Just before Covid-19 I was working on an audio tour in collaboration with Acorn Massive, an audio ensemble for people with learning difficulties based at Acorn Farm. Our collaboration has been supported by Heart of Glass and Kris Gjerstad.
The tour will eventually be presented as a an on-site interactive sound piece capturing life on the farm. The piece will incorporate spoken word, quirky vocal samples, field recordings and lively musical jams.
Unfortunately our plans have been delayed due to Covid-19. Nevertheless we are currently working with a graphic designer to produce an online version – which will be premiered later in the year!
In the meantime, here are a few of our experimental sound jams:
Working with Acorn Massive has been a very enjoyable experience, and has certainly made me think about the relationships we have with each other and our interconnections with nature.
Latest instablog about the fantastic sound based workshops I delivered for my Research Residency Heart of Glass.
Highlights from the workshops includes one participant, John, singing a rendition of ‘Michelle my Belle’. This was the first time John had heard a playback of himself singing or speaking. He was astonished!
BBC article from 14 years ago (gulp) about my ‘Old Skool’ club night Virtual Itch and the club’s resident disabled DJs.
“He lifts the needle onto the record, throws the record down and up to mix it into the next record using his chin, and then manipulates the controls using his mouth – it’s gobsmacking. The women just love him!”
A while ago I was interviewed by the very talented Irish composer Ailís Ní Ríain for the British Music Collection – a collaborative project between Sound and Music and Huddersfield University.
Today I stumbled across this interview on the BMC website …
The focus of this interview is the Manchester based digital story-teller and sound-artist, Gemma Nash. I became aware of Gemma when she interviewed for a place on Sound and Music’s Pathways Programme. I was on the interviewing panel and was intrigued by the strong political and social narrative in her sound work….
There were lots of interesting speakers at the celebration talking about a wide range of empowering projects. I was particularly impressed by the young women from Manchester’s Women Making History project talking passionately about international and domestic ‘period poverty’. This was a subject I briefly touched upon in my sound piece about disabled women’s health.
Disabled women’s healthcare is also a topic that BreakthroughUK is addressing through their health screening workshops. Running at the same time as D3 these initiatives will support, encourage and empower local disabled women to take action and become more politically active.
D3:Democracy Disability & Devolution
Supporting disabled women to get involved in the political process is so important because we are particularly underrepresented.
According to the Fawcett Society only TWO women MPs identify as being disabled people – under half a percent of the House of Commons! Yet the ONS estimates that approximately 8% of the working age population are disabled women.
Our lack of representation can be partly attributed to a global culture of misogynism within the political process. But I also think we face a hybrid form of misogynism, as illustrated by the awful sexism and ableism Freyja Haraldsdóttir recently experienced from other Icelandic MPs.
This intersection of misogyny and ableism is apparent within all aspects of the political process – from voting to standing in elected office.
In the UK there has even been issues at AWS (All Women Shortlists), such as the lack of step free speaking platforms and ableist attitudes. For example, one AWS candidate kept emphasising her ‘physical prowess’ during Hustings. A debating tactic which would be questioned, at the very least, if she was emphasising being white or heterosexual etc .
We have a political culture of macho-ableism which favours the loudest, rather than the most suitable, candidate. Alongside the lack of basic adjustments, this sends the message that disabled women are not expected to be part of the political process.
Recently this problem has been highlighted by shadow minister Marsha de Cordova after House of Commons authorities provided an inaccessible meeting room for an event being held to celebrate the UN’s international day of disabled people!
Hopefully initiatives like D3 and VoiceBox Cafes will go some way in changing this status quo.
For more information about D3 please see the Breakthrough website: https://www.breakthrough-uk.co.uk/democracy-disability-devolution.
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.