Podcasts about Awabakal

In this week's episode, I chat with Gemma, a writer and Pilates instructor living on the lands of the Awabakal and Wurrumi people in Newcastle, NSW. Gemma shares her three distinctly experiences, culminating in a healing VBAC after two caesarean births. Are you preparing for birth and looking for a natural way to manage labour pain? Discover the difference with a TENS machine from Bliss Birth.Bliss Birth is Australia’s trusted name in TENS hire, helping thousands of women feel more in control during labour. Our obstetric Elle TENS machine is designed specifically for use in labour, and can be hired from anywhere in Australia for 4 or 8 weeks. They are simple to use, completely drug-free, and give you the power to manage pain, from those first early contractions right through to active labour.Join the thousands of Aussie mums who say their Bliss Birth TENS machine changed their birth for the better.Book yours today at blissbirth.com.au ABS25 for 10% off tens hire See omnystudio.com/listener for privacy information.

Narelle Austin explores the relationships between the European settlers of Coal River and First Nations peoples and uncovers the stories of Commandant James Wallis, Awabakal leader Burigon and Joseph Lycett—an unlikely trio whose interactions preserved Aboriginal knowledge and captured glimpses of a culture under immense change.

Indigenous rangers in the Kimberley have put metal turkey feeders filled with kangaroo pellets to help one of Australia's rarest animals survive, after a devastating wildfire swept through its habitat.Thankyou to the World Wide Fund for Nature for audio. In the second half, Gurridyula is convincing telling why water is sovereign.Music: Gurridyula "Onamission" [edited for profanity] with permission to podcast.Pay some rent to this fund keep the camp at the mine site going. Chip in to the Wangan Jagalingou legal defence fund.https://chuffed.org/campaign/106614-wangan-and-jagalingou-nagana-yarrbayn-cultural-custodians-legal-defence-fund/20250117a2?fbclid=IwZXh0bgNhZW0CMTEAAR2kC2lDcZYXoSm2ygX_pjoXKTOYu13MHWmNFU63sSenKoFppvMdaVFFsVw_aem_Cu6hGICBnJClfSN2QELQEw Earth Matters #1486 was produced on the lands of the Nyikina Mangala people of the Kimberley region in Western Australia and on the lands of the the Woromi  and Awabakal people in Mulubinba by Bec Horridge

In today's episode we speak with superstar Doctor Brandi Cole. You may have seen Dr Brandi on your screens as she worked to keep the Matilda's on the field during the Women's World Cup in 2023, and then at the Paris Olympics. Doctor Brandi is a Sports & Exercise Physician, working with athletes of all types as an expert in the field. But she is more than that, before becoming a doctor, Brandi was a Physiotherapist, and an athlete in her own right—captaining the Australian Women's Oztag team, as well as playing touch and hockey for NSW, and was also an Australian and World gold medalist in beach sprint relay in Surf Life Saving. In this most fascinating episode, we first explore Brandi's early life, what makes her tick, and how she juggles her roles as a doctor and mum. But then we dive into her work with aesthetic athletes, dancers and gymnasts, what improves returning from injury, and the difficulties that exist with body image and refueling.Since we spoke to Brandi, she has travelled to Paris Olympics, to continue to work with the  Matilda's, all while running her Sports & Exercise Practice Shire Sport Medicine in Cronulla Sydney. To follow her journey, you can find her @doctor_brandi n Insta, or of course book appointments via at her website shiresportsmedicine.com.auBrandi and I recorded on the land of the Gadigal People of the Eora nation, with production on the lands of the Awabakal and Gadigal peoples, to whom we pay our greatest respects. Production dream team ✨Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios

Today we're speaking with the quite incredible Evie Ferris. Evie was born in Cairns in far north Queensland, and she's a proud Taribelang and Djabugay woman. Growing up, Evie danced alongside her sister, a talent so bright that by the age of 12, her family, including two of her five siblings were moving south to Melbourne. She joined the Australian Ballet School, and on graduation was accepted straight into the company. She's only the second Indigenous Australian to ever join the Australian Ballet. But this isn't the end of Evie's glorious story. In this wondrous interview, Evie described her life in dance, about finding her voice and about the pride but also the pressure that comes with being an Indigenous dancer. We also talk about the moment she met “Blue Wiggle” Anthony Field in a Sydney Opera House Green Room, and how she went on to become the first Indigenous Australian to become both a ballerina and a member of the Wiggles.Evie continues to split her time touring and dancing with both the Australian Ballet and The Wiggles. For Australian Ballet Performances tickets and times, head to australianballet.com.au, or you'll find them on Instagram #AusBallet. For The Wiggle shows and tour dates, head to the wiggles.com, or find them on Instagram @thewiggles. And to follow all of Evie's adventures, find her on Instagram @evieferris. Evie and I recorded our conversation remotely, with Evie dialing in from Melbourne on the land of the Kulin people. Talking Pointes is recorded and produced on Awabakal and Gadigal lands, to the owners of all these lands we pay our greatest respects. Talking Pointes is produced by Fjord Review. Remember to subscribe to get the latest episodes as soon as they're released. And if you like us, please leave a five star review. Your host and producer is me, Claudia Lawson, with additional production by Penelope Ford and Clint Topic. Sound production and editing is by Martin Peralta at Output Media. And for the latest in all things dance, head to fjordreview.com. Production dream team ✨Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios

Buddy up with Bec and  experience this multifaceted Protestival.  We will be chatting to the people involved, hearing fab and funny speakers and  kicking  off  shoes to groove with Gurridyula. Aunty Sue s summary of the Australian Parliament is hilarious. Guests:  Frankie Kellie: School Strike for Climate, Aunty Sue Ellen: Gomeroi Elder, Bev Smiles: Hunter Community Activist, Rowan 7yo, George- Newcastle activistMusic: Gurridyulas song supporting Pilliga activists; a live recording with   permission to broadcast.Lots of information and pictures at Rising Tide Earth Matters  #1481 was produced on the lands of the Woromi  and Awabakal people  by Bec Horridge   

Join the the circle of thousands and be challenged by a deep and unique Welcome to Country at the Peoples Blockade of the worlds largest coal port. Uncle Judulu, didge and singing  melds to a deep plea to care for the land, before hundreds of people and canoes entered the coal port shipping channel to disrupt movements of coal ships. Over 170 people were arrested for blocking the coal shipping channels but that was only a fraction of what happened at this well organised and uplifting event. Guests:Renae Lamb: Wiradjuri & Wongibong woman; visionary artist with  Midnight Dreaming Judulu and  Woomera  Mob YARRABAH DANCERS - Yidaki And Traditional Cultural Singing | artist-bookings.com - 0428 785 000 Zac Schofield: Rising Tide  Gurridjula: Wangan & Jagalingou man reoccupying his country on Adani mine site, QLD Anasina Gray-Barberio is the first Samoan Member of Parliament in Victorian Parliament. Francis Nona: a proud  Badalaic man. Academic at Queensland University of Technology. Links:Rising Tide 170 arrests at Rising Tide 2024 – The Echo   Earth Matters #1481 was produced on the lands of the Woromi and Awabakal people in Mulubinba /Newcastle by Bec Horridge

Today we're speaking with the quite incredible Evie Ferris. Evie was born in Cairns in far north Queensland, and she's a proud Taribelang and Djabugay woman. Growing up, Evie danced alongside her sister, a talent so bright that by the age of 12, her family, including two of her five siblings were moving south to Melbourne. She joined the Australian Ballet School, and on graduation was accepted straight into the company. She's only the second Indigenous Australian to ever join the Australian Ballet. But this isn't the end of Evie's glorious story. In this wondrous interview, Evie described her life in dance, about finding her voice and about the pride but also the pressure that comes with being an Indigenous dancer. We also talk about the moment she met “Blue Wiggle” Anthony Field in a Sydney Opera House Green Room, and how she went on to become the first Indigenous Australian to become both a ballerina and a member of the Wiggles.Evie continues to split her time touring and dancing with both the Australian Ballet and The Wiggles. For Australian Ballet Performances tickets and times, head to australianballet.com.au, or you'll find them on Instagram #AusBallet. For The Wiggle shows and tour dates, head to the wiggles.com, or find them on Instagram @thewiggles. And to follow all of Evie's adventures, find her on Instagram @evieferris. Evie and I recorded our conversation remotely, with Evie dialing in from Melbourne on the land of the Kulin people. Talking Pointes is recorded and produced on Awabakal and Gadigal lands, to the owners of all these lands we pay our greatest respects.  Production dream team ✨Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios

“I'm going to look back one day on this and think those were the glory years."Teacher by trade, Canadian by birth, Melanie is here to share how she wound up calling Newcastle home and why she and her partner chose home education for their two boys, aged 7 and 4. In this episode we talk about longing for community in the early years of motherhood, not being ‘ride or die' homeschoolers, how play evolves as children mature, intentional living, why screens have become the new social playground and the magical power of asking the question ‘What If…?' FULL SHOW NOTES HEREFollow the link above to find the detailed show notes for this episode along with quotes, links and references to all Melanie shares.CONNECTInstagram - @freespirithomeschoolInstagram - @digital_wellbeing_teacherSign up to our mailing list HERE to receive new episodes and their accompanying show notes delivered straight to your inbox as they are released.Alternatively you can stay in touch with us on instagram @australianhomeschoolstoriesThis podcast was recorded on the land of the Bunurong people of the Kulin Nation. I pay my respect to elders past, present and emerging and acknowledge that sovereignty was never ceded. This always was, always will be aboriginal land. 

