Ep 6: Henrietta Baird: Dancer, Mover, Maker

Host Blue Lucine (00:01):

We The City is recorded on Gadigal land. I pay my respects to the traditional custodians, the elders past, present, and emerging.

Tegan Nicholls (00:11):

Just a heads up this episode contains some adult language,

Host Blue Lucine (00:25):

Art. Activism. Identity. Diving deep with one artist a week, we meet the individuals who use their art to trigger change in the City of Sydney. Who are they? And what's their story? Stick around to find out on We The City.

Host Blue Lucine (00:51):

Hi, I'm Blue Lucine. And today on We, The City I speak with Henrietta Baird, an artist who works across dance, performance and theatre. Henrietta also works with the Botanical Gardens as an Aboriginal Education Officer. I speak with Henrietta about the importance of culture in her practice and why we need to find the funny side of a sad situation. Here's Henrietta.

Host Blue Lucine (01:16):

Hello, Henrietta Baird. Thank you so much for joining me today on We The City. How are you going?

Henrietta Baird (01:21):

I'm good. Thank you. I'll just say that. Um, I would like to acknowledge the Gadigal whose country we are doing this interview on and like to thank my ancestors and elders, um, for having us here today,

Host Blue Lucine (01:37):

I wanted to start with, um, so you are a performer, a writer and a dancer. Is that how you would characterise yourself or have you got other things in your bag of tricks as well?

Henrietta Baird (01:48):

Well, um, I do see myself as a performer or just an artist. I don't consider myself as a writer. Um, cuz you know, that was a one off thing and yeah, we'll see what happens, uh, with the writing. Um, what was the other one?

Host Blue Lucine (02:08):

I think you're very humble. I only, I only wrote once and it was only a smash hit, but that's fine. We'll get to that later. I also called you a dancer.

Henrietta Baird (02:18):

Yes, I am a dancer. Um, and I think that's why artists covers everything, but yeah, I do do those three different things at different times. Mm-hmm but in my bag of tricks I do...

Host Blue Lucine (02:32):

Yeah. What else do you got? What else you got?

Henrietta Baird (02:33):

I do teach at the Royal Botanic gardens. Um, I teach kids and you know, people from all over the world, but we run lessons, um, and are connected to the New South Wales, um, curriculum. So we talk about Aboriginal history, Aboriginal people, plants, animals, um, and um, we make sure, um, that when we are taking the kids out that our lessons are outside.

Host Blue Lucine (03:02):

And so if I was a kid going along to one of these lessons, what would I do?

Henrietta Baird (03:08):

Well, you'd be, um, taken for a walk in the Royal Botanic gardens. And depending on your lesson, you might be, you know, learning about the history you might be learning about the Harbor. You might be learning about, um, medicinal plants. So we teach a range of things.

Host Blue Lucine (03:25):

Oh, that sounds wonderful. Uh, thinking about kids, can you tell me where you were born and what you consider your country to be?

Henrietta Baird (03:35):

I was born in, um, far north Queensland in Cairns, but I grew up on Djabugay country, which is up in the mountain ranges and um, around about year nine, I then moved to North Stradbroke Island where I grew up, um, on yeah, in Brisbane.

Host Blue Lucine (03:57):

What kind of family did you grow up in?

Henrietta Baird (04:00):

Um, what kind of fam? A loving family, a family that went out Bush all the time. Like on the weekends, we were also, um, uh, Seventh Day Adventists too. So from, from Friday sundown to Saturday sundown, I wasn't allowed to watch any movies or listen to music.

Host Blue Lucine (04:19):

Wow. And did you have many siblings?

Henrietta Baird (04:22):

I have two sisters. Yeah, but all of my family members, like your mum's sisters are your mums, your mom's brothers are your dads and your cousins, your first and second cousins are your brothers and sisters.

Host Blue Lucine (04:38):

Wow. And how important was that close family to you growing up?

Henrietta Baird (04:46):

Um, it was really important, you know, I think, um, when you are talking about families and connection, you gotta make sure, um, that when you're with the family members, you, you know, there's always a sense of, um, people or, you know, family members enjoying each other's space, regardless of how hectic and chaotic it may be, but, um, yeah. Going out Bush and going fishing together and having those stories where, you know, you might bump into a, echidna or, um, you know, somebody getting taken down the river or catching your first eel like those, those, those stories are really important. And when you're family orientated, it, um, it's even better because, um, yeah, they watch your behaviour, they make jokes about you. They even tease you um, yeah. So I think, um, growing up with my older cousins, because I was so light skinned, they'd say, are you not bummah? Like you're not a black girl, you know, you're like white and I'd be like, no, I'm not, um, I'm bummer. Like, you know, I'm an Aboriginal person and they're like, no, you're not, you're too white. And I'd be like questioning my identity then. But, um, later on, you know, um, it's those stories that yeah. Make family, family,

Host Blue Lucine (06:11):

It's beautiful watching your face, light up. When you, when you talk about those experiences, did you have an interest in medicinal plants and things like that at a young age? Or did that come in as you kind of became an adult?

