Pippa Bailey, Indy producer/director
Pippa Bailey grew up on Wangal Land in Sydney, starting her career as a performer and reporter/producer with SBSTV. Following an art action at the Kyoto Earth Summit, Pippa spent many years in the UK where she was Artistic Associate, then Artistic Director for The Museum Of on London’s South Bank then at oh!art @Oxford House, a community arts centre in East London where she pioneered participatory installation and collaborative arts practice. Pippa played with fire as Associate Director with The World Famous – innovate company of pyrotechnicians 2001-13, helping to create and tour large-scale outdoor shows, including signature events for the London 2012 Olympic and Paralympic Games. She produced the Total Theatre Awards at the Edinburgh Festival Fringe 2007-13 exploring how attitudes and expectations of cultural excellence are shaped in an attempt to interrupt a sexist racist status quo. From 2007 she developed BiDiNG TiME, an international participatory theatre project highlighting the vital need to imagine new collaborative creative systems to empower women that adapt to place in response to environmental crisis.
Pippa moved back to Australia in 2013 working with Performing Lines, helping to produce the work of extraordinary independent artists including Ghenoa Gela, Branch Nebula, Nakkiah Lui, Amrita Hepi, Martin del Amo, Sue Healey, The Climate Guardians and Sandra Thibodeaux's Age of Bones. She was senior producer for Sydney Festival 2019 focusing on their outdoor and Western Sydney programs. Pippa is currrently Director of ChangeFest, a national celebration of place based social change. She remains passionate about the vital role that arts and culture can play to lead on climate action in order to facilitate a just transition to a sustainable future.
Pippa is on the Advisory Board of IETM – International Performing Arts Network (Brussels), and a board member of Theatre Network NSW. She is a regular contributor to the strategy group at Culture Declares Emergency in the UK.
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