It's our last episode for a while, and we're sliving with unhinged energy. We'll wrap the big events of the week and year - yep, we're winding up with our big "Year in Review". Get ready to be reminded of all the cooked and wonderful things that happened in 2024. From the Willy Wonka Experience to Baz Lurhmann's unfiltered street chat, the powerful spectacle of the MONA Ladies Lounge case to Troye Sivan's bottomless bowl. Relive it all with us.As we step back from hot takes and embrace a bit of "me time", we asked you what you're making time for in 2025, and we'll share some of our favourite messages. And we wouldn't leave you without some juicy bang ons! A couple of wonderful watches, and a book that might just help you switch off as well.Bang On wouldn't be possible without an array of Bang Babes, Bang Boys, and one Bang Man; some brilliant producer brains. Many thanks to Kyran Nicholson, James Findlay, Cassie Walker, Corynne Tait, Caitlin Nienaber, Gabrielle Burke, Liza Perkovic, and Ryan Egan.Bang Fam, we wouldn't exist without your support, feedback, love, and community. Thank you for listening to Bang On over the past (almost) 8 years. Thank you for your emails, DMs, and crop dusting of "Bang Fam" out in the wild. We are so grateful, and so emo about you. We love you heaps! Thank you for everything. xWarning: This episode contains strong language.The Comedian for sale: https://www.abc.net.au/news/2024-11-18/how-a-viral-duct-taped-banana-came-to-be-worth-1-million/104614148Beyoncé halftime show: https://variety.com/2024/music/news/beyonce-nfl-halftime-show-netflix-christmas-game-1236212814/The Last Showgirl: https://www.youtube.com/watch?v=hZDs_lLGrTUThe viral "age gap" article: https://www.thecut.com/article/age-gap-relationships-marriage-younger-women-older-man.html#commentsIdeal film running time: https://www.theguardian.com/film/2024/apr/29/ideal-movie-running-time-is-92-minutes-poll-claimsWilly Wonka Experience: https://www.thecut.com/article/willy-wonka-experience-glasgow-fyre-fest.htmlMONA Ladies Lounge: https://www.abc.net.au/news/2024-09-27/mona-ladies-lounge-decision-tascat-supreme-court-decision/104403720Baz on the streets: https://www.abc.net.au/news/2024-05-31/baz-luhrmann-tiktok-god-worthy/103920448Troye's bottomless bowl: https://www.buzzfeed.com/mychalthompson/troye-sivan-bottomless-bowl-reactionsMoo Deng: https://www.pedestrian.tv/entertainment/moo-deng-livestream/Pesto: https://www.bbc.com/news/articles/cp3w4nld5e3oBallarat homework: https://www.netflix.com/au/title/81764579Trace podcast on Greg Lynn: https://www.abc.net.au/listen/programs/abc-news-daily/the-trial-of-campsite-murderer-greg-lynn/104026272Martha: https://www.netflix.com/au/title/81479059How to Do Nothing: https://www.blackincbooks.com.au/books/how-do-nothingSomebody Somewhere: https://www.youtube.com/watch?v=Ompmd8tGRh0Bang On Live in Ballarat: https://comedy.com.au/tour/bang-on-live-with-myf-warhurst-zan-rowe/Bang Back to us: bangon.podcast@abc.net.auBang On is an ABC podcast, produced by Double J. It is recorded on the lands of the Wurundjeri and Awabakal peoples. We pay our respects to elders past and present. We acknowledge Aboriginal and Torres Strait Islander peoples as the First Australians and Traditional Custodians of the land where we live, work, and learn.

On our first episode of season three, I'm speaking with the former principal dancer of the Australian Ballet, the much loved Adam Bull. Adam grew up in outer Melbourne and by a stroke of luck, his primary school teacher at his local school suggested he try dance. He did, and it became a love affair that has lasted a lifetime. By the time he was a teenager, he was training under Brian Nolan at Dance World 3 0 1 before joining the Australian Ballet School and then being accepted straight into the Australian Ballet. In this wonderful interview recorded just five days before Adam's final performance in Melbourne. Adam reflects on his career, he speaks of his early life growing up, dancing, joining the company, and of course making principal. But we also talk about more about love, about his onstage relationship with Amber Scott, his thoughts on marriage and what it feels like to dance for the national company for 22 years. Talking Pointes was recorded on traditional lands of the Wurundjeri People of the Kulin Nation, Awabakal and Worimi. We acknowledge the Traditional Owners of Country and recognise the continuing connection to lands, waters and communities. We recognise that sovereignty was never ceded. Production dream team ✨Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios

Sau 13 năm tận tâm vận động, cộng đồng Awabakal ở vùng Hunter của New South Wales, đang kỷ niệm việc bảo vệ Hang Bướm linh thiêng của mình. Chính quyền tiểu bang đã mua đất để thành lập Công viên Quốc gia, bảo tồn địa điểm có ý nghĩa lịch sử dành cho phụ nữ Thổ dân này ở West Wallsend.

After 13 years of dedicated campaigning, the Awabakal community in New South Wales' Hunter region celebrates the protection of its sacred Butterfly Cave. The state government has purchased the land to create a National Park, preserving this historically significant Aboriginal women's site in West Wallsend.

Our next guest on Retail Therapy is Kate Russell (she/her), CEO of Supply Nation, Australia's foremost advocate for supplier diversity.   Kate brings a wealth of experience, including roles in the public sector and as a Board Director at the Diversity Council of Australia. As a proud Awabakal woman, she holds a deep commitment to supporting Indigenous businesses and advancing economic empowerment within Indigenous communities.   At Supply Nation, Kate has played a pivotal role in fostering the growth of First Nations businesses, contributing to the vibrant Indigenous business community in Australia.   This episode with Kate explores: Moving forward after The Voice referendum Kate's journey and inspiration to lead Supply Nation Success stories from Supply Nation connections Barriers faced by Indigenous companies and strategies to overcome them How to create opportunities for Indigenous peoples in public and community sectors The evolving landscape of diversity and inclusion in Australian businesses and society The role of the Australian retail industry in supporting Indigenous businesses Advice for meaningful engagement with and support of Indigenous suppliers Thank you to our Principal Partner American Express for supporting this season of Retail Therapy. Learn more about American Express: https://www.americanexpress.com/au/merchant/accept-amex-cards.html ABOUT THE ARA: The Australian Retailers Association is the oldest, largest and most diverse national retail body. We represent a $420 billion sector that employs more than 1.4 million Australians and is the largest private sector employer in the country. As Australia's peak retail body, representing more than 120,000 retail shop fronts and online stores, the ARA informs, advocates, educates, protects and unifies our independent, national and international retail community.

For our bonus episode this season, we're catching up with the Australian Ballet's Artistic Director David Hallberg. Last season, David and I spoke about his life growing up in South Dakota, being bullied, training at the Paris Opera, becoming principal at American Ballet Theatre, and being the first American to be invited to dance with the Bolshoi Ballet in Russia. We talked about climbing back from his epic injury, his head space at that time, before taking over the Artistic Directorship of the Australian Ballet right in the middle of Covid. A year later we talk about what it's been like to be artistic director now that theatres are open and audiences are back, about what kind of as dancers he selects for the company, how he decides who will be promoted, the Australian Ballet's 60th anniversary, and life in Australia.If you'd like to read more about David's life, find our full conversation in the show notes, or you can read his autobiography called A Body of Work: Dancing to the Edge and Back. For Australian Ballet updates you can find them on Instagram at @ausballet and to continue to follow David's adventures, you'll find him on Instagram at @davidhallbergofficialDavid and I recorded remotely, with David dialling in from Melbourne, the land of the Kulin people, with recording and production on the land of the Awabakal and Gadigal people of the Eora Nation, to all of whom to which we pay our greatest respects. Production dream team ✨Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios

Today on Wellbeing we are taking with Phoebe Sanders, a student counsellor at The University of Newcastle's Wollotuka Institute. The Wollotuka Institute supports indigenous students with academic, cultural and emotional well-being needs in a culturally safe way. Phoebe describes herself as an Indigenous alley who lives, works and plays on Awabakal and Worimi country.  In this episode Phoebe talks about her role at The Wollotuka Institute, the support that Wollotuka provides, it's importance to the university journey for indigenous students, its innovative programs it has available to indigenous students, some of the mental health journeys she sees in indigenous students as a student counsellor and how she would like to see university's all over Australia embrace similar models to The Wollotuka Institute.  "Having a culturally safe space for our students is really important. Many students  may not have felt comfortable going to the main student counselling service so The Wollotuka Institute is a culturally safe space"   Phoebe Sanders on this episode of Wellbeing  We would love to hear from you! If you would like to suggest topics, give us feedback, or just say hi, you can contact us on wellbeing@2nurfm.com Host: Jack HodginsWellbeing website: https://www.2nurfm.com.au/wellbeingSee omnystudio.com/listener for privacy information.

Thousands of climate activists took to the water on the weekend of November 25-26, blockading the coal port in Muloombinba Newcastle.Jacob spoke to blockade organiser Zack Schofield, and school striker Niamh Cush, about the protest. We also hear a First Nations panel discussion featuring Awabakal elder Aunty Tracey, Ngemba elder Aunty Caroline, Bundjalung and Worimi saltwater woman Phoebe McIlwraith, and Ngemba, Wangan and Jagalingou protector of country Wilka Kirakuta. The conversation was moderated by Wadi wadi man of the Yuin nation, Matthew Jeffery.Featuring music by Newcastle band 'Photos of the Moon'. 

Today we're speaking with the quite incredible Evie Ferris. Evie was born in Cairns in far north Queensland, and she's a proud Taribelang and Djabugay woman. Growing up, Evie danced alongside her sister, a talent so bright that by the age of 12, her family, including two of her five siblings were moving south to Melbourne. She joined the Australian Ballet School, and on graduation was accepted straight into the company. She's only the second Indigenous Australian to ever join the Australian Ballet. But this isn't the end of Evie's glorious story. In this wondrous interview, Evie described her life in dance, about finding her voice and about the pride but also the pressure that comes with being an Indigenous dancer. We also talk about the moment she met “Blue Wiggle” Anthony Field in a Sydney Opera House Green Room, and how she went on to become the first Indigenous Australian to become both a ballerina and a member of the Wiggles.Evie continues to split her time touring and dancing with both the Australian Ballet and The Wiggles. For Australian Ballet Performances tickets and times, head to australianballet.com.au, or you'll find them on Instagram #AusBallet. For The Wiggle shows and tour dates, head to the wiggles.com, or find them on Instagram @thewiggles. And to follow all of Evie's adventures, find her on Instagram @evieferris. Evie and I recorded our conversation remotely, with Evie dialing in from Melbourne on the land of the Kulin people. Talking Pointes is recorded and produced on Awabakal and Gadigal lands, to the owners of all these lands we pay our greatest respects. Talking Pointes is produced by Fjord Review. Remember to subscribe to get the latest episodes as soon as they're released. And if you like us, please leave a five star review. Your host and producer is me, Claudia Lawson, with additional production by Penelope Ford and Clint Topic. Sound production and editing is by Martin Peralta at Output Media. And for the latest in all things dance, head to fjordreview.com.We are thrilled to be sponsored by Energetiks. Energetiks specialise in creating sustainable, world class dancewear for the stars Energetiks is offering Talking Pointes listeners a 20% discount [available until the end of March 2024]. Listen for the code in the episode. Shop their extensive range online at energetiks.com.au or energetiks.com if you're listening from the US. T&Cs APPLY. @energetiks @energetiksusa

