March 18, 2020 § 3 Comments
In this blog I share my provocation for the Public Conference – Disability Arts: Slaughtering the Sacred Cows at the Midland’s Art Centre in Birmingham. Anna Berry is an artist and the curator of the exhibition Art and Social Change: The Disability Arts Movement at the Midlands Art Centre. For her DASH Arts Curatorial Residency, Anna curated this event as a public conversation.
Anna asked panelists to bring a sacred cow of disability arts to the conference for slaughter! As she explained in an email,
‘The idea of the day is to try to create a space where people feel they can think and express their thoughts freely, and be accepting of a multiplicity of opinions, even if it’s not toeing-the-party line when it comes to disability politics.”
My approach was to unpick solidarity to share frustrations about the lack of diversity within disability arts. The conference was super-interesting and my reflection about it will be published shortly on Disability Arts Online.
“I want to begin by saying that I don’t necessarily agree with my own argument (I’ll leave that up to you to work out), and that I’m treating this as being like the debating societies I was excluded from due to failing the 11+ spectacularly – because of dyslexia, dyscalculia, and being selective mute at the time without knowing it. So, this is my opportunity to be an obnoxious smarty pants! That’s the persona I’m going to adopt.
My argument pokes a stick at Anna’s question…
Where do mental health issues and neurodiversity sit within disability arts? Although, I will focus more on neurodivergence stick to what you know, I always say.
I also want to ask: can we laugh at ourselves without fear of offending one another? And why does this all feel so uncomfortable? I’ll leave that out there.
As a late-diagnosed autistic person I’m a newcomer to disability arts and think of neurodivergents as the next frontier marginals.
So, like the youngest child of the disability arts family I’m going to misbehave royally and go for the jugular!
My sacred cow is solidarity – that fluffy idea that we’re better together. Well, some autistics might disagree – just putting it out there!
(This was meant to be a joke!)
I feel solidarity contains the illusion that disabled people can all work together; that we can consider one another’s disabilities sufficiently to be good comrades in the joint struggle against our oppression. But are we? And can we?
The definition of solidarity is “unity or agreement of feeling or action, especially among individuals with a common interest; mutual support within a group.”
Even I’ve got to admit it sounds good. So what’s the problem with it?
Well, I want to put it to you that the notion of solidarity for such a diverse, and increasingly diverse diverse group of people is terminally woolly, and, that in 2020, it’s quite possibly not unlike trying to herd cats. How can we contain all the cats that are likely to go off message? I’m thinking particularly of some of my neurodivergent friends and colleagues who don’t even want to identify as disabled!
I think that solidarity probably depends on a shared history and understanding, which makes it difficult to include newcomers, let alone cater for all groups and perspectives that could come under the umbrella of disability arts.
So I argue that, however far it may have got disabled artists in the past, our solidarity today is a perhaps a mere fantasy. I argue that indeed our so-called solidarity is, in reality, a hot mess of bickering and jostling in which the specificity of need is lost and no group en masse actually has their needs met. Perhaps because the abled are just not literate in nuance and we’re too busy perpetuating our own misery by arguing.
(At this point I noted that there were no communication badges or flapplause.)
I wonder if we’re doing both ourselves and the abled a disservice in not talking-up and educating about the wonderful diversity within our solidarity, and also if we’re not just a bit crap at meeting each other’s needs too? Shouldn’t we just admit this?
In herding together, are we also unwittingly sustaining our marginal, outsider status? You can’t have insiders without outsiders. But, can I only be naughty and ask this because my disabilities are invisible and I’m congenitally tactless. (I think my disability and my privilege just got tangled up there.)
Shouldn’t our end goal be to destroy this outdated and delusional idea of solidarity, because it shouldn’t be and won’t be needed anymore when we’ve swallowed up the mainstream with multiple ninja infiltrations of the system.
As I’m not really sure whether my argument has legs or even wings, I’d like to end abruptly with the assertion that solidarity is so yesterday, and throw it open to the floor with one last petulant, youngest-child-thinks-they-know-best, retort.
Aren’t we all just better off blowing our own trumpets and talking about the brilliance of our art?”
March 1, 2020 § 2 Comments
A blog post about exploring new language through visual research.
