Arts Centre Melbourne CEO, Claire Spencer warns about increase in trauma among artists in the performing arts during this pandemic

May 14 2020

Ashmi Sheth

The performing arts were among the first industries hit by COVID-19 shutdowns, and will be among the last to recover as limits on gatherings continue, notes The Age. Claire Spencer’s initiative, Arts Wellbeing Collective, founded in 2016, partnered with Support Act and had set up a 24/7 helpline providing counselling for anyone is the Australian performing arts industry.

Due to the rising impact of COVID-19, Spencer said that there has been a 60% increase in the number of calls on the helpline in the past month, and they are exponentially rising week after week. She attributes this trauma both, to financial insecurity that these artists face at such uncertain time, and also to “the separation from community and purpose.” The artists can call on the helpline number to make an appointment with a clinician, or to speak immediately about any aspect of their mental health and well being.

The Arts Wellbeing Collective has also offered simple resources online, for self-care and mental-health during this pandemic. Clinical psychologist Jane Miskovic-Wheatley, who has worked closely with the Arts Wellbeing Collective, states that one of the reasons artists are feeling overwhelmed and uncertain is due to the changes in usual routine and not creating in a way that one would prefer.

The arts have always been linked to mental health, either in the form of catharsis, sublimation or the due to the specific ‘culture’ of the arts and entertainment industry. A report by Victoria University, Working in the Entertainment Industry, released in August 2015, suggested that mental health problems are widespread in professionals working in this sector. The report incorporated performing artists of all kinds, performing arts support workers and broadcast, film and recording media operators. The report reveals that these workers suffer from the effects of uncertain employment, low pay, and work conditions. Rates of suicide, anxiety, depression and sleep disorders have been found to be more prevalent among those working in the entertainment industry than the general population. A number of research studies over the years have stated that there is a strong pattern of suicidalilty in highly creative individuals. At such challenging times of a pandemic, financial crisis and isolation are likely to adversely impact such creative people in the arts. “We’re really, deeply concerned what the next months and years are going to look like. There is a long road out financially, but also for the wellness of people who work in the sector,” Spencer states.

Although the pandemic might have put a stop to income for both men and women artists alike, the history of low pay to women artists as compared to men, especially in the arts, would lead to lower savings among women artists, ultimately affecting their living during this situation. Moreover, the culture of sexual harassment, bullying, or quid pro quo is deeply embedded in the entertainment industry, as confirmed by the local and global #metoo movements. Arts Wellbeing Collective is one of the initiatives working towards ensuring safe, healthy and respectful workplaces in the creative industries as well as fostering mental health and wellbeing among its workers, through efforts such as “Women in Safety Seminar,” podcasts, and online tips centred on mental health and wellbeing. It is important to note, over half the number of experienced industry professionals on Arts Wellbeing Collective Advisory Group are women. In addition, women psychologist Greta Bradman was one of the key consultants for the Arts Wellbeing Collective Pilot Program 2017, which was aimed to “explore the unique mental health challenges faced by performing arts workers, identify themes, and test potential positive interventions.”

The immense contribution various artists in the performing and entertainment industry make to the country’s cultural value and economy is unfortunately not acknowledged enough; and the small and middle-level artists struggle to make their ends meet. India, being a culturally diverse country with a wide range of arts and talents, needs to not only acknowledge the creative artists that motivate us to live in this challenging period, but also encourage them financially and mentally to pursue their passion and continue to offer us hope through the arts.