Henrietta Baird (06:24):

No, we were always taught about plants. Like you go out Bush, make sure you stay away from the stinging tree, you know, um, identifying them and make sure we knew that it was the big love heart plant that we had to stay away from or the wait a while, because the plant would, it's like a vine that sticks on to you. And if you move, it'll rip your skin, it'll rip your clothes. So if you got caught in it, um, you have to wait a while to get out of it, you know, but with that one in particular, there was a fruit called mill mud, so we would eat it, you know? So there was this thing of knowing which fruits were edible, cuz we'd collect them before we go fishing or just on our journey to town or whatever. Um, and then you have your plants that were, you know, um, dangerous. And then you had your medicinal plants where you would be shown which ones they are, um, and how to get the medicine from them.

Host Blue Lucine (07:29):

That's such an amazing experience. Um, and do you have children of your own?

Henrietta Baird (07:33):

Yes. Three boys.

Host Blue Lucine (07:35):

And where have they been raised?

Henrietta Baird (07:37):

They were raised, um, they were raised up home partially on Stradbroke Island. And then when, um, my youngest was two, he, um, we all moved down here, so most of their childhood has been here up until this day.

Host Blue Lucine (07:55):

Mm-hmm and that's in the village of Glebe. Yeah.

Henrietta Baird (07:58):

Yes.

Host Blue Lucine (07:59):

And have you, um, managed to kind of pass down much of that plant knowledge and, and things into their daily life? Or has that been, um, a bit more challenging?

Henrietta Baird (08:11):

Nah, it depends. You know, if I'm walking out, like if we're all walking together, I'll explain to them what that plant is. If it's on the street, you know, mm-hmm but it's only when we go back home that I would probably show them cuz we're in, in the specific place mm-hmm to be talking about it. Yeah.

Host Blue Lucine (08:31):

What role did your Aboriginality play in your upbringing?

Henrietta Baird (08:38):

Hmm,

Host Blue Lucine (08:38):

And what I mean by that, I guess, was there a point where you kind of were faced with, um, I guess whiteness and you saw a point of difference?

Henrietta Baird (08:52):

Yeah. You know, um, when I was growing up, we, there was a lot of Indigenous kids, um, at, at our primary school in Kuranda and I was faced with, um, a lot of bullying, um, because of my, you know, how light I was, but then there was this also this other challenge of being smart and the bullying was that I was always placed in a different class to the other kids, the other Indigenous kids. So, um, I'd always play, I'd always dumb myself, dumb myself down mm-hmm in order to fit in, which was really horrible. Yeah. And if I, I felt like if I didn't do that, um, I'd get bashed up. So yeah. I pretended not to be smart just so that I could fit in.

Host Blue Lucine (09:51):

Wow.

Henrietta Baird (09:52):

Mm-hmm

Host Blue Lucine (09:53):

How do you think that, um, impacted your character now as an adult?

Henrietta Baird (09:58):

Well, I'm like I'm spewing cuz I'm like, I wish I, I wish I just excelled and you know, it, it, um, took me a while to become confident, you know?

Host Blue Lucine (10:08):

Yeah.

Henrietta Baird (10:09):

Yeah. And I think NAISDA showed me that. Yeah. National Aboriginal Islander Dance, um, Association. Yeah.

Host Blue Lucine (10:16):

Tell me more about that. What do

Henrietta Baird (10:17):

You, so when I came here to Sydney in 2001, I came to train and dance. I auditioned in 2000 and um, made it in. So I, um, when I got here, I really didn't know a lot of people, but I just, um, my godmother's family, uh, friends that she, uh, was connected to. So they kind of took me in and just sort of, um, showed me, uh, around Sydney.

Host Blue Lucine (10:47):

And how old were you then?

Henrietta Baird (10:48):

I was, I was like 24 or something.

Host Blue Lucine (10:51):

Oh, how fun?

Henrietta Baird (10:52):

Yeah, so I was, um, I was young with three, three boys under the age of 10.

Host Blue Lucine (10:58):

Wow.

Henrietta Baird (10:59):

Um, moving here, it was a new, new, big city. I didn't know where I was going. All I knew was that George street was the main street mm-hmm um, to ever catch my bus to get home, but yeah, one, once I got to NAISDA, you know, it was all about being, um, independent. It was always about being confident and um, you know, like kind of like proud of who you were.

Host Blue Lucine (11:25):

Hmm. And had you experienced that kind of pride in yourself before?

