BY LUCY RASH
This week in Friday Forays, we delve into the world of music’s ‘backstage performers’. Percussionist Laura Holian has a Bachelor of Music from the University of Melbourne, and graduated in 2008. She originally wanted to study a double degree in music and teaching in search of a sustainable career, but soon into her course decided to pursue her passion for orchestral performance. Now working behind-the-scenes, Laura has recently taken up her first full-time administration position as Artistic Coordinator at Melbourne Symphony Orchestra.
Tell us about your journey into the administration side of the arts.
After graduating, I basically said yes to any music-related work. I gave freelancing a right old shot, performing for MSO, OV and gigs around Melbourne, even performing for a while in a schools touring group for Opera Australia. I taught private lessons on percussion and piano (my second instrument), accompanied school concerts and AMEB exams, and tutored for Melbourne Youth Music. It was there that I started in arts admin; helping out firstly with data entry and ‘percussion roadie’ work, which quickly expanded to assisting with the operations of summer schools, library work, orchestral management, and basically anything that required an extra pair of hands. I was willing to give it all a go! I then worked as an administrator for Melbourne’s contemporary percussion collective Speak Percussion – where being a percussionist and knowing the scene was a unique advantage! I also had the immense privilege in 2012 of coordinating with conductor Brett Kelly in a project called the Care Aware 24-hour Orchestra, where we had 210 musicians and two conductors perform a non-stop, 24-hour performance in Hamer Hall. The rostering and coordination of this project was absolute madness but for a cause very close to my heart – the acknowledgement and appreciation of the work of unpaid carers in our community. I did all of these jobs part-time whilst juggling teaching and gigs. 2014 is the first year I’ve worked solely as an administrator, with my first full-time position as Artistic Coordinator at the MSO.
What inspired you to become an arts administrator?
I was never really ‘inspired’ – it just sort of happened! As a percussionist, you’re never playing the same old instrument or setup. There are logistical issues and countless techniques, styles, and instruments to learn. Each time you perform a work it presents a new challenge. I guess it’s this adaptability and ‘can do’ attitude that allowed me to just give admin a go, expanding my skills and opening up new opportunities. I think it’s been the case that because of that willingness, I was offered work more times that I sought it out.
Whilst I’ve dreamt of becoming a full-time orchestral musician, working in arts administration has helped me to fully appreciate all the behind-the-scenes work that goes into making performances and projects happen. As a musician or audience member, you really only see the tip of the iceberg: the performance. This work has given me a massive appreciation for arts administration, and I enjoy the challenges and the variety of the job just as much as performing. Had you told me when I was 18 that I’d end up in administration, I would have said you were crazy!
What do you think about the idea that those who aren’t ‘good enough’ to perform should, or do, turn to music administration as a career?
In my experience, I have never met anyone who thought, ‘I don’t think I’ll make it as a musician, so I’ll try administration’. Unfortunately, there is a perception that administrators are second rate musicians, but it’s simply not true. No-one is in this industry because it’s well paid or easy, because it’s neither of those things. What unites everyone is a passion for the arts; it’s what drives them and excites them every day to create opportunities to entertain and engage audiences with top quality art. That’s what drives artists as well – it’s no different.
I’m often asked if I miss performing, or what made me ‘transition’ from performer to administrator. My answer is simply this: I’m still a performer, I just no longer play percussion. I’m playing a new instrument in the orchestra now, and it’s a backstage one. I still contribute to the art-form, and I see my contribution as just as valid as those of the musicians onstage. I still use my knowledge as a musician everyday as part of my work, and I’m continuously expanding on that knowledge all the time.
What do you find most satisfying about being an administrator in the arts?
I find the medium of the orchestra a fascinating one – in what other working environment do so many people all work simultaneously (and wordlessly!) towards a common result? I enjoy working as part of a large team, where each person is essentially a cog in a giant machine. The results are amazing – my love for orchestral music hasn’t waned since I stopped performing.
What do you find particularly challenging about arts administration?
You never know what challenges each day will bring. Any job in this industry requires a great deal of creativity, resourcefulness, and the ability to calmly troubleshoot and solve all sorts of problems. This both excites and terrifies me but I’m always up for a challenge!
What do you think the future looks like for arts in Australia?
I think the future is very bright. There will always be issues with funding from government and private sectors, but the quality of art created in Australia is top-notch. We need to start embracing our cultural output and be proud of it, by supporting and attending local events regularly, but also by acknowledging that art is necessary for a balanced, prosperous and educated society. Art is not a privilege, it is a right. More can be done to reach out and involve all sectors of our community. I also think that children need to be exposed to quality art and cultural education from an early age in schools in order for them to become great leaders, and leaders who will be good for society’s future.
Do you have any advice for people hoping to move into the field of arts administration?
Definitely seek opportunities within the industry, get to know who’s out there, and which arts organisations you’re passionate about. Find the people you would like to work with, and make yourself known to them. Chances are they might be happy to offer advice or be able to assist you in finding opportunities to gain experience. It’s also important to get as much hands-on experience as you can. I’ve found that very few people in this work are actually qualified in Arts Management: many of their skills have been learnt on the job. Start by volunteering with festivals, or offer to assist with odd jobs. Create opportunities for yourself to learn the skills required. Help musicians stage a concert by doing anything from working front-of-house, setting the stage, booking the venue, applying for grants to make it happen, anything. The list is endless!
Is there anything you wish to end on?
You’re always remembered for your last gig. Always be willing to give it a go, and you never know what future opportunities it might lead to!
This story is part of CutCommon’s Friday Forays series, showcasing emerging talents in the Australian music industry.
Image supplied.