Arts Centre Melbourne CEO Claire Spencer is certainly a role model for women in leadership, and under her “collaborative and empathetic leadership approach,” Arts Centre Melbourne has initiated many large-scale projects including the Arts Wellbeing Collective and Asia TOPA – Asia-Pacific Triennial of Performing Arts. Claire represents Australia’s most senior women leaders from the corporate, public service, academic and not-for-profit sectors as a member of Chief Executive Women. She is also a Board Member of The Pinnacle Foundation, who provide scholarships and mentoring support to LGBTQI students who are marginalised or disadvantaged. (Rotary Club of Melbourne) Claire held leadership positions at Sydney Opera House and other firms for close to a decade, before taking on the role of CEO at Arts Centre. She has all praises on her role as a leader from professionals in as well as outside the arts field. “Claire is an inspiring CEO. […] She runs a large asset with a complex set of stakeholders, and she does it with strategic vision and a deep appreciation for the humanity of everyone associated with the Arts Centre.” remarked Siobhan McKenna, senior NewsCorp Australia executive and former Board Member of Australian Ballet. More about Spencer’s leadership, work and vision can be read here.

Mental health resources for arts sector workers can be found at www.artswellbeingcollective.com.au

How can mandalas serve as an effective tool for all women in healing, coping and living.

By Ashmi Sheth

26 May 2020

Verticals: Arts & Culture, Health, International

Across cultures, disciplines, age groups and beyond time  – “Mandala” seems to be intrinsically attractive, a truth we surrender to – in times of distress and self-confusion. Consciously or unconsciously, circles have garnered a biased extent of attention by the human mind transcending beyond cultures and ages. “Mandala” is a Hindi word derived from Sanskrit, meaning “circle” (more specifically, a magic circle; Singer, 1994) or center.

According to Gestalt psychology, Kohler (1992) suggests, simple, closed forms, such as circles, are more quickly perceived and recognized as meaningful. Circles are registered by the eye and passed directly to the visual cortex without intermediate processing (Horowitz, 1983). Because circles look the same whether right side up or turned upside down, the brain does not have to do intermediate processing to recognize a circle, as it does, when identifying a square or some other form that has been rotated. This ease of identification gives circles an advantage over other forms competing for our full attention. The psychological order created by drawing, a circular mandala extends outward, to help us orient ourselves within our present life situation (Wertheimer, 1959). At the same time, circles are believed to help individuals focus inward. Thus, mandala is considered to be a symbol of “wholeness” and “unity” and is used as a tool for spiritual growth and psychological self-realization.

Mandalas are found amongst the most ancient art forms created by human beings. Rock carvings found all over the world incorporate the circular form and its variations such as spirals, crosses, concentric circles. Although frequently found in Tibetan Buddhist culture, mandalas have also been prevalent in Western culture, including European artwork (Jaffe, 1964), and have clear affiliations with Christianity (Edinger, 1987; 1992). The use of mandalas have been found in early Navajo and Pueblo American Indian cultures (Clarke, 1994). Some ceremonies use circular movement to create an ecstatic state of mind. Eskimos incise a circle in a stone with repetitive, rhythmic movements for long periods of time in order to bring about a trance. Such widespread use of the mandala – whether in drawing, from nature, or as a spiritual meditative technique, demonstrate the strong association of the ‘circle’ with the human mind. The ‘circle’ as a motif is believed to resonate with the deeply felt human intuitions.

Scholars have confirmed the benefits of visual art making for women experiencing a variety of psychological disturbances. Research shows benefits of mandala art making for individuals experiencing psychological trauma, abuse, mental disturbances, emotional and even physical pain, to chronic illnesses such as cancer. In a patriarchal society, where women are often socialized into accepting ‘subordinate status’ and performing ‘subordinate roles,’ mandala making can serve as an effective tool to self-discovery, insight and subsequent enhanced self-esteem. The use of mandalas as a therapeutic tool was first mentioned by Carl Jung (1972). During Jung’s many years as a psychotherapist, mandalas were often drawn, painted, modelled, or danced by his patients as well, usually in times of crisis or transformation (Jung, 1963). Jung has also shared case studies of using mandalas with his female patients. (The Collected Works of C. G. Jung, Vol. 9, Part I). in a chapter titled “Concerning Mandala Symbolism” in the same book, Jung shares his experience of viewing a huge mandala (about ten feet ac) drawn by a woman on the floor of the mandapam (porch), in coloured chalks, at the great temple of Madurai in southern India. When asked about the drawing to a pandit, Jung states, that the pandit could offer him no information about it, and “only the women who drew such pictures knew what they meant.” “The woman herself was non-committal; she evidently did not want to be disturbed in her work,” Jung remarks. He also observed that elaborate mandalas in red chalk could also be found on the whitewashed walls of many huts. Thus, the connection between mandala creation and woman’s unconscious does neither seems novel nor a surprising one. 