Henrietta Baird (11:31):

Yeah, like I think about like, uh, where it was, we, you know, there's always places where we'd go for NAIDOC and it was like, you know, like it was our day, you know, but, um, I think when I grew up, like there wasn't a lot of that until later on, because it was always about, oh my God, it was so weird because I remember being in year four or five and we had this day and it was about wearing a, Akubra hat with the corks and it was about, it was so weird. It was about engaging in a, in a, in an event, but there was nothing about black fellas. It was about the Billabong and these stories about, um, Waltzing Matilda.

Host Blue Lucine (12:26):

And so like some kind of Australian based day?

Henrietta Baird (12:29):

Yes. But there was nothing told about Aboriginal people. And the only time I, I knew that was when mum would take us to the Marches, you know, where we'd, you know, we're our Aboriginal shirts with the flag on it. And yeah, so that was the only time that I knew that, you know, our culture was important at that time. And growing up, learning about plants, that was like an everyday thing. It wasn't really like, oh, this is, you know, Aboriginal culture. We're gonna take you out and learn about plants. That was like our lifestyle, you know? So it was, it wasn't until I, until I got down here that people go, oh, did you grow up culturally? But culturally to me is like, well, yeah, we went fishing, you know, we, um, camped out. That's like a, um, that was like an everyday thing for me, but I never seen it as a cultural lifestyle. You know, I was only like a kid, not really understanding that, you know, our people were, um, were First Nations people.

Host Blue Lucine (13:39):

What was it like? Um, moving to Glebe?

Henrietta Baird (13:44):

Um, it was, it was interesting because I didn't wanna take that place when I first got there. I was like, oh, I don't, I think this place is too big. And, um, the boys just were running into all the rooms and going, yay. We got a new place, you know? Yeah. Until I really like started to settle down. I thought, you know, this could be, this is gonna like, it'll, it'll be a good place for me because I'll be closer to the college. The boys can go to school close by. And yeah, I've been there since 2004.

Host Blue Lucine (14:21):

And what were your impressions of, I mean, Glebe itself has already changed so much from 2004 to now. Um, what was it like back in 2004, kind of culturally and, and the village vibe. What do you remember about it? Then?

Henrietta Baird (14:38):

I remember it being, um, a place that was really, really relaxed. A lot of people were going to markets and I remember one time I come home from Cairns and the whole street was blocked off and I was like, oh my God, what's happening here. and my mum, I had my mum with me and she's like, Hey, where are we going? and I was like, I think, I think it's, it's blocked. It's blocked off for this festival. Wow. It's, that's pretty cool. Cuz we live right on Glebe Point road. It was place of a lot of people that were very chilled and just enjoying what others were offering them, you know, their stalls, food, clothing. Yeah. All these different like ornaments. Yeah. It was just really, uh, a good place to be back then.

Host Blue Lucine (15:30):

And how do you think it's changed now?

Henrietta Baird (15:32):

I think Glebe still a really beautiful place. It's always changing, you know, get people on the streets that are having their pizza at Dominoes, making loud noises and is, and I got egged once actually.

Host Blue Lucine (15:49):

No way!

Henrietta Baird (15:50):

. Yeah. So, um, I think it was Halloween and I was walking home with the bag of groceries and out of nowhere, this dude just threw an egg at me and I was like, oh great.

Host Blue Lucine (16:04):

It hurts so much.

Henrietta Baird (16:05):

It does eggs and the shell. Ooh. Yeah. Yeah. I got lifted.

Host Blue Lucine (16:11):

If you don't clean it straight away, it sticks like concrete.

Henrietta Baird (16:14):

Well, um, like it was only on my feet, so I was happy about that.

Host Blue Lucine (16:20):

You wrote a play, even though you swear, you're not a writer, but you did write a play, uh, called The weekend. That was a huge success. Can you tell me about the inspiration for that story and the process of bringing it to life?

Henrietta Baird (16:34):

Well, um, at the time I was with the boy's dad and um, I had been offered, um, a dance work, some dance work up in Cairns and for this production Pop Whistle Crack, which was, um, choreographed by Marilyn Miller. And at the time it was gonna be for three weeks. But in the first week I said to my partner, you know, do you mind, uh, watching the boys? Uh, cuz he at the time too was a scaffolder and he said, yeah, sure. I'll watch them. So I went up but um, that first week the youngest boy rang me and he said, oh mum, you know, dad's left us. And we were starting to run outta food and I thought, ah, you know, like, um, I'm gonna have to go and look for him. So me being nervous, I, I just said to the director, look, do you mind if I go for the weekend, I'll come back.

Henrietta Baird (17:41):

Um, I just gotta make sure my boys are okay. Uh, just get them a sitter or something just while if I figure out where this lad is, you know? So, um, I, I, I get there and find out that he's, you know, he's just gone on a bender and um, it's taken that whole weekend for me to find him, but how I got into writing that story was that, um, I, I ended up finding him and then we sort of tried to figure out, you know, why he was going that way. And obviously he had his own demons and I thought, well, um, I'm gonna have to try and, you know, figure out because I can't keep living like this. Um, where he's, you know, um, not gonna be watching the boys or, um, gonna be- be left with them, um, on my own.