7:15 We hear various speeches that have taken place at Free Palestine rallies in Narrm/Melbourne. These speeches were originally played on Accent of Women on the 31st of October. Thank you to Jiselle Hanna for this next excerpt. 7:30 Dr Louisa Smith is a Senior Lecturer in Disability and Inclusion at Deakin University. Louisa is a qualitative social researcher in disability, dementia and complex support needs. Louisa has a particular interest in research that actively develops supports for those who are most socially isolated, including people with disabilities and/or dementia who experience gender and sexuality diversity, live in large residential accommodation or are from refugee backgrounds. Louisa joins us on the show this morning to speak about models of care for LGBTIQ+ people with dementia. You can follow Louisa on Twitter at @LouisaESmith1. 7:45 Chloe DS is a refugee rights activist, green left journalist, and fellow 3CR presenter. Chloe joins us on the show to speak about the upcoming People's Blockade of the world's largest coal port at Muloobinba (Newcastle), on Awabakal and Worimi land and water, as well as the bbq held in Narrm today to raise money for activists traveling from Narrm to Newcastle. 8:00 Dr Stephanie Wescott is a lecturer in the School of Education, Culture and Society at Monash University Faculty of Education. Her research examines how education practice and policy intersects with and is influenced by current socio-political conditions, and she is particularly interested in how feminist thinking can be used to transform education and schooling. We are joined by Stephanie this morning to discuss the federal government's three-year project to address toxic masculinity on social media and also talk about the dangerous influence of misogynist influencers. 8:10 Each year, a growing number of people are rejecting the racing industry and are saying Nup to the Cup. Yesterday, I had a chat with Kristin Leigh, who is Communications Director and Volunteer Coordinator at the Coalition for the Protection of Racehorses. We talked about the the latest Deathwatch report that provides details on the horses that were killed in racing this year; the increasing public support for this issue; and the actions that people can take to raise awareness and say Nup to the Cup. Listeners are advised that the following conversation makes explicit references to horse injury. Please take care when listening with little ones. Songs:Boot Licker - Super Tart [1.52]Lonely Love Affair - YARA [3.26] Bubblegum - June Jones [2.53]Maxine's Garden - Super Tart [3.11] 

If the thought of adding homeschooling to your load seems daunting, Jasmin may be the person to inspire you. She is a multi-passionate mum, who in partnership with her husband, juggles homeschooling her two children (aged 6 and 3) and running three small businesses. They are living a rich and full, purposeful life where education, family and work are interwoven and inseparable. SUMMARYJasmin's schooling journey across various Catholic all-girls private schools in NSW and the ACT, where she was heavily involved in representation sport and extra curricula activitiesFeeling limited in subject choices at high school being a person with multiple passionsThere are multiple ways to approach education and they have chosen an eclectic, project based home learning style How Jasmin and her husband have woven their children into their family sports coaching businessesWhy she decided to build her own homeschooling community from the ground up by starting not one, but two, co-ops in her area Living in the Hunter region is great for homeschooling where everything and anything is on offer to home educating familiesThe importance of involving grandparents, aunts and uncles in their homeschooling and sharing the load with them directly so they can see the benefits of this lifestyle firsthandHer passion for imparting lifelong skills and fostering lifelong learnersCelebrating the magical moments when our children's enthusiasm and passion align with our ownThe importance of relying on community through good and tough times, akin to how we once lived in villages and tribes, where everyone looks out for and supports one another to thriveINSPIRATIONHackschooling Makes Me Happy - TED TalkStark Raving Dad GuidesFree to Learn - Peter GrayCONNECT@jasminkable - Instragramkablesconnection@gmail.comHave you got a story to tell? Connect with us on instagram @australianhomeschoolstories or email australianhomeschoolstories@gmail.comSign up to our substack to be notified of new episode releases:Australian Homeschool Stories Mailing ListThis podcast is recorded on the lands of the Bunurong people of the Kulin nation. I pay my respects to elders past, present and emerging and acknowledge that sovereignty was never ceded. This always was, always will be aboriginal land.Original Music by Daniel Garrood @garroodcomposerListen on Spotify here

Today we are speaking with the divine Brooke Casson. Brooke Lockett, as she was known throughout her career, grew up in Ballarat and had a dream run to the stage. She was accepted into the Australian Ballet School by the age of 14, and then straight into the company on graduation. In this beautiful and brave interview, Brooke speaks about her career at the Australian Ballet. We speak about promotions, about being the face of the company, the perception of rank and about hard conversations, but we also talk about so much more about new careers, about meeting her husband, becoming a mom. Brooke continues to direct and teach at her Studio in Rose Bay in Sydney. For class times, and to sign up, head to studio696.com.au or @Studio696x on Instagram. And to continue to follow all of Brooke's wonderful adventures, you can find her on Instagram at @brookecassen.Brooke and I recorded our conversation on the lands of the Gadigal People of the Eora Nation, to whom we pay our greatest respects.We are thrilled to be sponsored by Energetiks. Energetiks specialise in creating sustainable, world class dancewear for the stars Energetiks is offering Talking Pointes listeners a 20% discount [available until the end of March 2024]. Listen for the code in the episode. Shop their extensive range online at energetiks.com.au or energetiks.com if you're listening from the US. T&Cs APPLY. TeamClaudia Lawson, host @byclaudialawsonMartin Peralta, sound designer @outputmediaPenelope Ford, producer @fjordreviewClint Topic, additional sound production @sawtoothstudios Talking Pointes was recorded on traditional lands of the Wurundjeri People of the Kulin Nation, Awabakal and Worimi. We acknowledge the Traditional Owners of Country and recognise the continuing connection to lands, waters and communities. We recognise that sovereignty was never ceded.

Today we're speaking with the phenomenal Shaun Parker. Shaun's path to artistic director and choreographer of an internationally renowned contemporary dance company is totally unexpected. Shaun grew up on a farm in Mildura in regional Victoria, but he had a double life in dance, theatre and singing. After finishing high school, Shaun went on to study science at Monash University in Melbourne until a sliding doors moment— Shaun saw a dance rehearsal in a university lecture room, and the rest is history. In this wonderful interview, Shaun talks about dropping out of uni, returning to the studio to train in dance, and about dancing professionally with the likes of Meryl Tankard, Australian Dance Theater and Chunkymove. But Shaun also speaks about a lot more; of his marriage, later identifying as bisexual, about toxic masculinity, and finally about finding his purpose in starting the internationally acclaimed Shaun Parker Company.  We are thrilled to be sponsored by Energetiks. Energetiks specialise in creating sustainable, world class dancewear for the stars Energetiks is offering Talking Pointes listeners a 20% discount [available until the end of March 2024]. Listen for the code in the episode. Shop their extensive range online at energetiks.com.au or energetiks.com if you're listening from the US. T&Cs APPLY.Team:Claudia Lawson, host @byclaudialawsonMartin Peralta, sound designer @outputmediaPenelope Ford, producer @fjordreviewClint Topic, additional sound production @sawtoothstudios Talking Pointes was recorded on traditional lands of the Wurundjeri People of the Kulin Nation, Awabakal and Worimi. We acknowledge the Traditional Owners of Country and recognise the continuing connection to lands, waters and communities. We recognise that sovereignty was never ceded.

Today we're speaking with the divine Danielle Rowe. Dani grew up in South Australia, and by 14 she had moved interstate to train [in ballet] under Marie Walton Mann. Within a year of that, she'd been accepted into the Australian Ballet School, and on graduation, she was offered a position with the company, but the accolades didn't stop. Dani rose to principal artist, won the Telstra Ballet Dancer award twice, and represented the Australian Ballet company around the world from London to China. But in a move that defines the superstars trajectory, she wanted more. She left Australia and moved to the US, joining Houston Ballet as a principal artist. Less than a year later, she was offered a contract with a prestigious Netherlands Dance Theater. In this wondrous conversation, Dani and I talk about her career across three continents, how she found choreography, about managing long distance relationships, her want for a family, and ultimately how she became the first female artistic director of Oregon Ballet Theater. We are thrilled to be sponsored by Energetiks. Energetiks specialise in creating sustainable, world class dancewear for the stars of tomorrow. Perform and feel your best at every stage of your dance journey in Energetiks' premium, high performance fabrics. Try them out with a 20% discount site-wide using the code DANIELLE20 at the checkout [available until the end of March 2024]. Shop their extensive range online at energetiks.com.au or energetiks.com if you're listening from the US. T&Cs APPLY.TeamClaudia Lawson, host @byclaudialawsonMartin Peralta, sound designer @outputmediaPenelope Ford, producer @fjordreviewClint Topic, additional sound production @sawtoothstudiosTalking Pointes was recorded on traditional lands of the Wurundjeri People of the Kulin Nation, Awabakal and Worimi. We acknowledge the Traditional Owners of Country and recognise the continuing connection to lands, waters and communities. We recognise that sovereignty was never ceded.

On our first episode of season three, I'm speaking with the former principal dancer of the Australian Ballet, the much loved Adam Bull. Adam grew up in outer Melbourne and by a stroke of luck, his primary school teacher at his local school suggested he try dance. He did, and it became a love affair that has lasted a lifetime. By the time he was a teenager, he was training under Brian Nolan at Dance World 3 0 1 before joining the Australian Ballet School and then being accepted straight into the Australian Ballet. In this wonderful interview recorded just five days before Adam's final performance in Melbourne. Adam reflects on his career, he speaks of his early life growing up, dancing, joining the company, and of course making principal. But we also talk about more about love, about his onstage relationship with Amber Scott, his thoughts on marriage and what it feels like to dance for the national company for 22 years. TeamClaudia Lawson, host @byclaudialawsonMartin Peralta, sound designer @outputmediaPenelope Ford, producer @fjordreviewClint Topic, additional sound production @sawtoothstudiosTalking Pointes was recorded on traditional lands of the Wurundjeri People of the Kulin Nation, Awabakal and Worimi. We acknowledge the Traditional Owners of Country and recognise the continuing connection to lands, waters and communities. We recognise that sovereignty was never ceded.

Talking Pointes returns for an epic third season. On this season, we're speaking with some of the biggest dance superstars in Australia. We're chatting about their lives and careers, navigating everything from promotion, pregnancy, and making principal. But we are also going overseas, speaking to Australian dancers and international artists who've made their careers around the globe. We're heading to London and to America. From Portland, Oregon on the West coast to New York City. There are life highs and career lows, and we chat everything from bullying, sexuality, confidence, inspiration, and navigating retirement. Find Talking Pointes wherever you listen to your podcasts. And to get the latest episodes, please subscribe or follow. Season three will be rolling out from Tuesday, September 26th, 2023. Production byClaudia Lawson, host @byclaudialawsonMartin Peralta, sound designer @outputmediaPenelope Ford, producer @fjordreviewClint Topic, additional sound production @sawtoothstudiosTalking Pointes was recorded on traditional lands of the Wurundjeri People of the Kulin Nation, Awabakal and Worimi. We acknowledge the Traditional Owners of Country and recognise the continuing connection to lands, waters and communities. We recognise that sovereignty was never ceded.

Taona Afful is a Growth Strategist, a Leadership and Business Coach. She is the Founder and CEO at Afful Leadership and Business Coaching. Outside her business, Taona assumes an executive role in one of the departments at the University of Newcastle, in the land of the Awabakal people (Australia).  Check out her work: W: afful.com.au  Insta and other platforms: @affulcoaching 

In this episode, Dr Tony Nyundu-Bicanin chats with Taona Afful, who is a Leadership and Business Coach. Taona is the founder and CEO at Afful Leadership and Business Coaching. She also assumes an executive role in one of the departments at the University of Newcastle, in the land of the Awabakal people (Australia). This episode combines Imposter Syndrome and life coaching from Taona's incredible coaching method. Hoping you enjoy this great work. Thanks for choosing the Visions & Tones Podcast. Remember to follow us on Instagram: @_visions_tones. Also, like, comment and share our work. We highly appreciate such support too. Intro music by David Ngoyi; Outro music by Elie Mugisha Eddy. 

