal any injuries, to really commit to the strength programs our medical team have prescribed and to enjoy the joys of not constantly performing and travelling.

I’m also making the most of this time at home by studying as much as possible for my Graduate Diploma of Elite Dance Teaching with The ABS. So far I have done a few skype sessions and caught up on a lot of homework. Many elements of the course are designed to be completed when we are on tour in Sydney (which would have been now) so I am still able to complete them distantly from my home. 

My husband and I have also been rehearsing for a piece that is being created by our friend Danielle Rowe remotely. It will be snippets of dancers all around the world dancing the choreography we have learnt via Vimeo and then edited together to create an online work. The creativity of this art form with find many new pathways during this time.

Do you have any other comments to make regarding the current crisis in regard to performing arts healthcare?

At the moment I think a lot of dancers around the world are really focused on staying fit while in isolation and doing as much physical work as they possibly can. This is awesome and I can see from the amount of online ballet classes we will not be at a loss for inspiration. I do think it is important that we remember to look after ourselves mentally during this time as well. To not panic, to be calm and accept the situation for what it is. To find other talents, to enjoy the small treasures the world offers while we have temporarily hopped off the busy conveyor belt of life.

I think dancers thrive off the energy of their peers so it’s important to find ways to connect and support each other. We have been doing messenger “coffee” chats before class with our friends as you normally would when warming up for the day. Tomorrow Adam Bull is planning to run the daily quiz via MS Teams as he normally does each lunchtime in our common room. Nearly everyone I know has been on the Houseparty app which I had the joy of testing out last night. I had the best “party” catching up with my friends all over Australia on the call and afterwards I could feel how much my spirits had lifted. We all said “we should have been doing this for ages, its awesome!”

To be honest I feel as though I have had a lot of practice to be prepared for this time in isolation. Many years of rehabilitating injuries, being separated from my peers who were on tour performing. Going on long service leave and working out how to keep ballet fit in hotel rooms for 3 months. Having a baby is also like an “isolation” project. You lose your sense of normal, your dancer identity and are pretty much housebound! But this time is different, this time the whole world is in it together.

I send strength and health to dancers everywhere and hope that we keep our collective energy and support of each other during this time for as long as it lasts.

It was originally founded as the Australian Association for Dance Education in 1977 and since that time has consistently fought for the support of dance artists and dance companies of all genres, arguing that small and experimental companies and short-term projects are integral to the development of the arts in Australia as flagship companies. We are greatly saddened that the economic uncertainties of Government support have resulted in Ausdance National winding up due to, according to The Age newspaper, the inability to “secure sustainable financial support”. Ausdance National has also provided extraordinary leadership and advocacy for dance health and wellbeing at both amateur and professional levels, setting ethical standards in both teaching and performance practices, as well as researching and publishing guides on safe dance and career transitioning. While the Ausdance network will continue through state organisations it remains of concern that, without reliable Government support, the dance sector in Australia does not have the capacity to fund its own advocacy body.

Dr Mark Seton, Vice President, ASPAH

1. How did you get involved in the performing arts? Why did you decide to pursue a profession in the performing arts?

I never felt like I made a conscious choice to become a ballerina. Dancing has always been part of who I am. I love it because it is my way of expressing and communicating. For something that began as a childhood hobby I feel so fortunate ballet became my job. I think the crucial time for getting serious about ballet came when I was 11. This was prompted by my acceptance to the junior program of The Australian Ballet School and the good faith and encouragement of my dance teachers at that point.

2. Have you experienced any health challenges related to your practice as a performing artist and would you like to share this experience? What happened and why? Did you overcome the challenge and how? How did your colleagues and others respond to the challenge, if they knew about it?

When I was a younger member of the corps de ballet I found the workload of rehearsing all day in different ballets and performing every night a huge adjustment after being a student. It was also a time when I moved out of home, started cooking and fending for myself and growing up in general. Whilst I loved the excitement of this stage, I also remember struggling to keep up with the workload and stay really healthy. I had most of my injuries in this phase, particularly lower leg issues. I remember in times when I was recovering and rehabilitating some of the senior ballerinas I looked up to offered encouragement and very sage advice. I was always very grateful for their wise words and reassurance. I am also very lucky to have grown up in a ballet company that is very nurturing, from our boss to the ballet staff. They allow you to have your triumphs and downfalls as it’s all part of the journey of being an artist.

3. Why do you think so many performing artists experience health challenges? What do you think is needed in order for these challenges to be addressed in sustainable ways across industries? 

I think all performing artists are high achieving, passionate people who constantly push themselves above and beyond in the name of their craft. To be dead tired and running on adrenaline becomes the norm, often inducing the most incredible performances because of this feeling of being “on edge.” I think dancers are fortunate as ours is a physical art form and the body being the temple requires a good dose of discipline and restraint in heavy seasons. The main issue facing us is usually recovery time and sleep. It is easy to fall into a pattern of late night post show dinners, catch ups with friends and family watching the show followed by an inability to wind down until the wee hours. Over the weeks of a busy season this can be hugely draining. I guess self awareness and education on the damage this behaviour can cause long term burning out the body systems, particularly the adrenal system, is vital. When we get treated by our physiotherapists they often ask a range of questions as the answer to a physical niggle may be stemming not just from our working hours but also our resting ones.

4. Why have you agreed to be an ambassador for ASPAH? What does the organisation mean to you?

I have agreed to become part of the ASPAH family because I have a great deal of respect for the health professionals who have treated me and prolonged my career in dance. From our sports doctors to physiotherapists, every person has been vital in helping me stay on stage doing what I love. I also developed an interest in anatomy and exercise physiology during some of my rehabilitation processes and hope one day that I can study this further to help future dancers.

Photo credit: Erik Sawaya