What inspired you to pursue arts and culture as a career?
I was fortunate to experience the magic of arts and culture from a very young age. Whether it was going to a Bon Jovi concert when I was 9, a KISS concert when I was 11, a David Bowie concert when I was 15, through to experiencing the spectacle of Phantom of the Opera, Cirque du Soleil, Billie Elliot and Fame.
The joy and creativity mesmerised me and I knew then that I was going to work in arts and culture when I grew up. Doing what? I didn’t know for a while.
What has been the most rewarding aspect of your career so far?
Undoubtedly being able to witness the impact arts, culture and music have on people in the moment. From working as an usher through to looking after visitor experience, I love hearing stories from people about their personal connections to the art, how it made them feel and memories it either conjured or created for them. It’s why I do what I do. I believe everyone should be able to experience the arts, regardless of age, stage and lived experience.
How do you stay inspired?
I have always had a natural curiosity across both my personal and professional life. I feel like I am hardwired that way. The thought of not expanding my mindset and my experiences scares me. The way my curiosity presents in my day to day is finding people near and far to admire and learn from, actively seeking how the world, the industry and the skills are changing and evolving, preserving the things I know ignite my imagination and curiosity, and keeping them close for when I have tough days. I believe in curating your own curiosity orbit to immerse yourself in regularly.
What do you wish more people understood about what it means to be working in the performance sector?
To be working in the arts sector right now is relentless. The pandemic may be considered over for other industries and individuals, but for organisations, presenters and artists, it remains a significant challenge. Funding is being cut at rapid rate, workloads often exceed the capacity of the individual, there are no discernible data trends for ticket sales due to the cost of living crisis, inflation and upcoming political factors.
The arts is often referred to as a leisure or discretionary spend activity, but it’s often when there is a crisis, like there was with the pandemic, that the broader population recognises its importance and vitality for human wellbeing and spirit. Then, as time moves on, it moves back to a leisure activity. There is so much research and literature about the impact of arts engagement on personal wellbeing and mental health, it’s medicinal as much as it is entertainment.
Do you mentor junior colleagues? If so, what do you emphasise in your guidance?
My leadership style is focused on building people up as individuals and as a team collective. I’ve had the delight of being able to empower and mentor colleagues, as well as students who are currently studying music, industry or arts administration and wanting to pursue a career similar to mine.
There is not one definitive pathway for getting into, and working in, the arts industry. And it’s not all about your degree or your skills. It is about the connections and relationships you build and continuously learning about yourself, the industry and the opportunities you choose to seek, seize or alternatively, choose to pass on and leave behind.
Trust yourself, build your boundaries, develop your confidence and belief in your worth, and work to understand where and how you can add value to the organisation you’re working for and the community that it serves.
The theme for International Women’s Day 2025 is #AccelerateAction. At the current pace, achieving full gender parity will take until 2158—roughly five generations from now—according to the World Economic Forum. How do you think the arts and culture industry can drive progress towards a more equal playing field for women?
I am a fierce advocate for women’s rights, gender equality, gender equity and social change. The lack of progress globally continues to make me simultaneously sad and mad. It pains me to say, that despite the arts and culture industry being arguably more inclusive and diverse than other more corporate and conservative industries, the playing (and paying) field remains a challenge.
The adage of ‘The Glass Cliff’ whereby female leaders are ‘given the opportunity’ to step up and into senior roles following the underperformance or mismanagement of a male equivalent is present. And there still remains a different set of expectations for male leaders, compared to female leaders. That aside, I believe the arts and culture industry needs to prioritise representation both onstage and offstage – not just gender representation, but cultural and social representation.
Now, more than ever, there is an acceleration in empathetic leadership in the arts, which has always been led and demonstrated by the majority of women. I hope in the near future, this can be harnessed consistently across the industry to build teams and communities that are bonded by humanity first, art second.
About Melbourne Recital Centre
Melbourne Recital Centre is an award-winning live music destination championing the best local and international artists and ensembles across two acoustically renowned performance spaces, Elisabeth Murdoch Hall and Primrose Potter Salon. As a preeminent venue for experiencing live music in Australia, Melbourne Recital Centre celebrates music in all its extraordinary forms and creates authentic and intimate live experiences for all ages.