Welcome back to Talking Pointes. This season we're back with another 10 beautiful conversations with some of the world's most extraordinary dancers, choreographers, and artistic directors. I'm your host Claudia Lawson.For our summer season bonus episode, we're catching up with the divine Emma Watkins. In season one, Emma and I spoke about her life growing up in Sydney. We spoke about her early dance years, about injuries and auditions, and then being selected to be the first ever female Wiggle. We spoke about Emma's passion for Auslan, her PhD, and we also spoke about love, surviving endometriosis, and fertility. To hear that conversation, just scroll back to episode six of season one, and we'll also put the link in the show notes.Today, nearly 18 months on, Emma and I speak about what her life is following her departure from The Wiggles. We speak about her new character, Emma Memma, and what it's like to be on the precipice of handing in her PhD. We also speak about her marriage to new husband Olly, and her plans for the future.We're just quickly interrupting this episode to let you know that we're delighted that Emma's bonus episode of Talking Pointes is sponsored by Energetiks. Energetiks are a sustainable, Australian-made brand that specialize in creating world-class dance wear for the stars of tomorrow. Perform and feel your best at every stage of your dance journey in Energetiks premium, high performance fabrics. You can see their entire range online at energetiks.com.au. For all Talking Pointes listeners, there's a 20% discount on all Energetiks products. Just use the code EMMA20 at the checkout. The offer's available until the end of August, 2023.Host @byclaudialawsonTranscript:Claudia Lawson: Hello.Emma Watson: Hello.CL: In the lead-up to this interview, I was trying to get the timing of our last chat, which was about 18 months ago. You were newly engaged to Olly, and happily dancing as a Wiggle.EW: That's so long ago. It feels like a whole nother lifetime ago now.CL: Yeah. I think our chat was sort of mid-2021, so we were in the deep dark Sydney lockdown. A few things have changed since then.EW: Yeah, lots of things have changed, and it really does feel like a completely different chapter now.CL: I bet. Can you talk us through, I assume, an epic decision to leave The Wiggles? Can you talk us through the decision-making process and your head space leading up to that call?EW: I think through the lockdown, multiple times, I had a lot of time to focus on my thesis, which essentially was going on the whole time I was touring and performing. It's been part of my life for most of the time anyway. But because we weren't touring as much, I did have a little bit more time to sit and think, and reflect, and write. It really started to make sense for me that this particular part of research that I had been embarking on was needing to be finished. Probably 18 months ago when we spoke last time, it probably should have been finished then.CL: How long have you been doing your PhD?EW: I guess when you ask anyone that's doing a PhD, it's a bit more extended than what was originally planned. I'm doing my PhD through Macquarie University, so it's a bundle approach where you do a master's and then you do your PhD.CL: Oh, I see. Yeah.EW: The master's is helpful, yeah, because you're kind of doing a little bit of the PhD first.CL: So you sort of step up. Yeah. Okay.EW: Yeah. Currently, it's probably been about five years altogether, which probably isn't as long as some people do their thesis for. But it does feel like most of the research that we have been doing has been going on for over a decade anyway, so it has been a real conscious decision to put the line down now, which I've been told many times in the last month.CL: When is the line?EW: The line is at the end of March. I feel like I shouldn't say that in case I don't get there.CL: Oh, Dr. Watkins.EW: It feels positive yet. Yeah.CL: Okay, so lockdown happens. It's the first time that really you haven't toured with The Wiggles in almost really a decade. It was an extensive touring program that they had. Is it sort of like COVID gives you this moment to pause?EW: Absolutely. Of course, the pandemic is positive and negative. It has different effects on lots of different people. I really can't talk for everybody, but in terms of my situation and stopping traveling after 10 years constantly, I think my body just didn't know what to do with itself. For the first time, it was like, “I think we're on a body holiday.” That was actually something that I needed so much, but I didn't realize. Not just for a dancer and having a moment to stop, which kind of feels contradictory because you don't really ever want to stop your body, because then sometimes it can go into breakdown, which has happened to me as well, but at times it does release you and give you some sort of freedom to start again. I mean, now, 18 months on … Even just the original stopping during the pandemic, my body felt a sigh of relief, but now, 18 months on, it's completely different again.CL: Is it really? In what way?EW: Look, I'm probably not as fit as I used to be in terms of show fitness, but my body is definitely reacting differently because it's not under pressure of being in a car for a million hours, driving, on a plane every second day. There's definitely something different about … my body feels that it is not as restricted. That, in a way, I feel like I'm learning ballet back at square one. I'm training online with a beautiful teacher over Zoom. Which, we met through the pandemic, over Zoom. I've been training with her ever since. So ever since we started talking, that's when I met her.CL: Wow. So, what, you're taking weekly ballet classes?EW: Essentially, three times a week with her.CL: Wow.EW: Because I live now in the country, which is also very different to where we were 18 months ago in a really tiny apartment in Sydney. Because we were in the lockdown in there, that was a real time. Not for us as a couple, but you just get so cramped if your body can't move more than 10 meters and you can't go outside. I think now that we've moved south of Sydney and we have a little bit of a backyard, it's instantly completely different.CL: Okay, hang on. I feel like we are-EW: I know. Sorry.CL: … PhD. No, we are country moving. It's all the topics I want to hear about. But first of all, let's head back to that word retirement, from The Wiggles. I mean, it's an epic word to say out loud. When did it start creeping in?EW: The word itself?CL: Yeah. Just even to make that announcement or to think this could be a reality.EW: I guess I never thought about the word retirement, even though it was yelled at me over the street. I'd be taking the dogs for a walk and people were like, “Congratulations on your retirement.” I'm like, “Really?” I guess I understand the use of the term because I was stepping away from that particular role. But for me, it more felt like an internship that was really important to the way that I was forming my critical thinking and performance mode. I was like, “Okay, that's that chapter, but I think some of the research that we've been working on is really important, that we need to focus on now so that we can act on it in the future if we ever want to make children's content, or any content, really, for that sake, from this point forward.” So I understand that retirement, I guess it was a bit overused because I'm certainly probably too young to be retired, and couldn't retire anyway. We need to work. Certainly retiring from the role, but it more felt like a chapter, for me.CL: Yeah. Maybe that's a perception from the outside. Because your personality and the character Emma Wiggle, there was so much overlap, that perhaps from the outside, it was like, “How difficult must it have been to step away?” But maybe not so much from the inside.EW: No, definitely hard. Yeah. I think for me as a person and a personal journey, it's taken this long for me to separate myself from that personality as well. You don't realize how inextricably embroiled they become. Because we were so fortunate to bring our own characteristics and hobbies and interests to the role, it was a part of me, and it will always be a part of me. Absolutely.CL: Was it scary?EW: Yeah, I think it always is. We had lots of discussions, particularly with Olly and I. We ended up reflecting on a lot of people in the performance industry, particularly dancers who might have grown up only dancing and having that as their one goal. Because a dancer's life, in some schools of thought, is quite short, when they don't perform anymore, or when they have retired from the company, they're still so young. Because that becomes such a big part of their identity, yeah, how do you move on from that? I think for some people it can be quite debilitating.CL: Oh, absolutely. That passion that they've had, where do they go? Yeah.EW: Yeah. But actually, I think it might be the opposite. I just feel completely free, as in …CL: So good.EW: I feel like, now, there was … There's lots of different thoughts in my head about this next chapter. It's not just specifically about work or career, it's also about having time to spend with family, and having time to spend at home and sit down and have a cup of tea. Some of those things I forgot about over the 10 years. So being able to reconnect with friends that I hadn't seen for over a decade was also something that I never had time for. It's been an eye-opening experience. Also, that we now have time to talk to people. Just take a moment to connect with families, through our work as well, but also in the new neighborhood that we are a part of, and find out what people are really looking for in the world now.CL: Yeah, it's interesting that you say that about the retirement because I suppose you also had a second passion bubbling along in the background with your PhD. Some of the people I've spoken to who have found retirement so difficult is because ballet or dance or performance has been there.EW: Is everything.CL: Yeah, they're everything. And then when they stop or their body stops, where do they put that energy or that passion?EW: Absolutely. Emma Wiggle was everything to me. I didn't think about anything else but her. I was just infatuated with that experience and the journey, and always wanting to try and improve her. I had such a good chunk of time to really work on it, as well. It's not really normal for people to play one character for a decade.CL: Yeah, that's so true, isn't it?EW: Yeah. I had to really think about that as well. It's also not normal to be photographed in the same outfit for decades. I didn't realize that either. So, all of a sudden stepping away from that role, and then initially, obviously, focusing on the thesis. And then all of a sudden being approached to do other projects, and wearing different costumes and being a different … I just was like, “Wow, I didn't know that this was possible.”CL: You step away to do the PhD or to focus more on the PhD, does Emma Memma feature in that thought process?EW: Not at the time when I stepped away. We knew that … One of the outcomes of the research is to practically put in place what we've been researching.CL: Okay, can you summarize?EW: Yeah.CL: Just for your supervisor's approval. What is your PhD looking into?EW: My supervisor's going to be crying right now. I love her to pieces. She's the best thing since slice bread. For some reason I can't articulate it, which is probably the reason why it's still going. My PhD is about creative integration of dance, sign language, and film editing. Really, it's about a comparison between people who use sign language and people who might grow up as trained dancers, and what are the similar skills that they both have? Sometimes they are in our subconscious or they're not known, they become techniques of intuition. Essentially, we have really similar qualities, but there is not a lot of crossover between people who use sign language and dance, and not a lot of dancers who use sign language.But I feel like it's really silly, this is not in the PhD, the word silly, I feel like it's really strange that we don't have more crossover in those fields because we could really learn from each other. From a dancer's point of view … This is too long, obviously, for a clarification. For a dancer's point of view, if your career is very short, then you can apply your skills as visual detailed professionals to be learning sign language, and actually help in the workforce where we have such a lack currently right now in the deaf workplace.CL: As you say that, I'm thinking of those classic scenes from the ballet where the princess comes on. She invites the entire courtroom to dance. And then there's that classic arms above your head, spin the-EW: Yes, roly-poly.CL: Roly-poly.EW: Yeah, “Come and dance with us.”CL: “Come and dance with me.” And then there's the bow to say, “Thanks, everyone.” You're so right, they communicate through their use of their hands, their arms, their face. And yet, why is that not translated into skills with Auslan? Because actually-EW: Unbelievable.CL: Yeah. I mean, of course, I imagine people who are hearing impaired completely understand what those dancers are gesturing, but why wouldn't we integrate that?EW: One of the challenges is music. I think music becomes a really big barrier for both sides. People that are deaf and people that are hearing, I think people that are hearing, this is a generalization, will think that it's not possible for somebody who's deaf to join in. Whereas people that are deaf don't really … There are some schools of thought that music isn't part of the community, but that actually is not quite true for everybody. It's not really about music in the aural sense, but music is actually movement. Even if you were playing an instrument, you have to move your body to play the instrument. Essentially, my argument is that, “Music is movement, so let's get rid of the barrier, bring down the wall, and let's have a party because we know things that each other knows. We use them without thinking about it, so let's embrace it.”CL: Emma Memma is your new children's character that you have launched. Did she evolve out of the PhD as almost like a test case?EW: Yes, that's right. Yep.CL: That's your data collection, isn't it?EW: Yeah.CL: I love that.EW: Yes, Emma Memma is an outcome of the thesis, but it wasn't known to me at the time when I decided to leave. I just knew that I needed to do the thesis, essentially.CL: With Emma Memma, what are you hoping to bring to your audiences with her?EW: It's really interesting that we're even doing this interview at the time because I'm definitely writing the thesis now. I'm definitely a hundred pages in. It's-CL: This is a discussion, right?EW: I really honestly feel that this is just a piece of sand in a very big beach. I don't think that Emma Memma solves all the problems for integrating these visual elements. The reason why we chose this avenue is because, A, we have experience in children's entertainment, but B, also because it's the easiest platform to try a very simplistic test. With Emma Memma, some of our music, well most, is only based on two words and two signs. You can't really do a test without having such strict controls. Again, I'm talking about a test, but it's not really. We have given ourselves the boundary to create music with very little English, spoken English or sung English, so that we can make sure that the sign that's matching it is completely understood. And then we just go from there. So all of the songs on our first album … We only have two.CL: So Wednesday and Wombat, and then going on an airplane. Okay, I'm starting to see the theme here.EW: Yeah. There's some reviews like, “Ah, why is this so simple? It's so boring.” I completely understand that viewpoint, but that was actually our goal. We're like, “How simple do we need to go for everyone to understand this sign?”CL: Wow.EW: Essentially. Yeah.CL: I love that. That the songs are too simple, and you're like, “No, no, no, no, no. This is for the PhD.”EW: Yeah, this is a goal. What's interesting touring … we're not really touring, but performing in front of a group of people, which at most times was only about a hundred people at a time, just so that we could … I mean, for me, all I'm doing is watching people. In that space of time, which might have been an hour, we were doing a few songs and then meeting every single family that was in the room. For most of the time, it just shocked me how many people in the audience picked up the signs straight away without knowing the song. That's the key. Because all of these songs that we've put out in the last 12 months are not very … It's not widespread. A lot of people don't know them. It's not like singing “Twinkle Twinkle Little Star” or “Baa Baa Black Sheep,” a nursery rhyme that is quite common.We were bringing completely new songs to an audience that some of the people obviously had listened because they had followed us, but some people, you think parents, particularly dads