Henrietta Baird (18:39):

So what I'd done was, um, got his mum to go down there and watch the boys for me while I stayed up in, um, Cairns finished off the work. But how I came to writing, it was , I'd gone from that project to a project in Melbourne. And I think it was a couple of months later and, um, it was still fresh in my mind. And you know, often when I'm nervous, I just blurt stuff out. Mm-hmm so we were at the White House, um, in Melbourne, which is no longer, um, there no more, but, um, Lara week who you might know of, um, she was taken care of, uh, the White House at the time. And, um, I was working for Maria Randall on Diversity. I think it was. And we, I just got into Melbourne. It was late. I didn't know where the White House was.

Henrietta Baird (19:35):

I didn't, you know, I was a, I was nervous and um, I was thinking, I hope I don't get lost, you know, because they were talking about cab drivers, like just taking you the long route. Yeah. So you'd have to pay all this money. Yeah. And because I didn't know it, I was, I was like, oh, I hope I, I hope I don't get rolled. You know? So , um, Lara's on the phone. She's like, oh, just come up the street, you know, um, I'll meet you outside. I'll get in there. And she's like, can I make you a tea or something? And I said, yes, please. And because there were other artists in that house, I think there was a nurse, there was a doctor, uh, actor. Um, and then I said, oh, can I? I said, oh, hello. They're like, oh, this is so, and so I said, can I tell you a really weird story?

Henrietta Baird (20:27):

And they said, yeah, sure. And I said, oh, well, this is what happened to me. And I just, I, I, I just couldn't help myself, but tell that story. And, um, I started explaining, explaining it to them. They're like, oh wow, geez. You really went through a lot. Didn't you? And I said, yeah. And I didn't realize that I'd put myself in danger, you know, because in the story, I take this bum bag from the drug dealer and, um, little did I know that there was drugs in there needles, pills, money. And all I was thinking about was just finding him to get to the boys mm-hmm so I, I would just do anything to help her get to where we need to go. And that's what she wanted me to do was hold the bum bag. You hold the bum bag. Yeah. All right then. So where are we going? You know, so anyways, um,

Host Blue Lucine (21:24):

But if you'd been caught with that bum bag...

Henrietta Baird (21:25):

Yeah. I would've went through straight

Host Blue Lucine (21:27):

That would have been the end of you.

Henrietta Baird (21:28):

Yeah. So, um, when I was telling them that story, um, Lara kind of approached me and she's like, you know, that kind of sounds like a play or something. And I said, ah, yeah. And I kind of just shrugged that off, like, ah, yeah, well, anyway, so I got to know people through, throughout the White House. And then, um, couple of days later, Moogahlin Theatre sent through an email, asking for Indigenous writers to send their stories through and I showed her and she's like, well, how about if I record you, we go and have dinner. I record you tell the story again, and then we'll just write it from there. You know? So like verbatim. And I said, yeah, all right then. So we sent it through and, um, I was, I was one of six out of, um, I think 26 writers that sent their work through. Yeah.

Host Blue Lucine (22:21):

So just to put in a bit of context for the listeners who, who might not have heard The Weekend, um, the reason it's so kind of exceptional is it did take you the entire weekend to find him and you went on, uh, sort of a wild goose chase for, is that how you would describe it? Could you give us bit of a, kind of a bounce through of some of the, the plot?

Henrietta Baird (22:48):

Yeah, sure. So

Host Blue Lucine (22:50):

It's kind of the highlights because what, because I guess why I wanna talk about it is it ends up being for all its real life, uh, you know, kind of tragedy and, and extreme difficulty. And, and you know, what you're talking about is afterwards you realised how much danger you are in and, and, and difficult was, but in that moment you were so charged up on adrenaline and that kind of, you know, um, mother lion, just protecting her Cubs, trying to get back there to them that you would do anything right to get there. Um, but the play is hilarious and the way you kind of take the audience on that journey, it's, , it's, it's kind of this raucous adventure. Uh, so I would like to kind of capture for, for the listeners. Could you bounce us through a couple of those, those plot points?

Henrietta Baird (23:39):

Once I get to Sydney, um, I ask the boys, um, you know, uh, I take them to the, to the shops, we buy food, so they're set up and ready, um, you know, for the next few days. And then I start to drink alcohol, but at the same time I'm ringing him, you know? And, um, it just keeps going to like, it, it rings, but it then goes to the message bank. So, um, all of Friday afternoon, Friday night, he doesn't answer Saturday all day Saturday, but then Saturday night somebody answers. So I'm like, ah, who's this, you know? And, um, on the other end it's a female and she's like, hello. And I'm like, oh, hello. I said, um, is, um, you know, uh, Sean there, but his name is, um, Simon. So, um, is, uh, Simon there and she is, nah, he's just going for beers.

