How do we nurture the next generation of healthy creatives?

The 10th of October is World Mental Health Day. A day for acknowledging and raising awareness of mental health issues. A New Direction were able to mark this, a few days later, by hosting a Cultural Sector Masterclass, on the 16th October called How do we nurture the next generation of healthy creatives?

We all know how hard it is to make a living in the creative arts. The ongoing balancing act of funding and opportunity, of networks and maintaining one’s own creative integrity, we therefore invited speakers who have lived experience of trying, and sometimes failing, to put their own mental wellbeing above creative projects, and encouraging participants and teams to do the same.

The speakers at this masterclass were:

Kevin Kling, Playwright, actor, author, storyteller and cultural advocate.

Shari A. Jessie, a person-centred therapist and the first Creative Therapist to be based at a theatre, Chichester Festival Theatre.

Lerato Stanley-Dunn, Head of Partnership programmes at 64 Million Artists, leading the creation, development and management of new programmes that embed cultures of creativity in collaboration with partners, including the Manifesto for Transformative Workplace Culture.

The speakers shared their insights about how have been able to find a way to prioritise their own wellbeing, and suggestions for how to help children, young people and your teams to do the same. For example, Shari suggested participants should ‘find the language of their wellbeing’, whilst Lerato added the recommendation that we ‘celebrate our wins, but also make space for our failures.’ Kevin reminded us all to ‘always have artists in your life who are older than you and younger than you! There is wisdom on all sides.’

Reflections from Clare Murphy

As Shari, Lerato, Kevin and I got into the pre-masterclass discussions, the elephant in the room was very clear for all to see. None of us were particularly healthy. All of us had sacrificed health and well-being on the altar of opportunity to work in the arts. How could we possibly know what could be done for the next generation?

The truth is that each constellation of speakers at these masterclasses brings its own cosmic intelligence to tackle the problem set. We brought together a creative therapist, a Head of Partnership Programmes at 64 Million Artists, and a freelance writer and storyteller. But in true artistic fashion, each one was a master of at least one other artistic form from dance to ritual and dramaturgy.

With all of that in place we began our conversation on the importance of imagination; the act of dreaming first. This was from Lerato at 64 Million Artists. This idea is potent; to dream first means we can see where we need to go before we begin to take action. This kind of radical imagining allows dreaming before doing and can disrupt business-as-usual systems of production.

Can we know what wellbeing is if we do not have a language for it? Shari, our creative therapist asked this. She spoke about how important it was to be embodied, to know what the body is saying in any given situation. The body is the most vocal messenger of well-being and dis-ease. If we know the language of dis-ease from the body, we will be able to act accordingly. If next generations can learn this language and this way of knowing, it will give them a very useful tool in their toolkit for navigating difficult situations in the arts world, from negotiation to job advocacy to taking real breaks.

We discussed the concept of radical candour, which is a way of slowly changing the system by speaking directly to the problem as it is happening. A sense of threat can also be used to accompany radical candour as a way to catalyse change. An example of this is when Shari managed to get the theatre to acknowledge the work-burnout ratio and shift the production schedule for an entire year at the theatre.

Kevin spoke to the importance of using structures that are already there to support healthy creatives, such as breaks in a working day. The simplest act of taking a real break when on set, and not working through it. Every time you work through a break you demonstrate a lack of any rest or reset to next generations. Many of us work through lunch, work late, and work through weekends. When we do this we ensure burnout in all the people we train.

As the session drew to a close we found ourselves discussing the hands-on work of the up-and-coming generations; what they can handle and what they can’t. A question arose: How can we deal with such high levels of dysregulation and still manage to produce anything creative? Our role as facilitators is to get them embodied in a safe space, create a contract with every group, and work collaboratively towards it. The consensus amongst the whole audience at A New Direction masterclass is that the generation of children coming up now are demonstrating signs of extreme dysregulation which makes the work far harder to do.

This conversation was an honest look at creativity, and the challenges of what it means to work in the arts industry. We are beset by challenges at all sides, but between us there are fragments of wisdom, hard earned. We require change at all levels, but for now we have some new pointers on the map to well being that can help guide the next cohort.

Reflections from Kevin Kling

I was so honoured to be part of this masterclass as a panellist, as I learned and laughed, and felt a kinship with the participants. There is so much to include as part of the reflection, both what I was able to say during the incredible conversation but also ideas meant to bring forth that never found a window.

As an artist, I wish more in my field knew that these conversations were happening. It would really hearten so many working creatives to know how much care and thought is given to the workplace and their well-being. Thank you!

Some thoughts…

The poet, Mary Oliver said, “It’s not the weight, it’s how we carry it.”

Johnny Cash (singer and songwriter) said, “Talent is God-given, but our style comes from our limitations.”

There is a saying from Zimbabwe, “Until the lion tells the story, the hunter will always be the hero.”

It’s important our stories be told and heard. Everyone brings a perspective to a project, to a workplace, to fellow artists and employers. I find, as an artist with disabilities, like so many of my colleagues with disabilities, we bring a way of thinking that lives outside the box. We continually need to find ideas and solutions that come from living in a world not built for us. Every storyteller I know that’s worth their salt is also a great listener.

First and foremost, for everyone, employers and creatives should foster active listening. Not only does it bring forth innovative ideas, but when someone feels they’ve been heard, they are going to go that extra mile, put in extra effort because now they have skin in the game.