who … they just happened to be there, they obviously are not listening to me on social media, and that is fine. But in the space of the room, they could join in because they knew that it was only one or two signs, and then did it straight away. That's what I was watching the whole time. I was like, “Wow, everyone's copying.” It's only two signs. And then, for us, it's really about that movement or that dance choreography that's embedded in Emma Memma, or in any of the songs, is actually a sign. It's not just an irrelevant dance move. That's become very clear to me over the last 12 months.CL: Sorry. I remember in our last chat you had said … I think it was that you were hopeful that every person could just sign, “Do you need help?”EW: Yeah. We haven't done that song.CL: Yeah, that's the next album.EW: See how many words that is, do you … Yes.CL: You can't get to four yet.EW: Not yet.CL: Was it hard? I mean, you came into The Wiggles in an established brand, and then you sort of took it to far higher highs with Emma. Was it a tricky process or was it difficult to launch from scratch on your own?EW: I've actually just found it really interesting. I guess I don't really have any expectations of being some sort of a success, or worldwide success. It's not really about that for us. It really-CL: Kind of surprising to hear you say that because you're obviously so well loved around the world as Emma Wiggle. No thoughts that it might go well?EW: I mean, we'd love it to, but I think that's got to be dependent on whether the content is usable. Yeah, of course, we totally could have decided to just do children's entertainment for the sake of it, or work in any other region. I mean, what's interesting about the last year was that I worked on so many different projects that weren't even related to children's entertainment. I went back and taught at my high school. I was tutoring online. I've been doing sign language interpreting course. I was so lucky to do Lego Masters. None of that stuff is in the same region, really.CL: No. And then you did The Masked Singer. You've done Reef School.EW: Yeah, Reef School. Some really beautiful projects that that's also been alongside this. This really, it has been such an amazing, I guess it's almost like a workshop. Honestly, we've met some incredible families that I guess have been hungry for some content that provides accessibility within their family structure. We met a beautiful … we met lots of amazing families, but we met a family in Perth. The grandmother came with her grandchildren. I think she came with her daughter as well. She was signing to our deaf consultant who was there, Sue. Sue was horridly waving at me across the room. I came over, and then we were signing with the grandmother. The grandmother signed to me. She's like, “You have no idea, I've not been able to watch a show with my grandchild prior to this.” I was like, “Oh, wow, that means a lot.” I think that's something that hasn't left us, because now we've realized how important it is to embed sign language foundation in this movement. Because it should be. It just doesn't make sense to me why it …CL: Are you fully fluent in Auslan?EW: No, but I have … That was very quick, wasn't it? I don't know if you can … You'd have to be signing for decades, I think. I just know so many people who sign beautifully that I wouldn't be able to call myself fluent. But I have my diploma in Auslan, and I'm doing my interpreter's course. Essentially, one of the criteria is fluency, so I can have a conversation quite easily. All of our classes are in sign language for three hours at a time.CL: Wow.EW: So yes, we can converse in sign language, as we should be able to, but I still forget signs. I can't express myself sometimes. I think that's the frustration with being a student. Maybe ask me again in 10 years.CL: What actually sparked your initial interest in signing and Auslan as a non-deaf person?EW: Yeah, that's a good question. I've been asked that question a lot this year. Because mostly, people are exposed to somebody that is deaf through their family. 95% of deaf children are born to hearing parents. So for those parents, that's the first deaf person they might meet. The reality is quite weird, but there are lots of people who learn sign language just because they are interested in the culture and the community. I happened to have a friend at my primary school, we were probably about seven or eight, and her brothers are deaf. We would go to their house and play. That's my first exposure to sign language. I think I was just infatuated with it then. Because I was like, “Oh, what are they saying? What are they doing?” Watching my best friend sign to them, I was like, “Oh, can you show me?” so it just really snowballed from there.I tried to learn sign language through high school, and after high school and through touring. It was so difficult because you needed to be there in person. I'd enrolled so many times and wasn't able to complete the course because I then went away on tour. So through the pandemic, again, another really strange positive to this story, was that the course was changed to be online. Then I completed an assessment test and was really, I guess, quite lucky, because I'd also been continuing discussions with my deaf friends and my deaf network. So I didn't have to start from scratch. I was able to go to certificate three and four and do them at the same time. And then did my diploma. And then here we are in the interpreter's course.CL: It's so incredible what you're going to bring to that community, but also to the entertainment and the dance community. It's just so incredible because, actually, you're bringing something to both. Actually, it's funny that you just mentioned dance [inaudible 00:26:35]. As I was looking at all the things that you've done last year, and especially going on The Masked Singer, remember our chat about all your auditions singing? I just was actually … I had a wry smile, and I thought, “Now you're being really recognized as a singer.”EW: Okay, this is just … Okay, when they approached me to do The Masked Singer, I was like, “Great. I think I can do that in the mask because then I don't have to face anyone.” The whole time we were filming, I was nervous as ever, but I knew that nobody knew who I was. Well, that's what I thought, but obviously I was way too obvious. And that's okay. That's okay. I wasn't clever enough to change my voice because I was so stressed about the singing, and that's fine. But then when you take the mask off, the head off, I didn't remember that you had to sing. So when I was revealed and I took the mask off, having a chat with Osher, and like, “Everything's cool,” then they're like, “Okay, here's the microphone,” I think I did nearly wee my pants, and I wasn't really ready. Yeah, I wasn't ready.CL: So you thought the zombie head was just hiding your …EW: Absolutely.CL: But it was so cute because you had the turned out little first position.EW: So silly. Why did I do that? Why? I look back now, I'm like, “What was I doing? Why?”CL: Personal life. Obviously huge amounts of change as well since we last spoke. You've married Olly. Can you tell us about that day?EW: Well, it was pretty lovely. But as Olly and I are, we're pretty casual. The wedding was in very regional Victoria at a homestead that was quite close to Olly's grandfather, who was the eldest participant at our wedding. We wanted to make sure he could be there, so we were asking a lot of other people, friends and family, to travel past Warrnambool, which is very far away in our eyes, when you live in Sydney. Or Brisbane for that matter. It was just a lovely … It was just a really lovely day. It just felt like a garden lunch.CL: You've moved out of Sydney.EW: We have.CL: Good? What's it like?EW: It's so good. We've moved to the Southern Highlands to a place called Robertson. I guess I can probably name the town because it sounds like everybody knows that I live here now.CL: Yeah, I think it's fairly widely reported in the media, I've got to say.EW: It is such a beautiful part of the country. We moved down here for so many different reasons, but my parents are down here, my sister's down here. We're all a lot closer than we were before. Particularly after the tour, we wanted to make sure that we could see each other more often. And we love animals and nature, and we do have lots of animals at home. Yeah, it's basically a farm stay.CL: Wow. Was there any adjustment moving out of the city?EW: You don't realize how weird it is until you go back to the city. During 2022, I was driving to Sydney to do some filming and some work, The Masked Singer and the like.CL: Oh, yeah. Yeah.EW: Every time I drove into Sydney, my shoulders would raise up near my ears. I'm like, “Oh, the traffic and people.” I just became a grandmother instantly, within about two months. I was like, “There's so many people.” You just don't …CL: So noisy, no parking.EW: The Robertson post shop is basically the highlight of my life, where you can drive straight up to it and walk in and talk to the person and then drive away. There's no line. There's no issue. You get parking every time. You don't have to even pay for parking. It's completely different.CL: And then you said at the start when we were chatting that you thought your body had gone through a sort of … Did you say breakdown since …EW: Oh, as in it had a break. My body was happy. But then it also, I think as dancers have, when you're not doing as much as you used to do physically, your body starts to go into a bit of … I can't describe it. I've basically realized that my feet strength and some of my bones were starting to have a moment. I do now have arthritis in one of my feet.CL: Do you?EW: It's actually starting to heal, surprisingly. So I think it was just a moment where it was like, “We need to stop. Now we're going to turn into a snowman, and now we're okay.”CL: Also, you were touring eight plus months a year and performing every day. I mean, there's just no way you can even maintain any training regime.EW: You can't.CL: You can't maintain.EW: You actually can't.CL: No.EW: No, it's just not possible. But obviously, now, with a different training regime, not doing as much physical things that I was doing before, but different things that are helping my body stay at least flexible and strong, my body's so different. My body's moving better now than it was before.CL: Really?EW: And I'm just not moving it as much as I used to.CL: Wow. And the endometriosis?EW: Well, that's the same thing. It's just unbelievable.CL: Is it really?EW: I must have had so much stress on my body, not just physically doing things, but I think that the traveling was really knocking my body around. Of which I kind of knew, but didn't really know. It was only sometimes in the last year when I'd catch a plane. I haven't really been on a plane that much in the last 12 months. And then getting off the plane and my body absolutely going into meltdown.CL: Really?EW: Like, “Wow, okay. It really doesn't like a plane.” So now I know that it doesn't like a plane.CL: Right. That extended sitting and just everything that comes with that.EW: I think it's the pressure. I think it's the cabin pressure. Yeah. So now, again, there's more controls. Now I can actually work out what the problem … what setting it off all the time.CL: You've got that time to watch how your body responds.EW: You've got that time to have a moment after a plane. Whereas before, I'd get off the plane, and then instantly be on stage. My body would be like, “Help, help, help, help.”CL: Wow.EW: But now I know what's going on. Obviously, I've got on a plane this year. It's okay. You just have to manage it and know. You just have to be nice to yourself.CL: Yeah. I often thought of that when the Emma Memma costume launched. I remember you saying when … Emma Wiggles costume, none of us knew that you had endometriosis. And I don't think you knew.EW: No.CL: So just managing that behind the scenes in a career that is so performance based.EW: Yeah. My costume is a lot cooler now. It's just a whole different material.CL: Perfect. Breathable.EW: It's amazing. Yeah. Completely different. Yeah.CL: Amazing. What are your hopes for this year?EW: Oh, there's so many hopes. I mean, the first hope is submitting the thesis.CL: Dr. Watkins. I love it.EW: Oh, I can't even think about it. I just know that it's going to come back with revisions. That's okay. You just have to accept that. It's not about that. It's just about doing a good job in terms of presenting the research. So that hopefully we can build on it in the future, or it helps other people acquire some other skills. But for Emma Memma, we're hoping to film our very first TV series, as in a long-form TV series. So we've been in lots of different discussions with different parties across the world. It's just been trying to make the right decision about who we might want to partner with, that's going to understand the nuances of sign languages around the world as well. We want to make sure that we partner with the right people.CL: Because around the world, they don't speak Auslan. Auslan is …EW: Auslan is only used in Australia. There are some similarities with New Zealand sign language and British sign language. But for most of it, that's the beauty about sign language because the culture is embedded in the language. You can see the different culture when you watch different sign languages across the world. So that's really important for us. But also, we are very, very fortunate. We're in a pre-literal audience space where we can use iconic shapes as well, gestures, mime, dance. So that mixture and that balance is what we're trying to write now into proper video scripts to prepare us for a TV series. Yeah.CL: Wow. Any other post-doctoral …EW: What do you do with it? I mean, again, all of the research that's part of the PhD is really informing us about Emma Memma, but also other projects. We have been very fortunate, again, to be approached to do lots of different creative collaborations. As soon as I receive any kind of email, you just look at it straight away and you're like, “Is this accessible to my friend?” And then that gives us a really good indication about whether we should choose it or not as well. I wouldn't want to do anything that … For example, Sue, my friend, I wouldn't want to do anything that she couldn't have access to as well. That's really important for me.CL: Wow. This is a strange question to perhaps end with, but you are just such a delight. Every time I've spoken with you, had any interaction, the way that you must have to hold yourself when you're in public because children recognize you. Does Emma Watkins ever have a moment of angst? Do you get cranky, Emma?EW: I really only get upset if my animals are sick. I literally go to the goats every morning. If one of them's having a moment, I come, I'm like, “Why are they sick?” That's really my only moment of frustration is having animals that are sick when I don't know what's gone wrong.CL: Wow. Because you just seem to have such a positive outlook on life. You have such … it would seem, such beautiful relationships with everyone that you deal with. It's just, what an asset to all the communities that you work with.EW: Thank you. I guess we can't really complain. We're very lucky.CL: Emma Watkins, thank you so much. I can't wait to see what you do this year. Just all the best for you and Olly as well.EW: Thank you so much.CL: If you'd like to hear more about Emma's life, you can find our full conversation in the show notes. For Emma Memma tour dates, songs and updates, you can find her on Instagram @emmamemmamemma. To continue to follow all of Emma's life adventures, you'll find her on Instagram as well @emmawatkinsofficial.Emma and I recorded remotely, with Emma dialing in from Robertson, the land of the Gundungurra and Thaua people, with recording and production on the land of the Awabakal and Gadigal people of the Eora Nation, to whom we pay our greatest respects. Talking Pointes is produced by Fjord Review. Remember to subscribe to get the episodes as soon as they're released. And if you like us, please leave a five star review. Your host and producer is me, Claudia Lawson, with additional production by Penelope Ford and Clint Topic. Sound production and editing by Martin Peralta at Output Media.This is our final episode of our summer season. We cannot thank our guests enough for sharing their stories and lives, and all of their vulnerabilities. To our beautiful audience, thank you once again for your overwhelming response. Season three of Talking Pointes is in the works and will be available wherever you get your podcasts later this year. In the meantime, if you've enjoyed the series, please hit five stars, and subscribe or follow to be notified of when new episodes are released. If you'd like to follow along, you'll find me on Instagram @byclaudialawson. For all your ballet and dance news, head to fjordreview.com.Images: Emma Watkins as Emma Memma. Images courtesy of Emma Watkins.

