The Dive Podcast

19: Stepping Into Your Power: Feminine Presentation, Individuality & Authenticity with Carter Rickard

• Carter Rickard • Season 1 • Episode 19

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Have you ever felt overshadowed in a sea of sameness, struggling to let your individuality shine? 

In this inspiring podcast episode, the guest, Carter, shares his journey from starting sport aerobics at a young age in Adelaide to becoming a professional dancer and performing in 'Priscilla, Queen of the Desert' with Norwegian Cruise Lines.

🔥 Ready to feel empowered? Join us as Carter shares his secrets to standing out in the industry and finding success through authenticity. 

Taylor & Carter talked about:

  • Embracing individuality and authenticity in performance.
  • The importance of representation and breaking stereotypes in the arts.
  • Owning one's power and impact as an artist.
  • Advice for embracing individuality and authenticity.
  • The power of self-expression and letting go in artistic endeavors.

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✨ Facebook Support Group: https://www.facebook.com/groups/893483165382333

Here Are Your Next Steps 👇🏻

Step One: 📝Get your FREE Audition Prep Workbook

Step Two: 🫂 Join Free Facebook Support Group

Step Three: 👀 Check out the Momentum Program for aspiring MT performers looking to become professional

Step Four: 🎥 Watch our MOST DOWNLOADED Podcast Episode with Luca Dinardo

Speaker 1:

I try to not compare myself to people and I used to be the absolute worst for that, Like when I was talking before about it, Patrick, where I was like I don't feel like I have anyone that I can be like against or look at yeah and be like yeah, we're the same yeah but I've kind of let go of all of that because I feel like I truly am in my own lane, and that's not to say no one can do what I do, but that's because I'm me.

Speaker 1:

Individuality is a thing that we kind of don't think is necessary, especially if you go to a full-time school and they're really based on ensemble dancing and working as a team. That is one of the most important tools that you can have. As a performer, you have to be able to do that no matter what role you play. But I think we forget that individuality and our stories, that we tell, our identity, our profile is so important. It's just like the world Outside of the dance world we need.

Speaker 2:

Hello and welcome to the Dive. Now more than ever, we need to be finding ways to help us navigate the challenges of being an artist. You're listening to the Dive podcast, a show specifically designed for performing artists, to help you stop the stress and overwhelm and instead find ways to get on stage with confidence, passion and ease. I'm your host, taylor Scanlon. I'm a fellow performing artist and founder of the Dive, the fastest growing support platform for performing artists. Each and every week, we have a brand new guest on the show who is a professional in the industry to discuss their unique stories and help us tackle the industry challenges. To help you perform, rest and excel at your peak.

Speaker 2:

I believe that we all have a unique story to share, but most of our struggles are common. So, without further ado, let's dive right in, let's get to work and create a career of a lifetime. Thank you for being in the studio today, Carter. Thanks for having me. I'm so, so excited and we've got some really awesome topics that we're going to be talking about. But, as always, let's go wind the tapes back. Where did it all start for you?

Speaker 1:

I'm originally from Adelaide so.

Speaker 1:

I was there for a good 17 years of my life just dancing. I started off with sport aerobics when I was in year five, so that crazy fast, like yes, I did that for about five years and there was a teacher at my school that was like why aren't you dancing? Like why aren't you doing jazz or ballet or tap? And my parents used to dance my mum was a comp kid and my auntie was a comp kid as well, and they used to do all that and I was like why haven't I done that?

Speaker 1:

so I just did it and I'm very naturally gifted in that and I'm very grateful for that because I just went into dance classes and just took it so seriously from day dot it wasn't really a thing of like oh, I'm just doing this for fun like no, I love doing this I just kept doing that for a very, very long time and now moved to Melbourne.

Speaker 1:

I moved to Melbourne when I was 17, went to Patrick's. Yeah, for four years I did the dance course, when it was just PA, performing arts and then musical theatre. And then here I am.

Speaker 2:

Here you are in Melbourne oh my gosh, and what was it like transitioning from Adelaide to then coming to Patrick's.

Speaker 1:

It was a huge shock to my system, because in Adelaide I think you kind of think you know everything because it's such a small little microcosm, if that's the right word. Um, you think you just know everything because there's not much exposure there. So coming here I was like that ballet jazz boy that thought he knew everything, wasn't arrogant, but I was just like no, I'm sure I know what I'm good at. And then I got here and I was like oh my god, this is not what I expected.