Henrietta Baird (24:39):

I grab some beers, he'll be back soon. So, um, I go, oh, and then in my mind I'm thinking, how do I get there, cuz she's not gonna, you know, she, she doesn't wanna really tell me, um, the address. So I pretend that I'm the only way to get there is to give, you know, say that I've got money for him. So I said, oh, well, you know, um, sis, oh, I got some money for him. Um, do, do you reckon, can you just tell me where, where you are? Cuz I, he, he told me, but I forgot. And she's like, um, ah, yeah. Level, um, this level and this door. Yeah, this number. So alright. I get up there, but where I'm going to is Redfern and the twin towers. Yeah. Mm-hmm and um, I already know from just being there that nobody, nobody wants to tell you stuff.

Henrietta Baird (25:26):

They're very cautious and that's what I say in the work, you know, they don't wanna, they don't wanna say anything just in case. Um, they, they might get in trouble, so we get there and um, I get to the, I go up the elevators and I speak about the elevators being, you know, like you can see in the elevators, but it's kind of blurry, you know? Like, um, and I explained that or maybe that's just how I was feeling, cuz you, you can't see yourself, but it's one of those, you know, mirrors where it makes you look warped mm-hmm yeah. Like, like an app know.

Host Blue Lucine (26:00):

Yeah. Or like you're in a fun house or something .

Henrietta Baird (26:03):

yeah, yeah. Um, anyways, I get to her apartment and as I walk in, um, you know, there's people sitting on the couch, there's a couple of followers about to shoot up and as I walk into the space, I'm like, oh, you know, what the fuck did I walk into?

Henrietta Baird (26:19):

Mm. So, um, I just enter anyways, cuz all I'm worried about is I just wanna know where he is. And in the back of my mind, I'm also thinking, you know, is he sleeping with women? And you know, like, um, he's in this place where, you know, people that are trying to escape, they just do drugs, you know, cuz they're trying to get rid of, or not think about everyday life that is probably troubling them. So I'm kind of in his world now. So I just wanna know what it's like. So I enter anyway, she gives me his phone, she gives me his wallet and um, she says, ah, she goes, yeah, I'm, I'm fucking sick of it vibrating aye! .

Host Blue Lucine (27:10):

Cause you've been calling since Friday.

New Speaker (27:12):

Yes. probably earlier than that. Like I'm thinking earlier in the week because the boys were like, Hey mum, you know, dad's not here, we're running outta food. So that's what made me cruise, you know, it's

Host Blue Lucine (27:23):

Amazing battery life on the

Henrietta Baird (27:26):

Yeah. Well I think it was on charge.

Host Blue Lucine (27:28):

Yeah, probably

Henrietta Baird (27:28):

but the way she said it, I was like, oh my God. Anyways, we head out. And um, where, um, I start going through his phone, I find that a woman's been texting him and you know, like I talk about in the show that my stomach is feeling sick. Like, you know, that feeling of somebody playing around behind your back and you know that they're doing it, but they don't tell you. So you just investigate anyways, you know, just to prove that you are not going crazy mm-hmm so go through his phone and um, in order to get out to the balcony had to step over a young girl and you know, pretty young girl too, you know, I, I explained she's a couple of maybe a couple of years older than my sons and she's got the, these little short shorts on and you know, the ones with the pockets that hang out at the bottom. Yeah. Those one like sexy ones and I'm thinking, oh man, I wonder if he's screwing her, you know? So go through the phone. And I say to the, um, the drug dealer, I'm like this, um, do you know this number? And I show her the number and I explain, you know, I think she's got like, um, photographic memory cuz she remembers that phone number straight away and types it in. And um, the phone rings, but the phone rings from inside the house. ,

Host Blue Lucine (28:50):

It's always coming from inside the house.

Henrietta Baird (28:52):

So I look, I look, I look at the, I look at the young girl cuz it's in her pocket, like the light, her phone's lighting up. And I look at the drug dealer and I'm like, we look at each other and we're like, nah, I can't be. So I hang up and then I ring out again and fair enough, the light comes from her, her pocket and the drug dealer says "that's the slut there. And she goes, ah, she'll suck dick for anything. And I'm thinking, oh no. So I, in my mind, in my mind, in my heart, I'm like trembling. Like I wanna cry, but I can't. So I think,

Host Blue Lucine (29:31):

yeah, the mission's not over,

Henrietta Baird (29:33):

no, I still gotta look for him. And I'm like, should I bash her? Nah, she's wasted. Just leave her alone. You know? And um, then I say to the drug dealer, sis, can you just take me to, um, find him anyways?