For our bonus episode this season, we're catching up with the Australian Ballet's Artistic Director David Hallberg. Last season, David and I spoke about his life growing up in South Dakota, being bullied, training at the Paris Opera, becoming principal at American Ballet Theatre, and being the first American to be invited to dance with the Bolshoi Ballet in Russia. We talked about climbing back from his epic injury, his head space at that time, before taking over the Artistic Directorship of the Australian Ballet right in the middle of Covid. A year later we talk about what it's been like to be artistic director now that theatres are open and audiences are back, about what kind of as dancers he selects for the company, how he decides who will be promoted, the Australian Ballet's 60th anniversary, and life in Australia.If you'd like to read more about David's life, find our full conversation in the show notes, or you can read his autobiography called A Body of Work: Dancing to the Edge and Back. For Australian Ballet updates you can find them on Instagram at @ausballet and to continue to follow David's adventures, you'll find him on Instagram at @davidhallbergofficialDavid and I recorded remotely, with David dialling in from Melbourne, the land of the Kulin people, with recording and production on the land of the Awabakal and Gadigal people of the Eora Nation, to all of whom to which we pay our greatest respects.

Mary, Mother of God Solemnity - Luke 2: 16-21 Reverend Di Langham writes: I am Reverend Canon Auntie Di Langham. Director of Reconciliation for Anglican Diocese of Newcastle. I am also secretary of the National Aboriginal and Torres Strait islander Anglican Council. I am 72 years of age. I have been a priest in the Diocese of Newcastle for the past 21 years. I was the first Aboriginal woman in this Diocese to be ordained. I was a chaplain in Corrective Services NSW for 20 years and prior to that I was a chaplain in Juvenile Justice. I am a Boandik woman and part of the Stolen Generations history of this country, now living and working in the lands of the Awabakal and Wanaruah. I am married with 4 children, 14 grandchildren and 2 great grandchildren. I like to weave into any of my talks Aboriginal spirituality and talk about my past experiences in any sermons I do. I was a teacher in my past life and taught in both schools and TAFE.

Welcome to our special Halloween episode on Spirit Sisters with Karina Machado. I thought it only fitting that I share a haunted house story today. What makes it extra special is that I had the opportunity to catch up with Nell Jones, whose story features in my book Where Spirits Dwell. Nell is a retired teacher and writer who lives in Stockton, an historic beachside suburb in the NSW city of Newcastle. The traditional custodians of these lands and waters are the Awabakal and Worimi Peoples. In 2000, Nell bought a derelict, century-old cottage that had once been a general store. The home signified a fresh start for Nell and her then teenaged daughter, but as they would come to discover, they'd have to share it with a cast of spirit visitors. From a vintage dame in a stylish frock, to a smelly coal miner and little girls playing in the backyard, the place “was packed with ghosts,” as a paranormal investigator declared. At the height of the haunting, Nell called in the investigator from the Australian Institute of Parapsychological Research; his name is Robb Tilley and there's a chapter about his case files in Where Spirits Dwell. As Nell shares in our conversation, Robb performed a house clearing but even all these years later, Nell still has a sense that she has company in the house.   Enjoy Nell's story about her beloved home, portal to the past.   Listen to my book Where Spirits Dwell on Audible: https://www.audible.com.au/pd/Where-Spirits-Dwell-Audiobook/1489357823?source_code=SEMPP30DTRIAL4510830220001&ipRedirectOverride=true&gclid=CjwKCAjw5P2aBhAlEiwAAdY7dF4YCw2Rgfgl32Ywb7CUknFyRqC74411hHydi_vfs5nFtNzDjH0PPRoC_gwQAvD_BwE&gclsrc=aw.ds   Connect with Karina Machado at karinamachado.com Buy the 10th anniversary edition of Spirit Sisters as a paperback at Booktopia. Buy the e-book of the 10th anniversary edition of Spirit Sisters at Kobo. Buy the audio book of the original Spirit Sisters (narrated by me) at Audible. Connect with Karina on Facebook. Connect with Karina on Instagram.   Theme music: Mysterious by MusicPond, from Audio Jungle I acknowledge the Dharawal people who are the Traditional Custodians of the land of Sutherland Shire, in NSW, Australia, where I live and record Spirit Sisters, and I recognise their continuing connection to lands, waters and community. I pay respect to Aboriginal and Torres Strait Islander cultures; and to Elders past, present and emerging.  