Speaker 2:

I don't know anything.

Speaker 1:

No, exactly, you don't and the teachers are like you think you know everything, but you don't, and you're like yeah, you're right, yeah, yeah, it's a bit of a shock, but adapted really well, like I was very keen to move out of home and make this my life, so I was very taken with that.

Speaker 2:

So, it was hard, but it was good at the same time for sure Was there like one big challenge that you kind of went through at Patrick's.

Speaker 1:

It was more so and we'll probably touch on this more, but like understanding what I was going to get out of it and like why I was there. Like I knew I wanted to dance, I wanted to perform, but I think it was like finding my own way of performing.

Speaker 2:

Because I was very different to every other male presenting person there.

Speaker 1:

I didn't have the muscular build, which is absolutely fine, but I did find myself a little bit different, like I had the technique and I have the nice lines and everything like that, but it was hard to find a spot that I could be like oh, I know, this is what I need to be doing. It was very, very tricky.

Speaker 2:

I guess it's different as well, because I started my dance training kind of at PSA but I did a few little like things outside of it and it was yeah, for the fun. It was just you're going to dance you know, for fitness, but when you come to Patrick's, it's like you're coming here to make this a profession.

Speaker 1:

so when that's highlighted, it obviously is really like oh wait, who am I, what am I and where do I?

Speaker 2:

fit in all of this? Yes, yeah, and so you were there for four years? Yes, and what was the difference between kind of like being the PA and then you shift over to the MT?

Speaker 1:

well, I originally went to PSA for contemporary, which is bizarre. Like I wanted to be like contemporary ballet, jazz same.

Speaker 1:

Because I just thought yeah, exactly yeah because I just thought dance was dance yes and then I got to PSA and I was like there's so many other things. And then Todd was like so you're auditioning for MT next week, right? And I was like no, I'm done my two years. I'm done that's it's like no, you're auditioning. So I auditioned and Andrew Holdsworth was like you can sing, like you can do the thing, so in you come.

Speaker 2:

I was like I don't want to do another two years, but.

Speaker 1:

I'm so glad I did. It was one of the biggest life-changing experiences for me, taught me how to be a human, like be vulnerable, rock up every day, bare your soul, and I think, as dancers, we hide behind the steps and we hide behind the combos and the videos and the classes and stuff like that.

Speaker 2:

So I think going into MT was just like the biggest change because I guess you get a lot more time to dive into that in the MT absolutely, and it's one-on-one time as well.

Speaker 1:

It's like standing in front of an acting class, delivering a monologue that you pick that resonates with you, or finding songs that you would bring into an audition to highlight your talents. It's not like learning a combo that 50 other people are going to do in the same room, it's you yeah, and you have to think so much, at the age of like 20, it's like a lot to think about, but it's the best and it's great that I think that the pa I don't know if it's PA now, there's so many different things happening 27 courses but there's so many people and kids in the dance stream.

Speaker 2:

But with the MT it would have been great, because how many people were in York?

Speaker 1:

There's like 12 of us, yeah, yeah.

Speaker 2:

Just even working with Les, you do have that one-to-one time.

Speaker 1:

Yeah, yeah, it was really good. I enjoyed it. I wouldn't take anything like back.

Speaker 2:

I loved it, it was the best, yay. And then did you start your career straight away after that I did yes. I was very lucky.

Speaker 1:

I got my contract the week I graduated at Patrick's.

Speaker 2:

So I did.

Speaker 1:

Priscilla, queen of the Desert, with Norwegian cruise lines, and then the bloody pandemic happened that and then that's right. That was held back for a year and a half. I finally got to do it in 2021 2021 it's been like probably like seven years. I think the past five years are kind of like the one exactly, yeah, yeah it was a really great experience and very, very cool to like finally do the four years and be like yeah this is it, this is what I worked for and this is like my trajectory, for sure.

Speaker 2:

That would have really helped you for sure. I know there's a lot of people that listen in and they've just finished full time and they're waiting around. I mean even Luca, who we had on taught for three years before she even got in. So it really is you know, everyone's journey. But I as well came straight out of full-time to perform and it really does help you and it just gives you that like tick of like the next directory yeah, and that was a massive moment for me that's like, okay, like musical theater and like theater, performing is what I should be doing, because I auditioned for so many cruise lines in my first two years and I wasn't getting anywhere.