Henrietta Baird (29:48):

Um, she says, you all right then, so we get downstairs. She gives me her bum bag and of course the bum bag's got the needles, got the drugs, got the pills, it's got everything. Yeah. And um, she says, uh, just hold it yet. And I'll look for coppers. And um, she looks around and she goes, fucking run! So we're running and I'm like, holy shit. So I'll clutch the, the bum bag and I'm running anyways, get to the other side and I'm thinking, why the fuck am I running from coppers? I'm not wanted. And she goes, yeah, gimme that bum bag. And she snatches it off, snatches it off me. But we get to the other side of the, um, twin tower. But in between in the story, um, we actually stop at, um, the, these, uh, swings, like the kid's playground and you find out more about her lifestyle mm-hmm and what she's done to try and make ends meet because, um, what's happened in her life, you know?

Host Blue Lucine (30:53):

So you're kind of throughout the story and meeting these different characters. As well.

Henrietta Baird (30:58):

Yeah. So, um, Ronnie, um, who's the drug dealer Didi. Who's the sister and she's on the other side of the twin towers and we find out, I don't find out that till that they're sisters until later on. Mm. But also find out that, um, you know, um, she runs a bit of a service there too, you know, at her place. Mm-hmm so I'm thinking, ah, is he sleeping with her too? Mm-hmm you know, because, um, I find out that he's at a bubble bath there, like the night before.

Host Blue Lucine (31:26):

A bubble bath.

Henrietta Baird (31:28):

Yeah.

Host Blue Lucine (31:28):

Like in a hot tub?

Henrietta Baird (31:29):

Mm-hmm so I don't know what's been going on there, but um, yeah, I find out, um, he's been over at that place. They've been partying and he's had a hot bubble bath because his body's sore from scaffolding.

Host Blue Lucine (31:43):

That's very good excuse.

Henrietta Baird (31:44):

Yeah. Oh mate.

Host Blue Lucine (31:46):

You've heard that excuse before. .

Henrietta Baird (31:47):

I've heard a lot of excuses, man. but my, my mind is just totally to find out what he's been doing. Yeah. If he's been sleeping with anybody and why is he left the boys?

Host Blue Lucine (31:57):

Yeah.

Henrietta Baird (31:57):

On their own. And the fact that we, have to hide, hide behind cars and run from coppers is just this. And you know, like I was thinking about the story going, cuz I've been running with the bum bag. People are like, no, why you got the bum bag, get rid of it. So I've already put myself in danger and also not realising that I'm doing that just because I'm just going with the motions. I'm half, you know, drunk. So all I, all I'm worrying about is just finding him and everything is thrown out the window, but I find myself hiding behind a, a car.

Henrietta Baird (32:42):

And um, she's trying to whisper to me, you know, like "shhhh we incognito" and I'm like, "wait, you know, we gotta blend in. We got hide from the coppers." And I'm like, "yeah right." So anyways, on the way back, we're running again from the coppers or trying to get from A to B and as we're hiding behind the cars, cuz she don't wanna be seen, I'm hiding and squatting down behind the car, behind her, he pops up and makes his way Simon pops up out of, you know, nowhere, makes his way. He sees me and then I walk towards him. So we're arguing as we're arguing, she's still behind the car. And then, I'm, yelling at him, asking him, why is he he's done this? You know, "why have you left us? Why have you left the boys? Like, why aren't you being supportive?

Henrietta Baird (33:39):

You know, like you're the only one I have here in Sydney. Why can't you just be a better dad?" All these questions he walks off. And then I automatically go on squat behind the car behind like with her. And she's like, shhhhhh I gotta call a cab. So here she is trying to ring a cab because she says, "you wanna go into the city for a pizza?" And I just automatically agree. "Yeah, sure. I'll come in with you." And then, um, but he makes his way again. So I pop out from out of the, behind the car and I go and argue with him again and "I'm like, what the hell?" So then I go and hide behind the car again, after I argue with him and it's like this comic comical, you know, scene that's happening. But what I don't realise is that, you know, I shouldn't be hiding behind that car cuz I'm not wanted by the cops, but I still have her bum bag so anyways, she calls the police.

Henrietta Baird (34:39):

I mean the, um, cabs, um, we get in the cab and then I end up going home. He ends up meeting me at the house in the actual story. I straight away, um, go to the police station. I get an AVO out on him. Um, and then I ask him to leave. Um, I then find a babysitter for the boys just so that I can finish off the, the next two weeks. And the babysitter is his mum. So by that time he's come home on the Sunday, still, you know, coming off, a lot of hard drugs and um, his mum's at the house this time. So, um, I'm happy that, you know, somebody's there to watch them and yeah, but all the different characters in the, in the, in the play, they all have a story of my childhood. Yeah. So, um, and we've made it so that, um, that's the reason why they turn to drugs.