For our bonus episode this season, we're catching up with the Australian Ballet's Artistic Director David Hallberg. Last season, David and I spoke about his life growing up in South Dakota, being bullied, training at the Paris Opera, becoming principal at American Ballet Theatre, and being the first American to be invited to dance with the Bolshoi Ballet in Russia. We talked about climbing back from his epic injury, his head space at that time, before taking over the Artistic Directorship of the Australian Ballet right in the middle of Covid. A year later we talk about what it's been like to be artistic director now that theatres are open and audiences are back, about what kind of as dancers he selects for the company, how he decides who will be promoted, the Australian Ballet's 60th anniversary, and life in Australia.If you'd like to read more about David's life, find our full conversation in the show notes, or you can read his autobiography called A Body of Work: Dancing to the Edge and Back. For Australian Ballet updates you can find them on Instagram at @ausballet and to continue to follow David's adventures, you'll find him on Instagram at @davidhallbergofficialDavid and I recorded remotely, with David dialling in from Melbourne, the land of the Kulin people, with recording and production on the land of the Awabakal and Gadigal people of the Eora Nation, to all of whom to which we pay our greatest respects.This is the final episode for Season 2 of Talking Pointes. We can not thank our guests enough for sharing their stories, their lives, and their vulnerabilities. To our sponsors, Bloch, Fjord Review, and Energetiks, thank you for all of your support, discount codes are available in the episodes, or see my Instragram for details at @byclaudialawson. To our beautiful audience, thank you. A fun and exciting Season 3 of Talking Pointes will be back next year, in the meantime please feel free to get in contact with suggestions or guests for next year.We're delighted that David Hallberg's episode of Talking Pointes is sponsored by Energetiks. Energetiks are a sustainable, Australian Made brand that specialise in creating world class dancewear for the stars of tomorrow. Perform and feel your best at every stage of your dance journey in Energetiks' premium, high performance fabrics. See their entire range online at energetiks.com.au, and for all Talking Pointes listeners there's a 20% discount on all Energetiks products—listen in for the code!Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios 

In this episode Dr Tones (@_blacktoned) chats with Dr Daniel Krauße about the linguistics of emoji. Dr Krauße is a comparative linguist from Germany who specialises in teaching, translation, and interpretation of English, German, Indonesian, and Malay. He obtained his PhD in Linguistics from the University of Newcastle, the campus is situated in the land of the Awabakal people in Australia, with a focus on the syntactic structure of Australian and the Pacific languages.  To access Dr Krauße's full bio and publications see these links: https://www.danielkrausse.com and https://www.danielkrausse.com/academia/  Instagram: @kraussetranslations Youtube https://www.youtube.com/c/DanielKrausse and https://www.youtube.com/watch?v=IJ8oP2Nl3Pk&t=8s . The publication he mentioned about Autism and emoji can be accessed here: https://link.springer.com/article/10.1007/s10803-022-05557-4 Thank you for choosing the Visions & Tones Podcast. Remember to follow us on Instagram: @_visions_tones.  

Chris & Josh return with a season defining episode, joined by guests Poasa Loli (Awabakal Eagles), Joey Morris (Central Newcastle Butcher Boys) & Jack Dawson (Hamilton Ducks). We also announce our 2022 Junkyard Skips Stats Man of The Year!

In the last episode of Season 3 we briefly trace the history of Australia's first and most important export, coal, and the city with which it is inextricably linked. We trace this history from the dreaming of the Awabakal people all the way to the open cut coal mines of the Upper Hunter that frame our national narrative to this day. One particular mystery, however, forms the focus of the episode; just why did roughly 50 merchant ships laden with Newcastle coal go missing in the Pacific Ocean bound for the West Coast of the Americas? And why were the powers that be so stubborn in their refusal to address an issue that cost over 1000 lives in the late 19th Century?

Caitria and John are from opposite ends of the globe but were brought together in an African Gospel church in the Northeast of China. After living, studying, working, and worshipping in China for five years, COVID-19 unexpectedly brought them back Australia. Caitria currently works in Aboriginal Land Strategy for the NSW Government, and John in fundraising for World Vision Australia. They currently live and play on the lands of the Awabakal and Worimi people in Newcastle NSW. In this episode, Mitch caught up with Caitria and John to talk about how their vastly different experiences led each of them to study in China, and how they encountered God there. If you want to connect with Caitria and John, you can find them on Facebook or connect with Sierra Leone Environment Matters. https://www.facebook.com/caitria.reid https://www.facebook.com/mohamed.s.kamara.351 https://www.facebook.com/slem.on.fb -- Join the conversation: http://embody.org.au/discord Follow us: http://facebook.com/embodyau http://instagram.com/embodyau Credits: Our theme music is 'Overboard (Instrumental)' by Josh Woodward, http://freemusicarchive.org/music/Josh_Woodward Used under Creative Commons. We respectfully acknowledge the traditional owners of the lands and waters of Australia, and pay respects to elders past and present. We recognise their continuing connections to land, waters, and culture.

Feast of Christ the King - Jn 18: 33b-37 Reverend Di Langham writes: I have been a priest in the Diocese of Newcastle for the past 21 years. I was the first Aboriginal woman in this Diocese to be ordained. I have been a chaplain in Corrective Services NSW for the past 20 years and prior to that I was a chaplain in Juvenile Justice. I am currently a full time chaplain at Cessnock Correctional Centre which is a male prison with around 650 men incarcerated. Around 38% of these are Aboriginal. I run Aboriginal programs with the men in this centre. I am 72 years of age. I am a Boandik woman living and working in the lands of the Awabakal and Wanaruah. I am married with 4 children, 14 grandchildren and 2 great grandchildren. I like to weave into any of my talks Aboriginal spirituality and talk about my past experiences in any sermons I do. I was a teacher in my past life and taught in both schools and TAFE.

Director of Newcastle Museum, Julie Baird, is asked five questions by Sancta's Academic Head for Arts & Social Sciences, Sarah O'Keefe. Julie Baird has over 30 years of professional experience in the museum sector. She began working in Canadian museums in the 1990s focusing on textile collections of medium to large regional museums. Ms Baird returned to Australia and joined the National Motor Museum in South Australia in 1998. Since 2002 she has been at Newcastle Museum and was part of the small team who moved and redeveloped the museum which re-opened in its new site in 2011. She is now the Director of Newcastle Museum. The intersection of innovation and accessibility has been a strong theme in Ms Baird's major contributions to the museum sector. Ms Baird's experience in researching and interpreting and working with community has also resulted in a number of successful and award-winning permanent exhibitions, including the redesign and redevelopment of the Newcastle Museum's social history galleries. Her career focus has been to spread knowledge about history and museums in unusual or popularised forums, working with communities as broad as embroidery guilds and TV audiences to female prisoners and bikie clubs. Julie sits on the Artform Assessment Board Museums and History for Create NSW, has been a standards assessor for Museums & Galleries NSW and is the current Vice President of the Australian Museums & Art Galleries Association. This episode was recorded on the land of the Gadigal, Awabakal and Worimi peoples and we pay our respects to Elders past and present. We acknowledge the Country you are joining us from and pay our respects to any Aboriginal or Torres Strait Islander People who are listening. Follow Sancta Sophia College on Instagram @SanctaSophiaSyd and Facebook. Visit sancta.edu.au/fivequestions for more information. This episode was produced, mixed and edited by Hayden Edwards and Mia Trinidad, and hosted by Sarah O'Keefe.

Director of Newcastle Museum, Julie Baird, is asked five questions by Sancta's Academic Head for Arts & Social Sciences, Sarah O'Keefe. Julie Baird has over 30 years of professional experience in the museum sector. She began working in Canadian museums in the 1990s focusing on textile collections of medium to large regional museums. Ms Baird returned to Australia and joined the National Motor Museum in South Australia in 1998. Since 2002 she has been at Newcastle Museum and was part of the small team who moved and redeveloped the museum which re-opened in its new site in 2011. She is now the Director of Newcastle Museum. The intersection of innovation and accessibility has been a strong theme in Ms Baird's major contributions to the museum sector. Ms Baird's experience in researching and interpreting and working with community has also resulted in a number of successful and award-winning permanent exhibitions, including the redesign and redevelopment of the Newcastle Museum's social history galleries. Her career focus has been to spread knowledge about history and museums in unusual or popularised forums, working with communities as broad as embroidery guilds and TV audiences to female prisoners and bikie clubs. Julie sits on the Artform Assessment Board Museums and History for Create NSW, has been a standards assessor for Museums & Galleries NSW and is the current Vice President of the Australian Museums & Art Galleries Association. This episode was recorded on the land of the Gadigal, Awabakal and Worimi peoples and we pay our respects to Elders past and present. We acknowledge the Country you are joining us from and pay our respects to any Aboriginal or Torres Strait Islander People who are listening. Follow Sancta Sophia College on Instagram @SanctaSophiaSyd and Facebook. Visit sancta.edu.au/fivequestions for more information. This episode was produced, mixed and edited by Hayden Edwards and Mia Trinidad, and hosted by Sarah O'Keefe.

TW: Miscarriage, eating disorders About Your Body is a podcast about real bodies, real people and real stories. Hello everybody! A VERY warm welcome back to the first episode of Season 2 of The About Your Body Podcast! I'm so excited to be back with you. To kick things off this week, I sat down with Meah Robertson, a naturopath working in women's health and hormone regulation who is passionate helping people make informed choices about their health. Listen in to hear Meah talk all about: The science behind ‘pandemic periods' Biochemical influence of stress hormones on the menstrual cycle Th impact of stress and our body's ‘fight or flight' response on our cycle Reasons for amenorrhea Symptoms of PCOS Tips for managing blood glucose with PCOS and so much more! You can find Meah on Instagram @fem21 or visit her website https://fem21.com Thank you all for listening! Love to you all, and yay for being back!

Thank you for listening to the Someone New Theatre Company podcast production of The Adventures of Sherlock Holmes. Our actors and production team have worked tirelessly to bring these stories to you, and we hope that you have enjoyed listening to them as much as we have enjoyed making them. This production was directed by Gracie Rogers with Joanna Lusty, adapted for audio by Elizabeth Bradford and Marli van der Bijl and produced by Ryan O'Connor. Sound design for this production was provided by Callum Blair, Elizabeth Bradford, Taneesha Plummer, Josh Andrews-O'Neil, Jacob Thompson, Ryan O'Connor, and Marli van der Bijl.Our cast for this production was Lauren Atkin as Alice Turner, Nick Barker-Pendree as Colonel Lysander Stark and the Mysterious Gentleman, James Bowman as Inspector Bradstreet, Matthew Bradford as James Windibank and Isa Whitney, Mandy Calderwood as Miss Stoper, Paul Canlan as Jabez Wilson, Alexander Holder and Mr Windigate, Thomas Dimmick as Mr Breckinridge and Driver, Danny Donaldson as James McCarthy and Mr Toller, Jack Emond as John Clay, Amy Fortnum as Woman Street Actor, Olivia French as Violet Hunter and Julia Stoner, Nigel Goodwin as Station Master and Man Street Actor, Louise Gracey as Mary Sutherland and Elise, Liz Hardiman as Hatty Doran, Chris Hiscock as Arthur Holder and Victor Hatherley, Jessica Hutchinson as Irene Adler, Daniela Ifandoudas as Lady's Maid, Barry Kay as Jephro Rucastle and Joseph Openshaw, Lucia Kelly as Mrs Rucastle, Jazz Laker as Mrs Toller, Benji Leeks as John Openshaw, Stefanie Lekkas as Maggie Ryder, Jono Lukins as James Ryder and Detective Peter Jones, Jono McAteer as Wilhelm, The King of Bohemia, Katy Nethercote as Helen Stoner, Georgia Perkins as Mary Watson, Fred Preston as Neville St. Clair and Mr Merryweather, Conagh Punch as Guard, Hotel Waiter and Page Boy, Connor Rawson as Lord Robert St. Simon, Miarka Rogers as Mary Holder, Ursula Searle as Kate Whitney, Greg Shawcross as John Turner and Commissionaire Peterson, Sean Sully as Dr Grimesby Roylott and Francis Moulton, Matthew Whittingham as Henry Baker, Coroner and The Plain Clothes Man, Emma Wood as Mrs St. Clair, Matt Young as Inspector Lestrade and Duncan Ross, and - finally - with Steven Georgiadis and Shannon Nicholls as Sherlock Holmes and Doctor John H.  Watson. This podcast was produced on the lands of our traditional custodians, the Wadawurrung people. Cast recordings were made on the land of the Anewan, Awabakal, Boonwurrung, Cadigal, Dja Dja Wurrung, Eora, Gameygal, Wadawurrung, Wangal, Whadjuk, Worimi, Wurundjeri, Yorta Yorta, and Yuggera peoples. Someone New Theatre Company acknowledges and pays respect to our traditional custodians and to their past, present and emerging leaders. And, with our stories now come to a close, please enjoy this selection of outtakes and mistakes, courtesy of our wonderful actors. Enjoy! You can shop official SNTC and The Adventures of Sherlock Holmes merchandise on our RedBubble store.Follow Someone New Theatre Company on Facebook and Instagram to stay up-to-date with our other projects. #theholmespodcast