Speaker 1:

Like I was getting to the end but I wasn't getting offers or anything like that. But it was like the musical theater and the performing and something like Priscilla, that's my element, I'm in drag, I'm in my heels, I've got like a gorgeous blonde wig. That's my, that's my thing, that's it.

Speaker 2:

So I'm like this is what I should be doing yeah, absolutely amazing and then did you go back because it was a COVID, and then you went back.

Speaker 1:

Yes, so I moved back to Adelaide during. Covid, which is I love, adelaide, by the way, it's lovely to visit right the wine is good. The beaches are good, but to live there as an artist it's very limiting, sure, especially my type of artist the way I am. I was there for a good year, and then I moved back to Melbourne and then literally wow.

Speaker 1:

A couple months after that I got my contract to come back and I was like thank god. And then how long were you there for to do that? I was doing that contract for nine months yeah, it was like eight months at sea, seven months at sea and you were dance captain. I was yeah, how was that? It was well, it was the best experience. It set me up. Yeah, for I feel like anything like.

Speaker 1:

I don't think people really understand how hard it is to be a dance captain on a ship. Yeah, it's like a floating tin bucket in the middle of the ocean and like re-block of the seas, we call it. It's just, it's crazy Like you basically take on the role of resident. Yeah, everything.

Speaker 2:

Yeah.

Speaker 1:

Like we had to do a reinstall halfway through the contract and I was doing scene work, which is not a dance captain job at all, but I had to jump on board because no one else was doing it, or there was no one else was. We didn't have our director choreographer, so I was doing that re-blocks every single night, like I was doing re-blocks over the phone when I was in an isolation cabin with COVID like it was just a whole thing, so you had to really navigate which I'm glad that I did it.

Speaker 2:

I loved it, though it's crazy. I love that stuff. I don't know if you agree, but before I became a DC I thought of like how I was going to do it all, and then you get there and it all shifts.

Speaker 1:

It's the same with like swinging as well. You think you like have, like I'm going to get my iPad, I'm going to have my iPad pencil and it's just like it doesn't work, and then, yeah, you turn to paper Exactly.

Speaker 2:

Oh my gosh, and then. So where did you end up going from there?

Speaker 1:

So you finished the the contract, did you come back to adelaide or did you came back to melbourne? Oh good, yeah, I had a place in melbourne to come back to, which I'm grateful for, because I wouldn't want to go back to adelaide and restart again and I had the mindset of like, oh great, I've got a contract under my belt, it'll just keep rolling for me because I think we see that in some people, like they do shows after shows after shows and you're like oh, great, like I'm in that little category now and you're like no d, but you're not.

Speaker 1:

You're really not.

Speaker 2:

Those months I had the most growth like I did human things not dancer things so I did that and then auditioned for metamuse yeah, in may, like I was the first, I'm still dying. I never got to see it because I wasn't here, we never know what's gonna happen. I'm just waiting to be cast in the next one.

Speaker 1:

Absolutely, absolutely. We can share a role. That would be great.

Speaker 2:

A little duo.

Speaker 1:

Yes, oh my gosh, can you have a?

Speaker 2:

little vote. Vote in now.

Speaker 1:

Absolutely. Who do you want to see? Who do you want to see?

Speaker 2:

So you can dance.

Speaker 1:

That's it.

Speaker 2:

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Speaker 2:

The dive podcast is also filmed here and houses our sound therapy sessions each and every Monday. To receive up to 28 days of unlimited yoga and Pilates, go onto their website, wwwaustralianyogaacademycom today to check out their generous intro offers for yourself. Now that's enough for me. Let's get back to the episode. So let's get into some of the topics today. We were chatting a little bit before and talking about topics that we feel that are going to help artists and things that you're also going through, and this podcast is all about helping performers navigate the challenges we face as artists, and you kind of brought up that a little bit more about the individuality in the industry, yes, so you want to talk a little bit about that?

Speaker 1:

Individuality is a thing that we kind of don't think is necessary, especially if you go to a full time school and it really based on like ensemble dancing and working as a team. That is like the most, one of the most important tools that you can have as a performer you have to be able to do that.