Host Blue Lucine (35:45):

Mm-hmm .

Henrietta Baird (35:46):

Yeah. So the first, um, um, Ronnie, when you meet her, she's turned to marijuana, because, um, I think I, uh, when I was 22, I come down the stairs and um, I witnessed my mom's boyfriend hanging from a rope, so I had to pick him up and um, yell out to family members to cut him down. Mm-hmm yeah. So, um, we placed that story on her. Um, uh, I think the other young girl who, um, he actually met with said they apparently they did a drug deal, um, because she was meeting him at the shop and the one that was lying on the floor.

Host Blue Lucine (36:34):

With the Pockets ?

Henrietta Baird (36:34):

Yeah. With the pockets. Yep. Um, we, the story about her was that she'd witnessed her, her dad being stabbed by her mum, but in real life it was, um, my cousin, um, stabbing his girlfriend. Yeah. I think he, because he was under the influence of alcohol. Um, and there was another story that I placed on, uh, the other, the other, um, characters, which were also based on, um, my life as well. So I tried to think about everything that happened to me. I just placed on them. And that was the reason why they turned to drugs. Yeah.

Host Blue Lucine (37:20):

What was that process like on you emotionally kind of incorporating that kind of, you know, trauma into your art. How did you, how did you cope?

Henrietta Baird (37:32):

I was drinking early every night. Yeah. Um, I was going to counselling, um, and you know, like even though I have an outlet, um, there was one, there's a story of my grandmother passing away and you know, my sisters then moved back in with my mum, but, um, I think about my process of handling, handling those situations and how my sisters handled it and, you know, very, very different. They never had an outlet, you know, but whereas mine' is dance, mine is, you know, story. Yeah. So, um, even though I did write that story, there are still things that still affect me. And, um, I think, um, I think for me it was, I felt that it was best to just keep busy, just, you know, find work, keep working and yeah, you do as many things as possible. So I didn't have to worry about, you know, um, all these different events in my mind. Mm-hmm yeah.

Host Blue Lucine (38:44):

Is that why working with the, the humour and the comedy was important for you?

Henrietta Baird (38:50):

Yeah, because, um, I had to find a, I had to find a way to make, make a hard situation, see the, see the good side of it or the better side of it or the funny side of it. Like, um, you know, they, in, in our, in everyday life, you always go through something that's bad, but if you can find the funny side to it, I think life would be better. Um, I give you an example. My mum come home from a funeral and um, she said, oh, she said gee, them it was funny today. She said, we went to a funeral and I said, I said, oh, who's funeral. And um, she said, um, one of them old auntie's there. And she said, you know, uncle there Subaroo. And I said, yeah. And she said, well, sister Mala belongs to him, you know? And I said, oh, okay.

Henrietta Baird (39:55):

So she said she was standing up, her and her sister were standing up behind, um, uncle, um, Subaroo. And she said as they were walking towards to put the, the dirt into the, um, what is it?

Host Blue Lucine (40:08):

The like on the top of the casket or something?

Henrietta Baird (40:10):

Yeah, yeah. Yeah. She said that, um, the snake come out of nowhere and it headed towards him anyways. Um, Jamma means snake in language. So he started to warn everybody, Jamma, Jamma, Jamma, like this and no good. Um, everybody split, they were sort of scattered everywhere, you know, and they're crying and like trying to get outta their way. And um, she said she didn't know whether to cry or laugh because one people were rushing to get outta the way from the snake. Two, he was telling everybody, but he was backing up as well. And she said, has he backed up, he backed up into a hornet's nest.

Host Blue Lucine (40:50):

Oh.

Henrietta Baird (40:50):

So he was like, oh, you like trying to, trying to get the hornets like out of his face. And she said, she said, when she looked at him, his face was so puffed up.

Host Blue Lucine (41:01):

Cos he's been bitten by the hornets...i

Henrietta Baird (41:05):

And she said, she said, "Etta, look, we didn't know whether to cry or laugh aye" but she said, "don mukka his face". Like it was so puffy. She said, look, she said, "oh, well that'll teach him a lesson. Cuz I apparently he had turned up a little bit under the weather, you know, charged up like drunk.

Host Blue Lucine (41:27):

Uhhuh.

Henrietta Baird (41:27):

She said, yeah. But they believed that the spirit went into that snake to, you know, like warn him or growl at him,.

Host Blue Lucine (41:33):

Tell him off. Yeah.

Henrietta Baird (41:37):

Yeah. But anyways, so these are the stories that we talk about, you know, mm-hmm yeah. And that's what keeps us as our storytellers as, um, you know, human beings. We can find a, a funny side to a story even though, um, it's yeah. Sad.

Host Blue Lucine (42:07):

You've been developing a new work at Carriage Works. Uh, what can you reveal about it and who else are you working with?