The poet Rumi said, “Before right-doing, before wrongdoing, there is a field, and I will meet you there.” That “field,” the place where artists and muses intersect. I remember watching the television show ‘Mad Men’ and the main character was lying on a couch with a magazine over his face. Someone walked by and asked him what he was doing, and he said, “Working.” Finding that space of creative thought is often our way of working. If we are overloaded, our muse gets shoved out. The Greeks called it an oneiric space, the place where dream and reality come together. As artists, we need to take care of and give ourselves the ability to find our oneiric space.

“Resiliency” is defined as “maintaining one’s shape.” When our shape has been compromised, often we turn to family, faith, community; they hold us together while we grow into our new selves. Our power is another energy. If resiliency comes from what connects us, power is created from what makes us different. Naturalist and geologist Charles Darwin said that ‘species are defined by what makes us the same, but we survive by what makes us different’.

An artist is created through their perspective, a unique view of a shared world…

It’s the home of innovation and ultimately survival. I believe institutions work in a similar organic method. Growing and searching, it’s said that a story is about questions, and when that question is answered, that story will die. Stories survive because the question they ask survives. We live in a continued state of wonder and questioning. Like beauty and truth, it cannot be held, but it can be recognised.

My friend Matt Sanford says, “Your body is the best home your mind will ever have.” As Clare Murphy (the host for the session) so beautifully stated in our talk, we have all stretched our bodies to their limits and beyond. Even so, your body continually feeds your mind information. Give your body the chance to provide the best information for your mind.

So finally, to the artists: find mentors. To organisers and employers: find mentors. Find ways of apprenticeship, ways of passing on the information. Techniques and lessons not only for the art form, but for survival and thriving. We stand on shoulders. The best artists know they are here because of those who have come before. Honor your tradition and legacy. These mentors live in timelines that run both horizontally and vertically, those with whom we share an era and those who preceded and will follow. We add our gifts to the pantheon and usher in the next generation.

These are a few random thoughts; find them useful or discard them: trust your own good sense. I can’t imagine a better way to experience the gift of life than being in the arts.

Reflections from Shari A. Jessie

Following on from the astute summary that Clare provided during the session, and holding the perspective of a creative mental health professional, there were some reflections that deserved to be expounded upon:

We know that working in our society and the expectations of our society create burnout; I unequivocally believe that is exacerbated in creatives. It is essential as a sector that we emphasise the importance of setting healthy boundaries. Creativity taps into your spirit and often it involves front-facing work with marginalised or vulnerable people. We are willing to give more of ourselves than we actually may be capable of giving. We often work at our own expense, and while the intentions are likely noble, you will rarely be able to present your best self or your best work when functioning in this manner.

Along with taking breaks, as mentioned above, learn to say “no” where it’s appropriate. Make sure that you're maintaining boundaries for your work schedule and that appropriate things are being asked of you. If someone is asking you to do work at a skill level that you do not have and that was never previously expected of you, advocate for the proper upskilling or CPD needed to support you in doing that effectively.

Something these masterclasses already reinforce, but that is essential for the wellbeing of creatives, is being connected with others and having community.

Community provides you with the ability to collaborate, to share ideas, and most importantly, for me, to establish a network of peer support to discuss your challenges. These people, hopefully, can bolster and empower you. That is vital to engaging in a healthy creative process that tends to and cares for your mental health. It also can lead to inspiration.

The most effective communities, in my opinion, centre diversity where possible. That is to say, people from different socioeconomic statuses and ages, who have varying lengths of time in the industry, who possess certain geographic knowledge, all offer different perspectives. Where I find this the most important is in advocacy.

Your own voice should, without doubt, be the loudest one in your head, and you should always trust your body and your instincts about what is right for you. However, access to different insights is ideal. You are more likely to approach a situation in a healthy, reasoned, and grounded way when you've been able to consider various perspectives on it. Someone in your network may have knowledge of the organisation or person you’re interacting with. They may have done the job previously. You may also be that person for someone else. In difficult situations, it’s also helpful to feel like someone has your back and is in your corner.

Lastly, I believe creatives need to get better at acknowledging their own talents and strengths, rather than focusing on what hasn't gone perfectly. Celebrating big and small wins, as well as creating an environment of positive and enthusiastic feedback, is important. More workplaces need to emphasise the celebration of achievement.

The language of your wellbeing isn’t just about what you need to get a job done well; it’s about how you find peace, joy, love, connection, and fulfilment within the work you do. All of us deserve that. My hope is that increasingly the industry, from the top down, will take on this responsibility, but if you as individuals or collectives must take up the mantle, remembering these ways of keeping yourself healthy is essential.

Reflections from Lerato Stanley-Dunn

Participants were led through a lovely exercise that saw the group create a collective poem by Lerato Stanley-Dunn who is a creative facilitator. Everyone was asked to add a wellbeing ingredient into the chat during the masterclass to create a wellbeing poem:

Collective Recipe for Wellbeing Poem - October 2025

Open the herb cupboard and dig

right round to the back to those old forgotten spices,

drag out that self-belief and shake in a good dash.

Add a sprinkling of connection

stirred into a large mixing bowl

allow issues and feelings to permeate.

Add a sprinkle of positivity

More sprinkles of positive affirmation sugar

A heaping cup of institutional transparency

Two spoons of acknowledging how hard something was.

Separate the doubt and use the creative trust,