Speaker 1:

Yeah, no matter what role you play. But I think we forget that individuality and our stories, that we tell our identity, our profile is so important and it's just like the world, like outside of the dance world. We need so many different voices to tell stories. Like life imitates art, so you have to have that. You can't just have a whole bunch of the same people telling a story with all these different stories. It's so important and I think we're getting there slowly, yeah, but individuality is identity, yeah, so we absolutely need more of it. We're never going to stop at a pace, like at a certain barrier. That that's enough. Yeah, we need to keep pushing it, because there's so many different walks of life. We're learning, like even me, as like a queer person, I'm like, oh my god, I didn't even know that about my community yeah so there's more to be discovered, and there's so so much hidden as well absolutely, and I

Speaker 2:

think, especially with the arts, we are trying to fit a, a character, or when you don't know more about yourself, it's really easy to go well, I'm just going to put myself in this box, so I'm accepted. But anyone that's even been on this show and that we speak to in the industry, it's all about authenticity, individuality, finding who you are and maybe, if you've just finished full-time, taking time, like you said, you work straight away, but you had a few months, like further along the track, where you actually were able to do that growth. So if you are in a place, I think, that where you need a bit of growth, it's okay to step absolutely away, I think you need it, and even I think Luke he talks about that and how important it is.

Speaker 2:

I couldn't agree with you more absolutely.

Speaker 1:

It's like so important I can't even dive into it, dive into too much. Like I tell my students all the time like I need you in every single room. Yeah, like every single one of you. You're here for a reason. I know that sounds so like yeah, woo, woo, but we do.

Speaker 2:

I'm going to learn something from you and you're going to learn something from me and we're completely different people, so we need that for sure, and it's also could be empowering, because if you're going into an audition instead of feeling like you're all one in the same, it's impossible. It's really impossible. You're all so unique and you have something you need to offer. It's completely different. 100, yeah. When you were having that time of growth for yourself, in that, in discovering your individuality, was there anything specific that you did? I'm just thinking of listeners now, maybe that they're going into a time of growth and they don't really know where to start. Was there anything you can?

Speaker 1:

suggest Well, for me, my whole realization about individuality and who I am came from. Doing Metamuse Briefly touch on that. I was allowed the space to grow, to be myself and to explore and to make mistakes and to talk about it. I don't think we talk about things enough and we don't say those things out loud and realize, oh my God, yes, I am that. Yes, like I had so many discussions with Luca just about, like, what makes me tick, what do I want to be doing with my life? And it doesn't have to be set in stone but it's a stepping stone.

Speaker 1:

Yeah, and just talking about it helped so much. And knowing that, like this is me, I don't think we understand, like, how exciting it is to be ourselves and we can create, yeah, whoever we want to be, even if it's completely different from how we present ourselves, yeah, so that was a really big moment for me, that I was like I can just be myself and I can dance the way I want to dance and I can wear a gorgeous little laduka while doing it.

Speaker 2:

Yes, like I love, I've got them on today. That's it. And then going into a little bit more about presenting yourself and representation we were discussing a little bit before about feminine presentation as a male, and as well, not seeing it as a weakness yes, so absolutely.

Speaker 1:

I just come from society and the way queer people are treated and women.

Speaker 1:

I don't want to speak on behalf of women, but obviously we've seen that's how things unfortunately are, but that has come into our industry and I think the thing that made me think of this when we're talking about it was I think people like the roles I would go for, like in Priscilla I was young, bernadette, so like this little dream sequence and it was really camp and really fun, heaven, absolute heaven. But people would think of that as a comedic relief and I don't ever want to be the butt of a joke. No, like what I do and who I am is very fierce, yeah, and I know that we all have our own little things, but we think of men in wigs or trans people as a joke or stuff like that, without trying to get too into it, but we do like if we see a drag queen on stage, it's to have a good laugh yeah, not actually taken seriously, absolutely, and that's someone's life, that is them to a t and that's them bearing their soul on stage and it's never a weakness.

Speaker 1:

I had an experience once and they said I don't want to see any femininity in here because I'd rather have a cast of female dancers, if that's a thing. And I was like that's not so interesting, that's not good on you, and also like why is the way that I dance and the way I am?

Speaker 2:

a weakness to you, yeah.

Speaker 1:

I'm just as strong. I don't look that I'm very slim and slender, but like, my heart is strong, yeah, and my mind is strong. And that is the most important and I'm capable of doing things not just based on this, and I think we do that because we're an image-based industry.

