Gareth Cutter and myself have been exploring voice in all its many guises: in classic literature (the Tower of Babel, Echo the nymph, The Little Mermaid), contemporary science and technology (for instance, Voice Banks where you can ‘donate’ your voice to someone without speech), and sociology (‘huh?’ as the only universal word shared across all cultures; dysfluency power). And we’ve been imagining what the voice might be like in the future, as above.
My tribute to Sophie Partridge, and her impact on both the disability arts community and female techie communities. Read more in my latest Drake Music post, which also explores more general issues for women in electronic music.
After singing pop songs Amy Coombe’s interactive ‘Google classroom’ session at this year’s Music Learning Revolution conference, Shawn Mendes’ ‘Treat You Better’ has been on loop in my head. However ‘Treat you Better’ was certainly not the only memorable aspect of this years MLR.
Meet, make music and network …
MLR is a conference for anybody working in music education, and prides itself on being somewhat of an Unconference, providing a creative setting for practitioners to meet, make music and network.
From a keynote speech by Radio 1 DJ Hew Stephens to a flamboyant fast paced ‘Gareth Malone’ style ensemble by pianist Adam Saunders, inclusion was a common theme throughout the conference. However I’m not sure the needs of disabled children were always considered when presenters talked about ‘inclusion’ – which is ironic given that inclusion is a term championed by disability rights advocates.
Very few of the workshops I attended made reference to the needs of disabled children – for example, Adam Saunders’ ‘On Cue’ ensemble. This 7-step approach to learning musical content utilises body percussion, vocalising, singing and playing by ear. And whilst this session certainly addressed some inclusion problems, as it didn’t require either note reading abilities or instrumental skills, it involved robust physical and mental abilities. In it’s current format, this would present disabling barriers for many of the children Drake Music work with.
So, it was good to see Drake Music’s Open Space Session – Imagination and Rigour – which was about overcoming disabling barriers within music education. Led by Jocelyn Watkins and Jonathon Westrup, this session focused on how to assess and accredit music in Special Schools. Jocelyn and Jonathan spoke about the Compose and Perform music qualification developed by Drake Music.
Compose, perform and include …
An Open College Network qualification, Compose and Perform has three levels. The highest level, level two is equivalent to GCSE grade A-C. Students complete four units: Music Skills for performance; Creating Soundtracks for Films; Writing Music Down and Composing Music using Chance Methods.
The qualification is very much part of the Think2020 initiative which aims to increase musical opportunities for disabled children and young people through strategic and sustainable partnership work in the music education sector.
For me, the Drake Music Open Space Session almost felt like a bit of a fringe event, unintentionally isolated from the other sessions. This was a shame because the participants obviously enjoyed the session, and there were people there who hadn’t necessarily been to a Drake Music workshop before.
I wonder if maybe a way to attract a bigger audience to this session, would be for Drake Music to run a workshop in collaboration with another organisation with a more mainstream appeal?
Choose ‘the arts’ or ‘the sciences’ …
One of the presentations I found really interesting was David M Howar’s talk on music, creativity and engineering. Howard spoke about how children often have to choose between arts or science based subjects at A-level. He believes that this ‘choice’ exacerbates our dwindling number of engineers. He also spoke about the lack of female engineers, and how mixing up subjects like Music and Engineering, make Engineering more appealing to a wider number if students
The false dichotomy of choosing between ‘the arts’ or ‘the sciences’ is in many ways nonsensical, when in Howard’s own words ‘creativity underpins ingenuity which sparks invention…’
Although the talk wasn’t specifically referring to disability, I could relate to the limitations of having to choose between perceivably different subjects because of my physical impairment. When talking to other disabled artists, this is quite a common problem across a range of abilities, and continues to be the case.
Which is why initiatives like Drake Music’s ‘Compose and perform’ qualification are so important for achieving real inclusivity and ‘doing better’.
Blog commissioned by Drake Music, October 2016
Cause I know I can treat you better than he can And any girl like you deserves a gentleman Tell me why are we wasting time On all your wasted crying When you should be with me instead I know I can treat you better Better than he can Better than he can Better than he can
Recently I’ve attended two MMU led events that I found particularly interesting, both of which broadly examined ‘human’ ways of being, notions of creativity and human flourishing. In connection with the first of these events – Theorising Normalcy And The Mundane– I have been working with the fantastic Drake Music Innovation Lab North on my Beyond Vocal Norms sound investigation and research project. I’ll be blogging about Normalcy and Beyond Vocal Norms later this month … so watch this space.