Episode 6 of ‘Yarning With Our Mob’ is now live and ready for you to listen to!We’re joined by an incredible group for our latest yarning session including Amy; Elise of the Wiradjuri and Palawa people; Linda of the Anaiwan, Awabakal and Barrabinya People and Lorna of the Kabi Kabi, Wakka Wakka people. During this episode, you’ll hear about the autism journey stories, the importance of service support and the significance of non-Indigenous people learning about Indigenous culture.For more information about Amy’s work as a disability support worker at the Cullunghutti Aboriginal Child and Family Centre, visit www.cullunghutti.org.au.

Holmes is sought out by a gentleman of high rank in society, Lord Robert St. Simon, to investigate the disappearance of his wife, Hatty.This episode features the voices of S. Georgiadis as Sherlock Holmes, S. J. Nicholls as Dr John H. Watson, C. Punch as Page Boy and C. Rawson as Lord St. Simon.The production is directed by G. Rogers with J. Lusty, adapted for audio by E. Bradford and M. van der Bijl and is produced by Someone New Theatre Company. Sound design for this episode by R. J. O'Connor and E. Bradford.This episode was produced on the lands of our traditional custodians, the Wadawurrung people. Cast recordings were made on the land of the Awabakal, Worimi and Wadawurrung, people. Someone New Theatre Company acknowledges and pays respect to our traditional custodians and to their past, present and emerging leaders.You can shop official SNTC and The Adventures of Sherlock Holmes merchandise on our RedBubble store.Follow Someone New Theatre Company on Facebook and Instagram to stay up-to-date with our other projects. #theholmespodcast

Victor Hatherley, a hydraulic engineer, recounts the strange happenings of the night before, first to Watson who dresses the stump where Hatherley's thumb has been cut off, and then to Holmes himself.This episode features the voices of S. Georgiadis as Sherlock Holmes, S. J. Nicholls as Dr John H. Watson, C. Hiscock as Victor Hatherley, N. Barker-Pendree as Colonel Lysander Stark, L. Gracey as Elise, J. Bowman as Inspector Bradstreet, C. Punch as the Guard, N. Goodwin as the Station Master and M. Whittingham as the Plain Clothes Man.The production is directed by G. Rogers with J. Lusty, adapted for audio by E. Bradford and M. van der Bijl and is produced by Someone New Theatre Company. Sound design for this episode by J. Thompson.This episode was produced on the lands of our traditional custodians, the Wadawurrung people. Cast recordings were made on the lands of the Awabakal, Worimi, Wanngal, Cadigal, Gameygal, Wurundjeri, Boonwurrung, Anēwan, Whadjuk and Wadawurrung people. Someone New Theatre Company acknowledges and pays respect to our traditional custodians and to their past, present and emerging leaders.You can shop official SNTC and The Adventures of Sherlock Holmes merchandise on our RedBubble store.Follow Someone New Theatre Company on Facebook and Instagram to stay up-to-date with our other projects. #theholmespodcast

In March 2020, Grace Lillian Lee and Teagan Cowlishaw announced Australia's first ever Indigenous fashion council - First Nations Fashion & Design. In December, they held their first fashion show - Walking in Two Worlds. But don't expect just any old runway. This is a beautiful story about reframing the fashion discourse, connecting to country, and mentoring emerging Aboriginal and Torres Strait Islander fashion talent. Grace is this week's #sharethepodcastmic guest host and she's in conversation with First Nations Fashion + Design ambassador - model Charlee Fraser. Charlee is a proud Awabakal woman and a beautiful spirt. She's also a Paris fashion week favourite with multiple magazine covers under her belt. Follow her on Instagram here. Find First Nations Fashion + Design here. You can find extensive notes & links on what you hear at www.thewardrobecrisis/podcast Thank you to our sponsors Bendigo Art Gallery.   Enjoyed the episode? Please share it! Tag us on Instagram @thewardrobecrisis@mrspress See omnystudio.com/listener for privacy information.

Hello angels, and a happy new year! This week we're talking to actual ray of sunshine Charlee Fraser—one of the most successful models to come out of Australia in the last decade. Charlee was scouted within a year of finishing high school, and quickly became a darling of the world of high fashion, walking for (among others) Chanel, Prada, Versace, Valentino and Dior. Plus, she was something of a muse for Phoebe Philo, wearing era-defining looks in Philo's final collections for Celine, and has appeared on the cover of Harper's BAZAAR and multiple international editions of Vogue. Charlee is also a proud Awabakal woman, and is using her considerable influence to encourage Indigenous representation in all facets of the Australian fashion industry. She has recently become the ambassador for First Nation Fashion + Design, an initiative that offers skill development and access to industry contacts for Aboriginal and Torres Strait Islander designers, textile artists, jewellery designs, photographers, hair and makeup artists, stylists and models. When we spoke to Charlee, she had just returned from two weeks On Country, an experience she says changed her life.We talk to Charlee about the strange contradiction that so many models suffer from self-esteem (and how to battle your inner saboteur during castings); how the power dynamics have shifted behind the scenes since #MeToo; being a central part of some of the most iconic collections in recent fashion history; and how to achieve real inclusivity in Australian fashion. We hope you loved listening, and if so, please rate, review and subscribe. This episode is bought to you by our friends at Ultra Violette, who has partnered with After Work Drinks for the whole summer. Enter the code AWD10 at the checkout to receive 10% off your next order (excludes limited edition sets, can be used once, and not in conjunction with other offers). Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

A new episode of ‘Yarning with Our Mob’ is now LIVE!In this episode, we yarn with Linda, of the Anaiwan, Awabakal and Barrabinya People, who is the Aboriginal Otitis Media Coordinator. Linda is also a grandmother of 16 children, one of them with autism. We would love to know your thoughts so if you could leave us a review and share with anyone you think will love it too!⁠

This week I chatted to Marissa Saroca. I met Marissa this year during an online zoom acting class and we instantly became friends. We chatted about her journey as a performer, body image and representations in film and TV, keeping inspired and creating your own work and of course her very exciting booking in RENT and some fun rapid fire questions. So, grab a coffee and enjoy! :) BIO: As a professional singer/musician for most of her life, Marissa Saroca has two independent original albums (Cheaper Than Therapy and Boys Write Love Songs Too), was on Team Lea (Salonga) of season one of The Voice of the Philippines, two ABC Newcastle Music Awards for Best Female Vocals, and an extensive recording, coaching, and live performance career. In 2006 she was in her first musical RENT, with her third reprisal of ‘Maureen’ in 2017 earning her a CONDA nomination (City of Newcastle Drama Awards). She has played roles including ‘Gabriella’ (HIGH SCHOOL MUSICAL) and was part of the development workshop of new work BETWEEN WORLDS, which was performed at the Australian Theatre for Young People (ATYP) by a professional cast. Marissa was in the ensemble for the musicals GHOST and SHREK on the Philippine professional stage and her first play was for Knock And Run Theatre’s AJAX IN IRAQ in 2018, followed by THE PLASTIC BEACH at the Newcastle Fringe Festival in 2019. Marissa is currently in pre-production for her third original album, and will be playing ‘The Arbiter’ in the musical CHESS at Civic Theatre Newcastle in late February 2021, starring David Harris and Silvie Palladino as Anatoly and Florence. Marissa is the proud daughter of a Filipino immigrant and is excited for a future of more diverse representation and accessibility within the industry. She is an active member of Musicians Australia (MEAA). Marissa honours Awabakal and Worimi Land where she was born, grew up on, and is currently living. Always Was, Always Will Be. Instagram: @marissasaroca

Holmes and Watson visit Mrs St. Clair, the wife of the man whose disappearance they are investigating. Holmes' initial thoughts are proven wrong by a letter from the 'missing' man, leading him to interrogate a beggar in a prison cell.This episode features the voices of S. Georgiadis as Sherlock Holmes, S. J. Nicholls as Dr John H. Watson, E. Wood as Mrs St. Clair, C. Punch as the Guard, J. Bowman as Inspector Bradstreet and F. Preston as Neville St. Clair.The production is directed by G. Rogers with J. Lusty, adapted for audio by E. Bradford and M. van der Bijl and is produced by Someone New Theatre Company. Sound design for this episode by E. Bradford.This episode was produced on the lands of our traditional custodians, the Wadawurrung people. Cast recordings were made on the lands of the Wurundjeri, Wadawurrung, Awabakal and Worimi people. Someone New Theatre Company acknowledges and pays respect to our traditional custodians and to their past, present and emerging leaders.Follow Someone New Theatre Company on Facebook and Instagram to stay up-to-date with our other projects. #theholmespodcastYou can shop official SNTC and The Adventures of Sherlock Holmes merchandise on our RedBubble store.Credit to R. O'Connor,   freesound.org and zapsplat.com for SFX used in this episode.

Holmes and Watson, accompanied by Inspector Lestrade, visit the scene of the crime. Holmes gathers enough clues to convict a man of murder. Will he confess?This episode features the voices of S. Georgiadis as Sherlock Holmes, S. J. Nicholls as Dr John H. Watson, M. Young as Inspector Lestrade, C. Punch as Hotel Waiter and G. Shawcross as John Turner.The production is directed by G. Rogers with J. Lusty, adapted for audio by E. Bradford and M. van der Bijl and is produced by Someone New Theatre Company. Sound design for this episode by J. Andrews-O'Neil.This episode was produced on the lands of our traditional custodians, the Wadawurrung people. Cast recordings were made on the land of the Wadawurrung, Boonwurrung, Turrbul, Yuggera, Anēwan, Awabakal and Worimi people. Someone New Theatre Company acknowledges and pays respect to our traditional custodians and to their past, present and emerging leaders.You can shop official SNTC and The Adventures of Sherlock Holmes merchandise on our RedBubble store.Follow Someone New Theatre Company on Facebook and Instagram to stay up-to-date with our other projects. #theholmespodcast