Mandala making can also help women effectively cope with major life transitions such as entering motherhood or accepting menopause. Gullemin, while studying ‘drawings as a research method,’ explored the drawings made by women, which portrayed how they understood and experienced menopause. A group of female nursing students who were given the activity of creating a mandala and explaining it through writing, reported deeper self-reflection, experiences of rational thought, critical reflection and social awareness, along with experience of ‘socialization’ that is associated with nursing education. Mahar points out to self-awareness as an important aspect of emotional learning, and states that the nursing students need opportunities throughout the curriculum to engage in self-reflection. Her research thus provides a case for activities such as creating and explaining mandalas to be included in nursing education curriculum, which would support private self-reflection as well as critical reflection, and also be within the comfort zone for those students who might be uncomfortable with a completely verbal activity. She asserts, “the mandala should be viewed by nurse educators as both a transformative and culturally sensitive learning strategy that can be used to address the need for emotional learning.”

Mandalas can also be made from stones, sand, clay, or even “found objects.” The underlying aim is to create a “circular pattern,” that is often repetitive, leading to a meditative state called “the zone” or “flow,” which focuses your mind and temporarily pushes aside all your worries and relieves your stress. “People’s drawings in the circles represent what they thought at that time of the drawing, allows them to forget the confusion they are experiencing, and helps them withdraw into themselves by making them concentrate on the act of drawing itself. Mandala art therapy can thus help psychiatric inpatients integrate the different parts of their selves, understand the essence of life, and lead a life that is more centered on themselves” (Jung, 1973). Art psychotherapists use the mandala as a basic tool for self-awareness, self-expression, conflict resolution, and healing. Within the realm of art therapy, the mandala generally refers to any art form that is executed within a circular context. It can be symmetrical, asymmetrical, abstract or just scribble – but inside a circular boundary.

Art therapy is increasingly being used around the world to complement cancer treatments as part of a wellness programme. A Hong Kong cancer support organisation offered three-day mandala making workshop for breast cancer patients. The workshop showed positive results for most of the participants – some reported that it helped calm and quieten their thoughts, for some, the activity provided a distraction from the stress, emotions or pain related to their illness, while some reported that this form of creative expression led to self-discovery or self-healing. Most importantly, many participants reported that the experience of mandala-making activity helped them view their disease or life from a different angle, and helped them develop a positive attitude toward their disease. Mandala art therapy can thus help psychiatric inpatients integrate the different parts of their selves, understand the essence of life, and lead a life that is more centered on themselves (Jung, 1973). 

Results from a research also suggests that mandala drawings, as an assessment tool, can give physicians a non-invasive approach to broadening breast cancer treatment. The authors further state that “this approach guides the physician to extract valuable information that may be blocked by conscious processes.” Another research confirms the positive effects of Mandala art therapy on ‘boosting hope’ – which they define as “a positive energy that can help patients overcome their illnesses”— in psychiatric patients (people suffering from schizophrenia, bipolar affective disorder, and major depressive disorder. 

Mandalas have been created by Indian women, in the form of ‘Rangoli’ and/or ‘kolam’ since many years, and they do have their own religious and spiritual significance. The research studies cited above help us to confirm its efficacy and allow us to remind ourselves of the beautiful and simple tools that we often have handy, but often ignore or are unaware of. Practiced since ages and now empirically confirmed, the mandala can be an effective tool for women coping with the smallest day-to-day stresses, to women struggling with mental or emotional disturbances, to women battling with chronic diseases like cancer. A whole body of literature related to mandalas an spirituality is not even touched upon here, as this article focuses on the psychological benefits of mandala making. As an artist and an art therapy enthusiast, I urge you to dive into the soothing mandala curves, and I’m sure you’ll come out lighter, stronger, brighter, and calmer. 

