Inclusive Practice and Communities

At the core of my work is supporting each person to identify and communicate their own needs, and ensuring those needs are respected within the rehearsal space.

Disabled and Chronically Ill Communities

I do not have specific formal training in disability‑led intimacy practice. However, I have long‑term professional and personal relationships with people who identify as disabled and/or chronically ill.

My practice is informed by a social model of disability: I understand disabling experiences to be created by structural inequality, lack of access, and inadequate resourcing rather than by bodies themselves. Within my capacity, I work to increase access through clear communication and flexible processes. This can include adjusted timelines, scheduled breaks, lighting and sound considerations, alternative reference materials, and the use of specific or preferred language to discuss the body.

Deaf Communities

I recognise that many Deaf people consider deafness as a linguistic and cultural identity.

I do not speak Auslan beyond a few basic words. I require an interpreter to work with Deaf artists and am comfortable integrating interpreters into intimacy coordination processes.

Diverse Language Groups

I work in English and would require an interpreter to collaborate with artists who do not speak English. I am experienced in choreographing intimacy for scripts and libretto’s written in other languages when a translation is provided.

Neuro divergent Communities

While I do not hold formal accreditation in neuro divergent‑specific practice, I have extensive experience through both my professional career and personal relationships with neuro divergent people.

I identify as having undiagnosed hyper‑focus ADHD. I understand ADHD and autism as natural variations in human cognition. I also have ongoing personal relationships with people who experience psychosis and am comfortable holding space for multiple, simultaneous realities and ways of understanding the world.

My approach prioritises clarity, structure, consent, and adaptability—elements that often support neuro divergent artists to work safely and confidently.

Aboriginal and Torres Strait Islander Peoples and Cultural Content

I do not hold specific accreditation in First Nations cultural practice. Through my Master’s research, I undertook focused learning around protocols for engaging with First Nations cultural material. While core intimacy coordination practices remain consistent working with First Nations artists, additional cultural awareness and protocols may be appropriate. I acknowledge that wherever I live and work across so‑called Australia, I do so on unceded, stolen lands. I incorporate an Acknowledgement of Country in my first session with all groups unless a full Acknowledgement or Welcome has already been led, in which case I align with that offering. I am happy to lead all sessions with an Acknowledgement of Country.

I recognise that First Nations artists are often placed in the position of unpaid cultural educators. Ideally, I work alongside a cultural consultant to avoid placing this labour onto performers. I understand that independent theatre contexts often lack the resources to engage both a cultural consultant and an intimacy coordinator. If you are an Aboriginal or Torres Strait Islander artist I am open to discussing ways to support your project vision in the absence of a cultural consultant. If you are a non‑Aboriginal or Torres Strait Islander artist working with First Nations cultural content, I require evidence of permission from appropriate Elders and a commitment to working with a cultural consultant where relevant.

Queer and Trans Communities

I am a member of the queer community and identify as trans and non‑binary. I will always ask for and use self‑identified pronouns and am also comfortable using names only if preferred.

I understand that performing intimacy can be complex when the material does not align with a performer’s sexuality, gender identity, bodily experience, or moral framework. I approach these situations professionally by focusing on boundaries, consent, and the dramaturgical function of a moment, giving performers a stable and grounded way into the work.

Older Generations

I recognise that the word queer can carry traumatic or painful associations for some LGBT elders. While I use this word to describe myself, I respect and support others in using the language that feels safest and most accurate for them.

I am happy to adapt timelines, language, levels of choreographic detail, and communication styles to meet the needs of older performers or intergenerational teams.

Working with Children

When working with children and young people, my practice prioritises clarity, consent, age-appropriate language, and the minimisation of risk. Intimacy coordination in these contexts is not about staging sexualised material, but about ensuring that any physical interaction, proximity, or emotionally sensitive content is approached with care, transparency, and strong boundaries.

I work closely with directors, guardians, educators, and production teams to ensure expectations are clear and that young performers understand what is being asked of them in ways that are appropriate to their age and development. I use desexualised, neutral language and clear choreography, and I actively avoid improvisational approaches that place responsibility or pressure onto the child performer.

I hold a current Victorian Working With Children Check.