I’ve written a lot about my autism over the past 4 years, but that’s because discovering you’re autistic late in life can feel like a page-turner. With an introspective disposition and a bent for self-analysis the plot twists keep on coming. I’m glad of this. Who doesn’t love a good story and, let’s face it, there’s nothing more gripping than your own. I don’t minimise the inner struggle for autistic self-knowledge, but dull it isn’t!
Discovering autism can quickly become an identity quest. For a late-diagnosed person the self-image of a lifetime can suddenly feel like a case of mistaken identity – there really are no words to capture the magnitude of this. There follows a process of adaptation for which there is no guidance and little if any formal support. We must work things out as best we can, and for many of us this can mean a lot of online activity, including reading and writing blogs. Wherein autistic adults are amassing a truly wondrous resource, which also serves to document both an important cultural moment and a movement for social justice. Good times.
Access to a collective autistic wisdom, absent for a lifetime, is a powerful force. Through it we can discover the language and concepts we need to ease our passage towards more congruent identities, but there are no emotional short cuts. Truly understanding and owning autism is something which evolves, I’ve found. Where I was last week is not where I find myself today. In a recent blog post I considered ‘social disability’ as a useful term. Right now my eureka! is a post-it note on which a version of me seems to have written, I have a neurological condition. The me who wrote it must have been the schoolgirl me trying hard to please at handwriting practice. The note pictured above was written (left-handed) by the artist-advocate me who wants you to know that my neurological condition affects my handwriting. This blog flows directly from my visual research.
My post-it phrase also featured in the blog post about ‘social disability’, but sometimes we bury the lede. I must have written my post-it as an aide memoire. It was waiting for me yesterday on my return from a 12 hour working day (including travel), and today I’ve struggled. This is not ordinary tiredness, this is the ache of overload which I now understand to be neurological at core. So much so that I realise my post-it contains the message I must now front-load, not least to myself.
And with these words I am reminded of all the binaries we seem to peddle in our online lives, in which my lovely post-it could be seen as a pathologising message about autism. This is not my intention, and autism as a cultural identity is something I will also uphold to my final breath – I see no conflict in this duality. I continue to be joyful, and to celebrate my autism unreservedly, but I must develop the means to communicate more effectively about my autistic needs. What’s required is clarity of thought and vision. We can’t truly know what we need until we learn what’s holding us back. It’s all a work in progress.
I’ve worked with many artists and I know how challenging it can be to seek to make autism visible when the narratives surrounding autism remain skewed and contested, but I believe it to be important and fertile ground. For example, I intend to talk and practice more self-care as a result of working on the image above. The act of creating it conjured the idea that one simple thing could have improved my yesterday and can help me in the future. My yellow post-it! I’m now excited to discover what happens when I carry it with me – both literally and metaphorically speaking.
I’m loving this phase of my becoming. My post-it isn’t designed for sympathy, no, no! For me this is a powerful image, brimming with ownership. I’m all for that!
February 15, 2020 § 2 Comments
I’m a late-diagnosed autistic. The more I learn about myself the more I recognise unwitting social ableism. As a cohort of emancipated autistics at loose in the world we can can be vehicles for change. We need both inner metal and moments of respite because it’s not easy (and it’s not for everyone). We can only work to capacity, and move forward without judgement, because this is painful work.
In my travels I often encounter casually displayed social prejudice embedded in seemingly benign comments, which are rarely maliciously intended. In most cases it would feel wrong to interrupt and say…excuse me, what did you just say?! These are not yet the social rules.
So it would be awkward and seem rude, and yet – there it is! A social ableism which not only hurts and offends your ears but holds back the kind of culture shift we desperately need – not only for equality, but to save lives.
Autistic people die by suicide because they can’t perform as non-autistics. Autistic people also die in social care.
There is urgent cultural work to be done. Yet, faced with such a moment I often fall into a familiar mental fog.
Where to begin?
This is the question autistic people report facing with many even ordinary every day tasks. I’m finding it useful to think about this as a form of ‘brain fog’ which affects my ability to join up facts, marshal arguments or take action in a conventional expected/demanded linear fashion. Invisible barriers descend and conspire against us – and sometimes we haven’t even left the house.