Speaker 1:

We truly are. We think people see me on Instagram and they're like, ah, whatever, just another person in heels. I'm like, no, but you get to meet me or you get to work with me and you're like, oh my God, you have those people in your life. You're a person, yeah, I'm a person and I have a heart and I'm strong. But, yeah, I think people just kind of brush to the side that I'm not the stock standard male presenting character that's willing to lift people and be muscly and stuff like that, like there's room for everyone and I think the industry is shifting.

Speaker 2:

Even the first episode we have with luca, she says what's happening right now is it's just happening so fast that performers can't keep up. Like the amount of different auditions I've been to and like the way it's done is changing, and then how casting is done is changing, and like there's so many things that are happening so fast, yeah, and then when you throw in, well, we need to look after everyone and make sure that they're all being. Yes, there's so much happening and I don't want to take it as like an excuse, but definitely it's really important that we not only get on board, but also that the other side and the panels and everyone is still seeing us as us and not bringing an old, outdated version of how things were because the world is evolving, yes, so we have to evolve with it and then it just, I think as well, excludes so many wonderful artists, when and things that could change the way we see things like.

Speaker 1:

I just don't think people understand having one person can impact thousands. You see those people in shows that you're like, oh my god, like that's all I want to be, or that speaks to me, or that's who I want to be. That's one person that impacted so many and that's where it starts from.

Speaker 2:

Yeah, for sure. Well, thanks for sharing that as well, my pleasure, yeah, and going into now the knowing your power, impacts of this power and we've just spoken about, we're going to find out our individuality and we're going to discover who we are and then bring that to the table, but then there's going to be that switch of actual ownership, which I think is power absolutely. What would you say more about that?

Speaker 1:

like I was saying before, we don't realize how exciting it is to be ourselves and be like oh my god, this is my alter ego, this is I am.

Speaker 1:

But I think realizing what you have, that is so special and it doesn't have to be like reinventing the wheel. It's just like is it how you dance, is it how you present yourself? Is it the way that you do a certain combo, or you can do tricks and stuff like that. It doesn't have to be a full like deep and meaningful thing. For me it is. It's who I am as a person and living in that authentically and showing that every single day to the best of your ability. It's hard, it's draining. It's draining to speak about these things, it's draining to show up for yourself every single day. But I think when you realize your full potential and what you do is so unique, because, we're all unique.

Speaker 1:

No one's exactly the same, apart from some twins, but you know. But I think once you realize that you kind of let go of all the pressures that are around you I try to not compare myself to people and I used to be the absolute worst for that, Like when I was talking before about a Patrick's where I was like I don't feel like I have anyone that I can be like against or look at yeah.

Speaker 1:

But I've kind of let go of all of that because I feel like I truly am in my own lane.

Speaker 2:

And that's not to say no one can do what I do, but that's because I'm me. And how interesting. You're looking around to almost try and compare to someone, but really this whole mirror was showing you that you were super unique and to fully embrace that, because sometimes we do look similar to someone, it's really easy to compare. But how kind of ended up using something that was felt like a weakness or felt like it was bringing down to actually accept and go actually. This is my power.

Speaker 1:

And it's just been great to like understand that. Like I look back at the past year and my year has just been fulfilled with blessings, Like I'm very glad but it's because I've just understood who I am.

Speaker 2:

Yeah.

Speaker 1:

And just let go and let God, that's it. And I've just been praised for who I am, which is a lovely feeling. Like I don't do it for that. I do it because I enjoy what I do. But like people want me for a gig and they're like oh, we want you to do the finger waves and the makeup and the laduka boots.

Speaker 1:

I'm like that's just so cool like you want me to be me, yeah, or like we want you because you're a queer person telling a story that is so unique, and I want you on like I'm bored because it's so brave as well 100 it's so hard it's so interesting because there's all these other people out there living in their truth, but because it's not represented in a way that's common.

Speaker 2:

Yeah, it's just like so normal to everyone. But absolutely it's almost a bit sad that we, you know, have to fight or have to really push or go through that. But I mean, I guess everyone goes through their own own stuff as well definitely definitely.

Speaker 2:

Would you give any advice for, say, if there was? I mean, this is kind of a mix of what I usually say at the end of an episode yeah but more specifically, if there was someone say there's young Carter and they're exploring these different parts of themselves and individuality, do you have any advice that you would give them at the beginning, like, of your career?

Speaker 1:

find what makes you you and that just sounds so statement. That's just like find what makes you you, babe, but like, yeah, take that apart and be like okay, what is it? Is it my background, is it my past relationship, whatever it is like, and make that art yeah and make that you.

