Erica McCalman: The Future of the Arts Systems, Sustainability & Cultural Belonging

How would you describe the Australian performing arts industry to someone outside of it?

Erica describes Australia’s performing arts industry as a close-knit yet highly adaptive “cottage industry” that functions like a giant extended family. Despite its relatively small population, the sector produces work that punches above its weight due to its cultural diversity, strong regional differences, and interconnected networks of artists and organisations. She highlights that the industry is not monolithic but shaped by many lineages of practice and ancestry, making it both rich and complex. Unlike larger markets where productions can run for years, Australia’s fast-paced cycles mean artists are constantly moving between roles and projects. This creates a dynamic but demanding ecosystem where versatility is essential for survival.

What has your career path looked like across different roles and organisations?

Erica explains that her career began in production and stage management before evolving into project management and producing. Over time, she moved fluidly between roles such as creative producer, dramaturgical advisor, and festival collaborator. Having worked with organisations like Theatre Network Australia, La Mama, and Performing Lines, she emphasizes that her career has been shaped by curiosity and adaptability rather than a single fixed identity. She describes herself as someone who assesses people’s character and intent over rigid job titles, which has allowed her to work across disciplines and art forms. This flexibility has enabled her to engage in everything from technical production to high-level creative strategy, often within experimental and festival contexts.

What is the key to sustaining a long-term career in such a volatile industry?

For Erica, sustainability in the arts comes from operating like a “hunter-gatherer” rather than a farmer. This means constantly reading the environment, building relationships, and anticipating shifts in opportunity. She stresses the importance of being aware of who is moving between organisations, understanding industry rhythms, and staying connected to a wide network of collaborators. Unlike more stable industries, Australian arts professionals often juggle multiple roles simultaneously, making adaptability essential. Erica also notes that success is less about linear progression and more about responsiveness to change. Careers in this field, she argues, are cyclical and unpredictable, requiring emotional flexibility and a willingness to move between projects, disciplines, and even identities.

How did your time in Darwin change your perspective on land, work, and creativity?

Erica shares that her time living in Darwin during the pandemic profoundly shifted her worldview. Immersed in a region where nature is immediate and unavoidable, she experienced a deeper connection to land, climate, and survival. Unlike urban environments, Darwin’s extreme conditions and isolation forced her to slow down and reconsider assumptions about control, productivity, and work-life structure. She describes it as a “country reset” that revealed how disconnected urban artistic practice can be from natural systems. This experience reinforced her belief that the arts are deeply intertwined with land and environment, and that creative practice should acknowledge ecological realities rather than exist as an escape from them.

What needs to change in the arts around diversity, multiculturalism, and sustainability?

Erica argues that while the arts sector has made progress in diversity, equity, and inclusion, deeper structural issues remain. She challenges the idea that simply “opening doors” is enough, explaining that systems often resist change unless their underlying structures are transformed. She reflects on Australia’s complex cultural history, including colonial trauma, migration, and Indigenous knowledge systems, and how these intersect in the arts today. Erica also critiques the shift from “multiculturalism” to “tolerance” in policy language, suggesting it reduces genuine engagement with difference. For her, the future of the arts lies in moving beyond transactional audience models toward genuine community-building spaces rooted in belonging, empathy, and shared responsibility across generations.