People often use the term ‘procrastination’ to describe such delay in coordinating action or response, but I find this inaccurate and pejorative. It’s not as though we have a will in the matter.
So I want to talk about brain fog as a neurological condition and use fog as a metaphor to think about my disability and my art practice. Logically, I feel, the way my brain works will show itself in my creative method – an obvious point but one rarely analysed in mainstream arts.
It couldn’t be clearer. Procrastination suggests there’s an alternative involving non-procrastination. Namely that I could speed up if I just moved directly into tackling the ‘task at hand’.
I challenge anyone to move swiftly and directly in a dense fog. No. The sensible thing is to adjust your ETA, slow your speed and find a fog lamp. You literally have to inch your way.
Brain fog (I find) can be made up of two categories:
- Too much stuff – options, information, thoughts, hostile demands (which go against brain type)
- To little stuff – lack of relevant information, coded information, not enough working memory, dissociation, loss of focus.
It’s a hugely complex picture as our fog-prone brains are also our best friends. Brain fog seems to be a feature of an expansive and holistic thinking style, and I want to add that it’s not a permanent state which finds a wonderful counterbalance in hyper-focus. We can be incredibly focused when conditions allow.
Also a fog prone environment is a treasure trove of intuition, capable to a fault. This line of thought helps me to understand the kind of learner I am – I have to experience something to learn about it and feel my way.
It also helps explain the methodology of my painting practice, which flows not only from brain-type but also from the origins of my painting practice in an experiential painting group during my art therapy training.
My most recent (obsessive) tomato paintings couldn’t illustrate this fact more perfectly. My method has been to coax my painted tomatoes (signifiant symbols of a very specific childhood memory and location) onto a series of canvases through a process of trial and error. As though themselves emerging from a fog, they’ve come in and out of focus, been marked in and erased countless times along the way. A vital part of this process has been checking my work against the harsh studio lights. If the tomatoes weren’t ‘ripe’/right I pushed them firmly back into the fog. Painting in oils has felt almost like sculpting in clay. Importantly I’ve revelled in sharing my process on Instagram – knowing now that what I’ve really wanted to say is look at my brain! This is how it works…
What’s vital to my process is the to-ing and fro-ing – the freedom I give myself to experiment without judgement and begin again if I’m not happy with the results. It’s so not a linear process. What counts is the visible and concrete nature of this exploration – this is my kind of research.
What I hope to do in my practice is begin to show more of my process so that I can carry on exploring these connections more publicly. Working with a fog-prone brain is truly wonderful (I wish you could try it if you don’t have one!) until I’m forced to complete a linear task in a linear fashion, or I’m not able to access missing data. Feeling my way as a method is vital to my ability to function, stay well, and at times excel. What many of us need is support to make our way in a world not yet fit for purpose, and which forces us to work against ourselves.
And so we return to the start of this blog post and the desire for culture shift, and the needs for resilience in the face of social ableism.
I’ve written previously about reviewing where I am 4 years on from an autism diagnosis – I will be 4 on the 4th of March 2020 autistically speaking. I want to use my practice to talk about accommodating brains that are ‘other’. Our multifaceted, beautiful neurodivergent brains, with which we can be the useful ‘aliens in the room’ (a recent phrase I’ve heard used to talk about innovation).
It’s important to feel useful to stay alive. It’s what I want for us all. We must all feel that we have agency over the things which matter to us. In my studio I know that my tomatoes will dance, sing, and play with me, until they’re ripe and ready to emerge as talismans for a way of being that can’t be silenced – it is too joyful and beautiful.
Okay, I know I can’t effect culture shift with my tomatoes! Though I can add to the growing conversation in the arts sector. I’ve recently been inspired by a colleague about to think about the power of silence as a defence against social ableism.
I’ll be holding the possibility of using silence in any future encounters with unintended social ableism. Let’s see what opens up in the gap.
You can see more tomato action on @s_boue
February 6, 2020 § 5 Comments
A blog post in which I talk through some new thinking about the term ‘social disability’.
I love an epiphany!
