Dr Cliffton Chan
Associate Professor of Physiotherapy and Head of Anatomy Education, Macquarie University
ANAM Physiotherapy and Performance Consultant (2021-present)
Working with ANAM musicians has always been deeply meaningful to me. Their commitment to their craft is unmistakable, and it is a privilege to walk alongside individuals who care profoundly about their art and its place in the world. What I value most is their openness to learning – not only about music, but about themselves as people and performers. Witnessing musicians begin to see health and wellbeing as something that supports, rather than competes with, artistic excellence is one of the most rewarding aspects of my work.
Globally, athletes are more routinely supported by integrated health teams throughout their development, while performing artists – particularly musicians – have historically received far less structured education and clinical support. Even within the performing arts, musicians often lag behind disciplines such as dance in terms of health and wellbeing integration.
ANAM stands apart in this regard. The program represents a commitment to musician health that is still rare in Australia. What is especially encouraging is the cultural shift that occurs when wellbeing is embedded rather than “added on”. Over time, musicians begin to recognise that health is not simply about avoiding injury, but about enabling consistency, confidence, and artistic freedom across a career.
My experience with ANAM’s musicians has been that they are highly receptive to learning, particularly once space is created to reflect on the physical and mental demands of their training. A small number arrive with some prior understanding of health and wellbeing, often shaped by previous teachers, university experiences, or personal challenges. For many, however, this awareness has not been formally taught.
The Health and Wellbeing Program at ANAM fills a critical gap. It invites musicians to develop a deeper understanding of their bodies and to reflect on how they practise, perform, and recover. Importantly, it normalises these conversations within an elite training environment, helping musicians build habits that support not just their immediate performance, but their long-term sustainability.
Over the course of my career, I have seen a gradual but important shift in how musician health is understood, influenced by the work of leading Australian researchers in performing arts medicine and psychology. Dr Suzanne Wijsman, Dr Bronwen Ackermann, and Dr Margaret Osborne, just to name a few, their contributions have helped reshape how musicians, educators, and clinicians think about health, performance, and longevity.
These advances are beginning to take hold through programs such as those at ANAM, where health and wellbeing are placed at the centre of elite training. While this marks meaningful progress, there remains significant work ahead – particularly in ensuring that these principles are introduced earlier, supported by teachers, and translated into everyday practice.
ANAM’s sustained commitment sends a powerful message: that caring for musicians’ health is an essential part of nurturing artistic excellence. In this way, the program serves not only its musicians, but the broader classical music community, as a model of what is possible.
Cliffton Chan headshot supplied