Thank goodness for sleep.
Obtaining a visa for Eneias starts to seem very difficult. There is a lot of red tape.
The process involves three main steps:
1. I have to be approved as an Entertainment Sponsor.
2. I have to nominate Eneias as the "act" I want to bring to Australia.
3. Eneias applies for his visa, quoting my Sponsor Approval Number.
I must provide financial statements for the past six months to demonstrate my worth and capacity to support my musician while he is in Australia.
The documents I submit must be "certified copies".
I am required to consult with the Australian Musicians Union, to show cause why an Australian musician cannot do the job instead of someone from overseas.
There is a "Catch-22" in the Visa process. The Nomination form requires me to specify the dates of his visit. And the Musicians Union wants to see a completed Nomination Form. But how can I book dates with theatres until I know when (and if) he'll get the visa?
In the late afternoon it starts to look impossible.
But I wake up in the morning feeling rejuvenated and ready to attack the process.
This will obviously take a while. I turn my attention to my show for the Cabaret Fringe. Finally I am offered dates, and we are able to set times that suit both the venue and my pianist Emma. I'm doing three performances of my new solo show "Unbreak My Heart".
I'm relieved to have a new project on track, while I unravel the red tape.
It could be very tempting to give up on my Brazilian dream. But I suppose I can't expect it to be plain sailing, and I shouldn't let this setback defeat me.
Obtaining a visa for Eneias starts to seem very difficult. There is a lot of red tape.
The process involves three main steps:
1. I have to be approved as an Entertainment Sponsor.
2. I have to nominate Eneias as the "act" I want to bring to Australia.
3. Eneias applies for his visa, quoting my Sponsor Approval Number.
I must provide financial statements for the past six months to demonstrate my worth and capacity to support my musician while he is in Australia.
The documents I submit must be "certified copies".
I am required to consult with the Australian Musicians Union, to show cause why an Australian musician cannot do the job instead of someone from overseas.
There is a "Catch-22" in the Visa process. The Nomination form requires me to specify the dates of his visit. And the Musicians Union wants to see a completed Nomination Form. But how can I book dates with theatres until I know when (and if) he'll get the visa?
In the late afternoon it starts to look impossible.
But I wake up in the morning feeling rejuvenated and ready to attack the process.
This will obviously take a while. I turn my attention to my show for the Cabaret Fringe. Finally I am offered dates, and we are able to set times that suit both the venue and my pianist Emma. I'm doing three performances of my new solo show "Unbreak My Heart".
I'm relieved to have a new project on track, while I unravel the red tape.
It could be very tempting to give up on my Brazilian dream. But I suppose I can't expect it to be plain sailing, and I shouldn't let this setback defeat me.
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