God, being autistic is sometimes an absolute blast. I get to peel back layers of a life time’s accumulation of faulty learning and go, wow! so that’s how it really works…
Recent adventures have got me thinking about ‘social disability’ as an important addition to the terms I can use to help articulate accommodation needs. This could be a sensitive term for some, so here comes the bit where I make the usual disclaimers. As ever in my writing I only speak for myself, and please remember that when you’ve met one autistic you’ve only ever met one autistic.
The point is (however) that each autistic has to work things out for themselves. We mainly have no such thing as aftercare following an autism diagnosis. I’ve been through many a recalibration of my identity since my official diagnosis in March 2016, but my love for the word autism has never wained. I was luke warm on the term neurodivergent for the longest time, but have recently cosied right up to it – it’s so useful and brings much needed solidarity with a wider group. I’ve got a lot of affection for the term invisible disability, but rarely remember to use it (note to self to do more of this). But in almost mint condition is my sudden mental adoption of the term ‘social disability’ which I’m test-driving here. I’m excited by it mainly because I feel the need for clarity and specificity. This is about refining and recalibrating where I am 4 years on from my diagnosis and readying myself to meet new challenges.
It’s taken 4 years for me to absorb that I can never fully compensate for my autism with workarounds, accommodations and self-care. There’s no magic neurological catch-up or compensation that can level out the playing field (ergo it’s the playing field that needs to change, by the way!) I HAVE A NEUROLOGICAL CONDITION ( which affects me in many ways) as well as an identity to forge – and for me the two must go hand in hand.
The penny has finally dropped. It doesn’t matter how much learning I do, or how much I am accommodated, I will remain at core disabled by my hyper intuitive and sometimes scrambled navigational systems. This insight, by the way, does nothing to negate my autism positive position – I see autism as both disability and identity, and find no conflict in this position.
I feel great joy at being me, I love myself and my autism quite fully, right up to the brim in fact. But I will forever spend my days in hostile environments following norms I can’t ever hope to understand. I will always need to use my native intellect and find the will to be assertive and seek adjustments, but I need more than this. I NEED IT TO BE UNDERSTOOD THAT I AM RADICALLY SOCIALLY DIFFERENT – AND THAT I DON’T WANT SUPPORT TO APE YOU OR OPERATE LIKE YOU (if you are a non-autistic reader). This is not rudeness on my part, I’m talking about neurologically based social orientations and needs.
I do a lot of writing, thinking and advocating about autism and the arts, and I encounter a lot of artists who are autistic and struggle with the question of how to place themselves in their professional lives, and in the art world as a whole. There is no such category as ‘autistic artist’ that would fit us all – as stated above, once you’ve met one of us you’ve only ever met one of us. So what kind of beastie are we, and where do we fit, if at all? What does it mean to be an autistic artist?
We return to the conundrum of extreme diversity within divergence, but I believe we can perhaps haul some commonalities out of the possibly infinite variety of minds, though once more I can only truly speak for myself.
A social difference that’s disabling and is life long means the building blocks of learning have been (and will continue to be) different. THIS DOESN’T GO AWAY. Our thinking can run so counter to the non-autistic that we can feel alien even when we appear to be joining in and on side. We’re conditioned to mask our difference and often don’t know how to drop this adaptation. We can also find many points of joyful and genuine connection, but it takes colossal effort on our part to ‘make it’ into the room. Once there, we may well have no idea how to network and ‘makes things happen’. We can learn some of your tricks though kindness and information sharing, but THIS TOO DOESN’T GO AWAY.
So what’s my vision, and what does focusing on the term ‘social disability’ gain? I feel this would be suitably radical and risky. Talking about social disability is usefully uncomfortable and revealing. We reward neuro-normative sociability with popularity and power and we judge those who can’t perform it. In doing so we must sometimes confuse neurology with personality – neither should be judged, but disability is a protected characteristic and requires positive action.
Accommodations are vital, but so is culture shift. Please understand that I don’t want a leg- up to join the ranks, I want to break the current neuro-normative socially biased mould. I feel social disability as a term enables me to pinpoint a very particular aspect of my struggle as an autistic artist. At the forefront of articulating and carving out autistic space and power is where I want to be.
