How Frances Rings Balances Her Creative and Business Minds

The artistic director and co-CEO of Bangarra Dance Company has had to balance her creative and business minds to protect the cultural legacy she’s been handed.

My first boss was proud Munaldjali man Stephen Page, who was artistic director of Bangarra for 33 years. I had a big ego when I joined the company. I thought I was going to be put in the next production but he said, “You’re not going to be on stage. You’re going to sit, watch and spend time with the cultural tutors.” I was devastated but it put me in my place and that was an important skill for me to learn. You have your own aspirations but you have to find how they align with your place of employment and its vision.

This is my first year as artistic director. As an Indigenous woman, I’ve been climbing this ladder for many years. I’ve had to learn to be patient, to stay positive and know that the hard work will pay off. In this elevated position, you need a thick skin. I don’t think you realise that until you’re standing in this place. I feel like I’ve still got my training wheels on but it’s such an incredible position to be in. I have a fierce protectiveness over what I’ve inherited, this legacy. But I also have to focus on what’s best for the business, how we grow into the future and how to balance that with the cultural integrity of the company. We’re an Indigenous arts company, a cultural foundation, but we also have responsibilities to community, our industry and our audiences. You have to know and trust that you have an incredible team and if you empower them and give them a clear vision, they’re with you.

My first hard decision as co-CEO was assessing the dancers’ contracts. We have so many talented dancers and each year you’re faced with decisions about contracts. It’s a hard responsibility to carry the weight of someone’s future; I have sleepless nights about it. I have this message, which is that we’re always going to be here and however we can support them, we’re here for that. You have this role of nurturing but you’re also making difficult decisions about people’s careers.

My first failure was in forgetting to enjoy myself. Earlier in my career I had tunnel vision because I was so focused on the job. I had high expectations. I wish I could go back and have a bit more fun. We had some incredible experiences but I sacrificed a lot of that because I was so ambitious. Now I encourage the dancers to find a balance between being able to enjoy life and enjoy their work. There’s time to be serious but there’s also time to find a balance with being human, authentic and connecting.

The first time I surprised myself was when I choreographed my first full-length work for Bangarra. I had two toddlers and lived an hour-and-a-half out of Sydney. I knew that I’d have to devote myself to creating this work for four months. It was tough and there was a moment when I thought, “I don’t think I can fulfil both these roles.” The lesson for me was I can’t be 100 per cent a parent and 100 per cent a choreographer at the same time because I’m not going to be any good to anybody. I had to learn to trust the support network around me. Now, all the experience, knowledge and craft I’ve gained from working collaboratively with teams – to be able to envision something from the ground up, to turn an idea or concept into a fully fledged production – a lot of those skills have carried over into my leadership roles. I’m up for the learning as well as the wins and the fails.

My first training was when dance was brought in as an HSC subject. I think back to myself at college – I used to look at the other dancers and have this sense of envy. I never got to train when I was younger; I wanted to but we couldn’t afford to send me to ballet lessons. I just had this passion and work ethic. I wasn’t the most talented person in the room but I had the drive and determination that I was going to make this my career. I had discipline that I still carry today. I get up at five in the morning and plan out my day – I’m either doing intensive hot yoga or going for a five-kilometre walk. I find it really hard to switch off. The end of the day is my switch-off time but in the morning, I’m up, I’m on and in first gear.

Defining moment

“Terrain, the first full-length work I created for Bangarra in 2012, is now on the HSC syllabus. Students who choose dance as an elective study it. It made me realise that what we do, who we are and our journeys don’t need to look like other people’s journeys. Your aspirations and goals can become a reality. I’m really proud of that – it was a full-circle moment.”

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