Extending the concepts of creativity and value…
In the meantime I will focus on the second event – VCHF (Value, Creativity and Human Flourishing) – and its relevance on music making for people with significant learning disabilities. VCHF brought together artists, academics and activists to re-examine and extend the concepts of creativity and value within different arts practices. The two day symposium had a particular emphasis on what these concepts mean for people with learning disabilities, dementia and mental health problems. Concepts around creativity are of particular interest to Drake Music’s research into bespoke instruments, and how these developments invariably challenge perceptions of what musical expression is and how music is made.
The symposium featured nine internationally acclaimed speakers, and I will reflect on two sessions that were of particular relevance to many philosophical discussions we have at Drake Music. Drake Music has a core belief that everyone can fulfil their creative and musical potential if given the right opportunities.
One of the aims of the Drake Music Think2020 Education project is to explore more meaningful and inclusive frameworks for measuring musical development for those with profound and multiple learning difficulties. This can be difficult as mainstream definitions of creativity often excludes people with learning disabilities, dementia and mental health problems. Currently Drake Music Associates try to overcome this difficulty by using both the Sound of Intent framework and the Youth Music Quality framework, both of which work beyond the limitations of the ‘P-Scales’ for music education.
Co-production and human flourishing …
One of the speakers, Julian West, discussed these concepts, amongst others, in relation to music making with people living with dementia. West is a Creative Music Leader, Oboist and Consultant, and has spent 14 years working on music projects with older people. He is currently working with Spitalfields Music on an innovative project called LivingArts. LivingArts explores and celebrates the creativity of residents at a care home in East London. West and a small team of artists and musicians visit the care home each week enabling residents to express themselves through music, movement and visual arts. Manchester Camerata have been running a similar project at an early dementia centre, with huge success.
The overall aim of LivingArt was to challenge public perceptions and improve wellbeing for people living with dementia, through the creative arts. In order to meet this aim, West describes the importance of working beyond conventional ways to measure outputs, and making musical expression and co-production a core value.
The LivingArts group were invited to bring various objects to make sounds with – a particularly successful object was an old typewriter that a participant found engaging as he used to work in an office. They also had a dancer who integrated walking frames, and other disability related equipment during her session there. This all happened with the participants taking a leading role in the creative process with no pressure of defined outputs, therefore providing value for all taking part. West describes how this project also helped the artists to re-examine their own perceptions of creativity and co-production.
Like West and the LivingArts team, Drake Music associate musicians continue to re-evaluate their notions of creativity, and creative potential within the field of music production. This can be particularly challenging in a culture dominated by the language of the ‘medical model’ and ableist notions of who is ‘allowed’ to be creative, and for whom.
Who is ‘allowed’ to be creative? …
Conference organiser, and speaker Dr Lucy Burke, discussed these notions in her talk – Human Trouble and the Cognitive Difference. Dr Burke is Principle lecturer in English at the Faculty of Arts and Humanities at MMU. Prompted by Oliver Sacks essay The Autistic Artist, her session explored the ethical and ideological implications of particular concepts of creativity, personhood and the human.
In the Autistic Artist, Sacks examines a 21 year old called Jose who can allegedly only copy draw and deemed to be ‘retarded’. Sacks recognises that Jose’s artwork demonstrates the powers of imagination and expression, and describes his work as both verisimilitude, animated and richly expressive. It could be said that Sacks is being quite progressive by inferring that Jose’s ability is more than that of the stereotypical ‘idiot savant’. However, he also describes Jose’s work as child-art and primitive, whilst paradoxically deliberating whether Jose could gain a meaningful life through being employed to draw. Burke argues that Jose’s work is put under the kind of scrutiny rarely experienced by neurotypical artists. Jose’s art is ‘not allowed’ to be understood outside of the lens of diagnosis, or beyond the belief that personhood is fundamentally interconnected with work and labour.
Music therapy or music education? …
The Autistic Artist case study reminded me of the way musicians with learning disabilities and/or autism still experience harsher artistic scrutiny and barriers to creative expression. The authenticity of their musical abilities are either considered a symptom of impairment and therefore disbelieved, or used to somehow validate their initiation into the work-based notion of personhood. And whilst this validation can be empowering, the superhuman or curative disability narrative often accompanies it. Music therapy, for example, is often based around the notion that people are broken and need fixing. On the other hand music education is becoming less about the actual learning experience and more about the potential monetisation it can offer.
How do we measure music potential and value against mainstream definitions of creativity ? Leave a comment with examples of your own experiences of good or bad practice. Also If you’re interested in these kinds of philosophical discussions visit www.valueandcreativity.wordpress.com.
Blog commissioned by Drake Music.
How do we measure outcomes against normative values about what creativity actually means?
Art is ‘not allowed’ to be understood outside of the lens of diagnosis.