January 9, 2020 § 1 Comment
So last week I went to the fantastic closing event (conference) organised by Disability Arts Online as part of the Contested Spaces exhibition, at the Foundry in London, curated by Aidan Moesby.
Access arrangements were superb and the event was pithy. Succinct, and brimming with content, it was concluded with a quite beautifully poetic performance by Malgorzata Dawidek. Aidan deftly chaired the panel, which featured Jennifer Gilbert, Ashok Mistry, and Elinor Morgan. I came away enriched and energised.
I was especially struck by the lack of critical review for disability arts as a topic – though I’m a relative newcomer to the field. This is a good moment to say that I’m autistic, and that I can’t claim to speak for anyone but myself, and that I will focus on critical review in my blog post.
Jennifer Gilbert highlighted some shocking examples of ableism in mainstream reviewing of disabled artists, Elinor Morgan suggested strategies for disabled artists to gain access to feedback and build confidence, which might in turn lead to critical review. Raising the quality of our work was also touched on in this context. I will come back to this.
I was pleased Ashok Mistry spoke about having something to loose in engaging with the art establishment for approval – our very difference is precious. It is. Our very difference is our sometimes very ‘marketable’ USP (unique selling point), among other arguably more important things. I can’t think of anything worse than contorting the self to fit in. Surely we need to infect the ‘mainstream’ with our glorious USPs rather than try to second guess it.
I left the building with Artistic Director of DASH, Mike Layward, who kindly saw me to Marylebone Station. I’m indebted to our conversation for helping me articulate what I think I feel about the critiquing of art made by disabled artists, certainly I feel it about the area I know best, autistic creatives. We are all of us outsiders by default unless masquerading as…well…just artists.
Someone (I think it was Mike) had earlier pointed out that Frida Kahlo has been assimilated by the mainstream through the erasure of her disability despite it often being her subject.
Another good point which I hadn’t considered was raised by the panel that critics can be frightened of reviewing us because they might ‘get it wrong’, thereby causing offence and also loosing credibility. Time for some tough love. Do the work. Research the field, don’t avoid it. Yes, it can be quite hard to get it right, but a lack of familiarity with disability issues as an excuse in 2020 looks as weak as a used teabag. Get on with it, because here is where the good stuff often is!
I’m autistic, so as usual I experienced a lot of upside-down thinking about this topic. I so appreciated Ashok’s comment that he’s a professional outsider! Okay, critical review is important. Informed critical review can be vital to a career, but the uniformed critic who’s anxious about getting it wrong isn’t what we need. I say this as someone who supports neurodivergent (ND) artists professionally. Often the job is to unpick the barrage of unhelpful mainstream ‘critique’ they’ve experienced over a lifetime.
These nascent artists need nurture, and perhaps most importantly autistic artists may not find conventional critique/ review helpful as a form – though of course they may benefit from exposure. It isn’t just that we need to build ourselves up. There can be a genuine cultural difference, I’ve found, whereby our need for input is simply that – different. So I think we need a range of methods for evaluating and elevating artists. ND artists may not need conventional critique so much (because it may misread or prove irrelevant to them) to improve the quality of their work, but may perhaps benefit more from access to the kinds of resources which enable better production values. Quality issues (if they exist) may be about being cash poor and unable to invest in materials or production processes. That’s not to say that encouragement and tailored mentoring aren’t vital. They can be. It’s just that the current model for artists’ elevation via critique and review is like the hotel elevator that ain’t working. We often don’t get off the ground floor and I wonder if this resonates more generally for disabled artists? What would really help you, is my question.
Little about the way many ND artists work best is reflected in neuro-normative professional practice. There can be a great deal of unlearning to do in unshackling ourselves from these tyrannies. Perhaps more needed than conventional critique is help in understanding neuro-normative codes. It’s very simple, you can’t be expected to navigate what you can’t see or even begin to process. The current system is completely weighted against us.
So my heart sinks a little at the idea of chasing conventional critiques – though ironically if my most recent DYCP ACE funding bid is successful (very slim chance), I will be doing exactly that thing, but doing so autistically and on my own terms! Surely the best critiques consist of dialogue and if reviewers are frightened then that’s a sign that such a dialogue is lacking.