Henrietta Baird (42:15):

Okay. So, um, the new work is called "Plant a promise". It's about looking at global warming. It's about looking at community and how we can, um, get community on board to think about the way that they, they change their lifestyle, you know, and live more sustainably. So, um, I'm working with, um, producer, Pipa Bailey, um, set designer, Lara Week. Dancers Andrea Adidi and Glen Thomas and sound, um, designer Andrew Batroden um, we've had one week, oh, sorry. Two, two and a half weeks at Carriage works. This work was meant to be done last year. Um, but due to COVID nobody, uh, wasn't allowed to get into the space. So we'd only had, um, one week at carriage, um, sorry, Critical Path, um, which is near, uh, double bay mm-hmm yeah. So on that side, but yeah, the work, um, came together pretty quick and Lara designed, these beautiful big trees or trunks out of the, um, the curtains. Yeah. And the space. And then, um, as a way to get community on board, I did a, did a thing where they would, um, collect a eucalypt branch and add their eucalypt branch to the trees. So when Lara designed it, she put rope around the tree so that they could just place their, their branch into the bark, making it look like epicormic growth. Mm. Yeah. So the whole work is, um, looking at before the fire then smoke fire ashes and then epicormic growth. Yeah. So all these different sections

Host Blue Lucine (44:10):

And what do you hope audiences will get out of experiencing this type of show?

Henrietta Baird (44:16):

Well, I want them to, um, feel like they're in a different country. So I think about, um, young elders to come and smoke the smoke the place and give a welcome to country. So you are already smelling fire or smoke then as they come into the space, they see the set. So it looks like, um, uh, they're in the middle of the, uh, bushland. Um, and then as we start to dance, um, it's, um, we move through the space. So showing from before the fire. So it's just us moving as plants with a sound, um, over the top, talking about country, what it's like to be out on country, you know, uh, rules, regulations, protocols. And then, um, as you go through, then it starts to change into, um, politicians and, um, fireies and being asked the questions by environmentalists, like, you know, is Australia fireproof mm-hmm , you know, what has the government done?

Henrietta Baird (45:32):

Do you think they made the right choices? You know, because when we needed those, um, helicopters to drop off the water, we couldn't get them mm-hmm and asking the government, why didn't this happen? Why weren't we supported. Yeah. And then obviously you got economic growth where we get the audience then to come and place their branches onto the trees to make it look like epicormic growth. But in that process, um, after I get them actually to take a plant pot home, so they plant it in their backyard to show that they're committed to living more sustainably. Yeah.

Host Blue Lucine (46:12):

You were announced the winner of the Carriage works Indigenous Fellowship.

Henrietta Baird (46:17):

Yes.

Host Blue Lucine (46:17):

First nations fellowship. Mm-hmm how long is the fellowship for and what are you planning?

Henrietta Baird (46:23):

So, um, that is, um, yes, I am the recipient. Um, it was for a hundred thousand dollars, um, 50,000 each year, over two years, the project the project is called Project C. So, caring for country with community at carriage works. Yes.

Host Blue Lucine (46:43):

I can see why you called it Project C.

Henrietta Baird (46:45):

Yes. So, um, they've given us 12 planter boxes or maybe even more 12, maybe 17 planter boxes. And I've put it out there for, uh, Jarjim College, which is the college in Redfern and this elders group in Redfern as well, um, to come and do some planting on the, on, on one day where, um, Carriage works team can come and engage with the community. Yeah. So hopefully this will happen in, uh, April and Jiwah, um, the gardening team at South Eveleigh is going to lay down the foundation, like put in the water systems and, um, the soil so that when Jarjim and the elders come, we are just gonna be planting. Yeah.

Host Blue Lucine (47:37):

Wonderful. What do you think the garden will do for the City of Sydney?

Henrietta Baird (47:42):

Wow. That's um, a really great question. So we're hoping to get more people to come and enjoy the garden, but also be able to, um, engage with it, you know, learn about plants that have been planted there also, um, depending on what we decide, maybe they might be able to take some of that food source home with them, you know, Lemon Myrtle, or maybe Lilies or, um, Native Mint, depending on what we plant there. But yeah, it's about connecting to country. It's about connecting with each other and connecting with community.

Host Blue Lucine (48:22):

I look forward to seeing it come to life. Thank you so much for sharing your time with me. It's been such a pleasure.

Henrietta Baird (48:27):

Yeah. Thank you for having me today.

Host Blue Lucine (48:45):

We, The City is a Jerboa Production hosted by me, Blue Lucine. The City of Sydney is our principal partner and we thank the creative grants program. This episode was produced by Blue Lucine, and Tegan Nicholls, with original music by Matt Cornell. We, The City is recorded on Gadigal land. Sovereignty was never ceded.