Note: An important warning needs to be mentioned here, that mandala making is only one of the activities used in art therapy. Mandala making neither explains or demonstrates the full capacity of art therapy, nor is confined only to the field of art therapy. It is a tool used by various practitioners – from spirituality to therapy. 

Artist Relief create an emergency initiative to offer funds to artists across the United States.

By Ashmi Sheth

The presidents of Andrew W. Mellon Foundation and the Arison Arts Foundation; namely, Elizabeth Alexander and Sarah Arison, have joined with over 20 art groups to create Artist Relief, a $10 million national fund to support individual artists. Explaining the need for such supporting relief to individual artists, they write:

“In dark times, artists do more than provide light; they create it and sustain it. They help us see and understand what makes us human in the face of fear and uncertainty. They give us the words and songs and dances and images with which to mourn and exalt. Rather than give antidotes or easy solutions, artists illuminate the path forward and over and through life’s most challenging moments. […] these artists will be the chroniclers, interpreters, and illuminators helping us process and understand the implications of this unique moment in history we are living together.” Artnet.

Artist Relief is a coalition organized by the Academy of American Poets, Artadia, Creative Capital, Foundation for Contemporary Arts, MAP Fund, National YoungArts Foundation, and United States Artists. Artist Relief claims to distribute $5,000 grants to artists facing dire financial emergencies due to COVID-19; every week between now and September. They also clarify that the financial and informational resources would be provided irrespective of whether the artists produce new work during this crisis. They further state that their support for these artists “is not conditional or contingent; it is an investment in the future of these artists and in our country’s arts ecosystem.”

The artists eligible for the grant include musicians, playwrights, painters, poets, sculptors, dancers, filmmakers, novelists, and more—who often operate outside of institutions. Practicing artists from all fifty states, territories, and Tribal Nations, working in any discipline, are able to apply for the grant. The grant would be issued regardless of their citizenship status, given that they have generally lived and worked in the United States for the last two years. More information about the eligibility for grant access can be found here. This initiative has been created by keeping in mind the needs of approximately 2.5 million working artists in the United States, out of which roughly 34 percent were self-employed between 2012 and 2016.

These two women presidents of renowned Arts foundations, Elizabeth Alexander and Sarah Arison, have undoubtedly reaffirmed that women are more empathetic and altruistic than males (NCBI), and when in power, they can use this quality to make decisions for the betterment of humankind. Perhaps this is why, they were sensitive to the impact that the pandemic has had on the artists, whom they describe as “the people who connect us to our humanity.” As displayed on the A. W. Mellon Foundation website, over a dozen of the total funders are women.

One of the pioneering independent funding organisations in India, is the India Foundation for the Arts (IFA), that claims to have distributed over $3.5 million to over 600 projects in India since 1995, the year when they starting making grants. They have also started a fundraiser ‘Fund for Supporting Arts and Culture during COVID-19,’ where people’s donations will contribute to future grants; however, there is no specific mention of how these funds would help artists in such a situation of crisis.

Arts & Humanities is generally considered as a “women’s occupation,” with the Masters of Arts graduates displaying a sex ratio of 160 females for 100 males. A paradoxical situation is observed across the globe, with the number of women art graduates outnumbering men, but the number of practicing male artists outnumbering practicing female artists. This shows that not only are women underrepresented in the arts (with fewer women artists being able to exhibit their work in galleries) and discriminated against, but are also not encouraged or provided sufficient resources to be resilient enough to freely pursue their passion, without stressing about the financial input that artists are generally required to make, including art materials, marketing and rents for exhibitions. Artist Relief will hopefully benefit the women artists in the country, most of who are struggling and are self-employed.