So, what’s needed first is a culture shift, and projects or initiatives which dare to throw stakes in new ground. Critics need to understand what they’re viewing if they’re to be any good to us. Review isn’t just about exposure, it’s also about framing. Ah yes, and it’s about bums on seats, which is an area I haven’t yet touched on and probably won’t for lack of time.
Ashok unlocked something vital when he talked about the need for us to be allowed to be our ‘messy’ selves (forgive me if I haven’t paraphrased you correctly, Ashok!) For me this is the key to making a necessary 360 degree turn.
Critics need to know what they’re looking at to get it ‘right’ and be helpful. It goes without saying that we need disabled critics and curators, but we need ally curators too. I hope that if some of the Shaping the next ten years (Arts Council England) policies go the right way we may see a real development of ‘hybrid’ ally professionals along with more of us (of course!) I’m very keen on collaboration as a way forward.
In the field of invisible disability (which has a shorter history) I feel we are in a useful moment of transition where disruption can occur (and I hope this resonates more widely with my more experienced disabled colleagues). I don’t think that what we need is judgment on abled/neuro-normative terms, but rather that our products must be allowed to flourish as they need to and be equally valued. What I feel we need is opportunity on our own terms to create what we believe to be good, which may be very different from the current mainstream critical agenda.
We also probably won’t be equal until the boot is on the other foot and the ‘mainstream’ values and seeks out what disabled curators and critics think about its cultural outpourings. Dialogue is all.
I began my 2018 catalogue essay for the Shadowlight Artist’s Arts Council England funded RISING exhibition with the following provocation.
“What if everything you ever thought about learning disability is wrong.”
A power imbalance exists because the ‘mainstream’ gaze monopolises and is uninformed. It creates insiders and outsiders and is extremely outmoded, as Drag Syndrome are currently proving on the global stage in taking it by storm.
I think the conversation has probably moved on already and it’s now for the ‘mainstream’, so-called, to catch-up if it can.
November 18, 2019 § Leave a comment
Stills from video capture: Sonia Boué, 2017
I’m autistic. It’s my job to be anxious. Being anxious is one of the things I do best, so I’ve done some good worrying about some of the more recent approaches I’ve experienced from arts organisations who I am not in partnership with.
I’ve started to fear the spectre of tokenism towards neurodivergence in the arts and worry that the direction of Arts Council England’s (ACE) 2020-2030 strategy could even unwittingly fuel such a development. I’m also worried about artists funding in general and for neurodivergent artists in particular, a concern which runs though my piece.
I believe that good practice for working with and supporting neurodivergence in the arts is emergent and there is much to be hopeful about in the coming decade. But I remember reading ACE’s Shaping the next ten years draft strategy document at the consultation stage and wondering what its shifting imperatives might lead to, including the possible contortions on the part of those seeking funding to fit criteria set by ACE. I’ll need to go around the houses to give the context for my specific misgivings regarding neurodivergence, but bear with me and we will get there in the end.
Since completing my own ACE funded pioneer support project for neurodivergent artists earlier this year, I’ve had cause to wonder how the new imperatives might translate at the funding interface for others? What effect might they have on potential applicants? And what of those whose practices and services won’t ever be recognised as “relevant” by ACE but are nonetheless meaningful and valuable?
Cultural historian and commentator on the arts, Robert Hewison, wrote an article A strategy for self-preservation, in Arts Professional, critiquing the Shaping the next ten years strategy thus,
“…it seems Arts Council England (ACE) intends to achieve a transformation from a country where ACE exists to help the arts to one where the arts exist to help the Arts Council.”
I admit that aspects of the document were perplexing to me. Should we now call ourselves creatives rather than artists? By which logic, what of Arts Council England as moniker! Time for some expensive rebranding, perhaps? Must creatives now also primarily seek to become agents of social change to achieve funding? What about the artists whose mission it is simply to make great art – which incidentally the sector/industry relies on? Can we as artists be expected to do all that is required by ACE without becoming something else in the process? I can speak from experience on the latter.
A paper by Susan Jones, The chance to dream: why fund individual artists? lays out the current disparities in the ACE funding system and the paucity of direct funding to artists, without which (I repeat myself ) the sector would dry up.
