Written for Joel and the team. A cover letter, a JD-by-JD fit map that names both my strengths and my growth edges, a clear word on what isn't mine to claim, and my CV.
I'm applying for the Digital Content Creator / Digital Storyteller role because the work — a First Nations led, queer, contemporary dance company making bold work and carrying it from the studio in Naarm to regional and international stages — is the kind of story I'd be proud to help travel further. I built this small hub before applying so you can judge my craft directly, not from a folio of screenshots.
Let me be straight about who I am, because the standard I work to starts with honesty. I'm not First Nations, and I'm not here to claim a cultural authority that belongs to you and your community. The way I read this role, my job isn't to author the story — it's to build the infrastructure that lets your voice and the ensemble's work reach more people: shooting and cutting high-performing video, running the channels, and making the content rhythm of a touring season sustainable for a small team. I'd work under your cultural leadership and protocols, listen first, and publish nothing without permission. I'd rather earn trust slowly than overstep once.
What I can prove I bring: I plan, produce and ship short-form video, photo and written content across Instagram, TikTok, YouTube and Facebook as a fast one-person studio, with an AI-accelerated workflow (trend monitoring, caption variants, resizing, scheduling) where I review everything myself before it goes out. Door 02 of this hub is a working video & social content engine I built for a dance company's reality — rehearsal-to-stage reels, a season content calendar, captions that hand the mic back to the artist. Door 03 is a behind-the-work series concept made to travel with a tour. Both are live — watch the thinking, then decide.
Where I'd lean on you and the company: I'm a strong short-form editor and social producer, but I'm not a senior cinema-grade film editor, and I'm certainly not a dance or cultural expert — that direction lives with you and the artists. For major filmed works I'd happily partner with a specialist rather than overstate it. I've named that openly in the fit map below.
I'm based in Naarm/Melbourne, available from July 2026, comfortable with the 3-day, 22.8-hour basis and the mix of working from home, the inner-North/CBD office, and on-location capture, and I hold the right to work in Australia. I'd value the chance to sit down for fifteen minutes and listen to where you want the story to go.
Khalid Rind · NeuraNest AI · Naarm/Melbourne
info@khalidrind.io · +61 493 348 617 · khalidrind.io
Cultural authority stays with the company. I take direction from you and the artists on what is shared, how, and when. If something isn't mine to publish, it doesn't publish.
Consent before capture and before posting. Rehearsal-room and on-location filming happens with the room's agreement; nothing goes public without a clear yes. I'm comfortable building a simple consent and review step into the workflow.
Listen first, amplify, never speak over. The captions and edits are built to carry the artists' own words and the company's framing — my craft is the vehicle, not the voice.
Mapped honestly against the role's responsibilities and requirements. Purple = a clear strength. Gold = where I'd grow into it or lean on you and the artists. No point is hidden.
From a respectful look at your public site on 3 June 2026 — framed as a content creator's read, not a critique, and not a claim to understand the cultural work. These are simply where a dedicated digital storyteller adds capacity.
MONOLITH, Homo Pentecostus, Biladurang, GARABARI and Giraru Galing Ganhagirri show a company with a clear, bold voice and a national-to-international reach. The story is strong; the job isn't to change it — it's to make sure more people see it, told the way you'd tell it.Happy to sit down for 15 minutes — in the inner-North, the CBD, or online — and listen to where you want the story to go.
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