Speaker 1:

It's so exciting when you can evolve and do with your vessel exactly what you want to do. Like it's hard because when you go into full-time you don't have that mindset. You just go in you're thinking I'm dancing every day and it's a really great time and rah, rah. But then you leave and you're like, why am I not succeeding the way I want to succeed? And I think it does come from being authentic to yourself and doing all of that. So, yeah, I would say find your magic, step into your light, that type of thing and it's going to evolve. It's going take time. It's not going to happen overnight. I'm still learning about everything we all do Same same.

Speaker 2:

Do you know what I mean?

Speaker 1:

But I think, really stepping into your light, finding what makes you you, not anyone else you because it's you, it's your life. You're going to get yourself into the room. You're going to be doing the jobs. You're going to be doing the jobs. You're going to be doing the things.

Speaker 2:

Yeah, yeah and I was actually talking to a group of students I think it was even last week literally about this and a lot of people come on here and say find something outside dancing that you can do for yourself. And it actually only clicked for me exactly what that meant. And because we go into the studio, we have someone telling us what the routine is, telling us what character to play, what this, this, this. So if you're constantly in a place where you're getting told what to do and where to go and what to say and all of this, you actually don't leave any time to bring you into it.

Speaker 1:

No.

Speaker 2:

So, especially in a dance stream. Yes, I don't even, yeah, talking about this now like if I had this back when I was in the dance room it would have just opened so many doors for me. Because, I was just very much late to focus on just dancing, that's just dancing and there's nothing else. And even hearing your story about MT I'm like, oh, I wish I kind of did MT back then for a little bit.

Speaker 1:

You didn't need to, you just jumped straight into it.

Speaker 2:

That's it, that's it, but I definitely think anyone out there to add on your advice is to. You know it doesn't have to be long, but take some time in the morning.

Speaker 2:

If you can't do it every morning, every other morning or once a week just have an hour or a few hours to yourself to write, read, explore, you know, dance for you in a studio that's not not even filmed like. Just do the things that actually bring you joy, because through that joy you'll discover who you really are 100 writing is so important and I think reading it out to yourself like I write things because all my head and I go and then I read it.

Speaker 1:

I'm like, oh, my god, yeah, like I'm Shakespeare. I just feel like well, like whatever, but like I just read it and you, because you have all these things in your head and you get it out and you speak it, yes, and you're like okay exactly, and it always if it's a problem.

Speaker 2:

I don't know if you found this. When I ever write out, I go oh, it's not as dramatic as it is in the head it sounds so silly and small yeah, and then that's also the things that loom in our brains as performers.

Speaker 1:

Like you think it's such a big thing, but it's actually so tiny yeah, and you can change it, so you have the power to change it.

Speaker 2:

And then you're like why was I being so silly about it? Yeah, it reminds me of this quote. It basically says if you have a problem that can be solved by action, you don't have a problem work love that, yeah, and I mean to some extent, yeah, yeah, you know there's some problems that you can take action but it takes time but I think it's really good to know that, owning that you have the power to feel how you want to feel work how you want to work and discover parts of you that are really true to you.

Speaker 2:

That, yeah, if you have a problem, write it out definitely discover it, yep unwrap it and figure it out.

Speaker 1:

Let go and let go. You know what I mean the name of this episode.

Speaker 2:

Yes, let go. And let go well it's been awesome having you in card art. I know there's so many people that are going to get so much out of this. I'm so glad. Yes, and if anyone has any questions for us, you can email us at info at thedivecomau.

Speaker 1:

Yay, amazing. Thank you so much.

Speaker 2:

You're welcome.

Speaker 1:

Bye.

Speaker 2:

You've been listening to the Dive Podcast, the fastest growing support platform for performing artists. For more resources, tools, techniques and tips, you can head to our website, wwwthedivecomau. Be sure to subscribe, rate and leave a review for us, and if you feel like this episode could resonate with anyone else in your network, feel free to share it online or share it with a friend directly. Be sure to check us out on Instagram with the handle at thedivecomau, where we come on each week and share a little bit more about the behind the scenes of the podcast and any upcoming workshops, classes and offers with the Dive. Until next time, I hope that you stay passionate, keep showing up and just know that if you're going through challenges right now, it's going to be so worth it when you are in a show and living your dream.