“The decline in volume and value of direct funding to artists from ACE is unambiguous. Notably in 2009/10 fewer than 2.5% of artists were directly funded by GftA, but by 2013/14 this reduced to less than 1% with DYCP showing a further decline.”
For those who don’t know, Grants for the Arts (GftA) now replaced by National Lottery Project Grant (NLPG) is a general sector pot. Artists must demonstrate audience engagement figures and provide match funding in order to get NLPGs, as well as making the ‘creative case’ for diversity. In my experience the effect on an arts practice is to develop invaluable project management skills (among the myriad benefits) but to lose out significantly on time to make work. Developing Your Creative Practice (DYCP) is a ‘no strings’ award designed to address core NLPG barriers for individual artists. However, DYCP is a tiny pot with only a 10% success rate for applicants, I’m told. The subtext in all ACE’s material on DYCP is that it’s almost impossible to gain this type of funding. I worry. What kind of message does this give to artists!
The stipulations within the previous GtfA, and current NLPG, have already shaped applications and had an impact on what’s produced within the arts in recent years.
In future to achieve funding applicants will need to demonstrate “ambition and quality”, “inclusivity and relevance”, “dynamism and environmental sustainability” – if you can decode what this actually means in practice. As an artist applicant it can often feel as though you’d better offer to tap dance on the roof too – the list of promises made in an application can be legion. You begin to see my point about contortion, which is an especially serious one if we’re to consider the artist and the sustainability of creative practice.
Is, as Robert Hewison seems to suggest, the tail wagging the dog?
So I’m frankly worried about a possible rash of quick-fix funding bids and tokenism at an arts organisation level too, because I’m not sure all are cut out to be ACE’s agents for socially engaged creativity (however laudable and desirable this would be in practice). Also, because I now provide pockets of sector support in this area I know how intensive and specialised the work of building authentic, robust, and meaningful programmes/services for neurodivergent communities can be. I’m immensely lucky in my partnerships, but am also sometimes approached in a tokenistic manner, which is how I know.
Specifically, in the case of neurodivergence then, I must ask where the knowledge base is for working with us? Further, how can the sector provide services that represent a good investment of public funds without such a resource, which I would add should be self-led. Until that knowledge is acquired and those relationships have been built how can arts organisations do the deep learning that’s needed? Enter Jon Adam’s long and at times painful mission to fund the Flow Observatorium hub in Portsmouth as an example of self-led/user-led organising to fill the gaps in sector knowledge and provision.
Interestingly for us ‘next frontier’ marginals – the neurodivergent – Shaping the next ten years coincides with our gradual seepage into mainstream conversations about diversity in the arts. Hence the arts are now peppered with references to neurodiversity, which in itself should be a welcome development but with which I sometimes find myself at odds.
My heart sinks knowing that uninformed bids, featuring neurodivergence, are quite possibly sitting in the Grantium portal as I write. You can understand it. We’re now more visible. I often see neurodivegence tagged in the growing lists of marginalised identities, which is lovely but at this stage of our evolution into public consciousness is often shorthand, or a friendly nod.
What a well-intentioned temptation it could be to throw in support for neurodivergent artists (for example) to strengthen a bid’s “relevance” without understanding the first thing about the need for tailored programmes/opportunties and relational work. I want to write it large, you can’t just offer the same stuff in the same way – the thinking and design around what we need has to come first and can’t effectively be bolted on afterwards.
I worry too that the imperatives for ACE “relevance” may (albeit unwittingly so) create even more barriers for the neurodivergent applicant. I could write reams about this but don’t have the unpaid time to offer up to such a task.
I’m often approached for support with ACE applications and questions about the DYCP in particular – the ‘no strings’ opportunity to focus on being an artists is probably every artist’s dream. My advice until now has been to opt for NLPG, which has a surprising 42% success rate, I’m told. But I’m beginning to wonder if we should all apply for DYCPs to demonstrate our need, rather than be put off by the mixed messages embedded in this opportunity.
I feel incredibly blessed to have gained both GftA and NLPG in my time – a combination of doggedness and good fortune. I know how vitally important these awards are to an artist’s professional life, and I’m confident in saying ACE have invested well in me. I can now give back 100%+. And now that I’m almost at the end of my piece you’ll see that it’s all connected – artists are our industry including the neurodivergent. We need to fund so many more experiences like mine to build the knowledge bases I’m talking about. We also need to be allowed to remain creative practitioners as well as developing such vital sector support skills.
So in the last round of DYCP I submitted an application too, feeling not a little unlike Don Quixote tilting at windmills. It’s a bit like buying a lottery ticket now that I think of it, but as Susan Jones says we artists need the chance to dream – preferably funded.
On all the above, watch this space!
November 5, 2019 § 1 Comment
Photo credit Joel Chester Fildes
Do you know how to use the terms neurodiverse and neurodivergent?
What’s in a word? What are four letters between friends, you might well ask.
I myself am no fan of getting hot under the collar about language OR spelling. I’m dyslexic and I loathe being corrected. Way to feel like you’re back in primary school waiting to read to Miss, knowing that you’re destined to fail because your brain (unlike those of your mates) won’t let you.
So I proceed cautiously, but with a passion.
In my heart I know that words matter, though I honestly feel we can go too far. Again, I’ll take care, yet my impulse is to be strident because this is important.
My recent appointment to the A-N Board is an exciting development. An opportunity to help direct the biggest arts organisation for artists in the UK (and possibly even in Europe). I will do so neurodivergently.
I won’t help direct the Board neurodiversely because I am an individual and not a group. We are as a group (species; Homo sapiens) neurodiverse. Ergo, neurodiversity refers to a neuro-ecology. Pretty much think biodiversity, but with brains, and you’re there.
The neurodiversity paradigm is a term coined by Nick Walker, and I would recommend everyone who wants to understand it and the terminology to read his key text Neurodiversity: Some Basic Terms & Definitions. It is short and extremely clear.
Here’s one pithy example:
“Neurodiversity is not a trait that any individual possesses. Diversity is a trait possessed by a group, not an individual. When an individual diverges from the dominant societal standards of “normal” neurocognitive functioning, they don’t “have neurodiversity,” they’re neurodivergent.”
The neurodiversity paradigm is hitting the arts big time. Almost daily I’m astonished to read about opportunities for neurodiverse artists. The other day this was topped by reference to a self-diagnosed neurodiverse artist.
In the first case, technically speaking this reads as an open call like any other. In the second case, it reads like a double negative. Artist discovers they are part of a greater neurological-ecology like the rest of humanity.
I astonish myself by how much these understandable mistakes press my buttons, until I scroll back down the decades of dedicated research (and hard won experience) my current level of knowledge is founded on. This is not like my autistic ‘quirk’ about the status of the Tupperware cupboard (yes, I do have an unusual need for order in this department). It’s because the concepts my community have toiled over and honed for eons are sometimes being chucked about like newly plucked feathers.
I understand. When I was first corrected on this point, by Nick Walker himself, it took time to absorb the difference and get used to using the terms correctly rather than interchangeably, but I have done the work to get there because it matters to the paradigm shift we need to make. As Nick says, this is a social justice issue.
I’ve since developed my own understanding of the importance of working intentionally with neurological-ecology in mind. This I’ve termed ‘group-brain’.
To give an example, for my recent Arts Council England funded #NUNOproject I was enabled to lead, and my ‘shortcomings’ were compensated for by the project’s combined neurologies – ‘group brain’. Whenever I needed it, there was a rich pool of talent to draw on, a sea of helping hands, and extraordinary good will to support me in doing my best job. This was possible because we were working openly with an understanding of our neurological profiles across the project, and across neurologies too. No hierarchy, no judgements, and full consideration to optimal working conditions for ALL, regardless of neuro-type.
Unless as Nick Walker puts it, those closer to the “dominant societal standards of “normal” neurocognitive functioning” understand they too form part of our neurodiversity as a species, we neurodivergents will be forever othered and we all miss out.
So I urge you neurodiver-gently to consider the difference. Absorb the language and the process it represents of de-centring neuro-normative brains. I say to you gently, move over, it takes all kinds of brains to make a better world.
In my view, arts organisation need to embrace the depth of learning required to become agents of genuine change. Being smart about language is a good start.