Category Archives: Music & arts

Shattering stigma with the power of poetry

KIm Wolf on her birthday, she inspired her brother's poetry (photo: Rogan Wolf)
Kim Wolf on her birthday, she inspired her brother’s poetry (photo: Rogan Wolf)

A poetry exhibition opening today aims to challenge attitudes about learning disability and mental ill-health.

The learning disability poems are partly a tribute to the late Kim Wolf, who had Down’s syndrome; the collection includes writing inspired by her and which reflects her perspective on life.

A collaboration between Kim’s brother, former mental health social worker and poet Rogan Wolf, and disability charity United Response, the exhibition, entitled Dignity and Light, aims to “address and challenge the stigma and stereotypes and fears still associated with learning disability and – even more – with mental ill health”. As Rogan explains: “If I can see what life is actually like for you, then I am more likely to recognise and not just dismiss you”.

The poetry has been “written with, by and about people with learning disabilities and mental health needs” (United Response explains more of the background to the project here).

Newborn Kim Wolf, who partly inspired a new poetry project (photo: Rogan Wolf)
Kim Wolf pictured as a newborn; she partly inspired a new poetry project (photo: Rogan Wolf)

The poems, part of the Poems for project that supplies poem-posters for public display free of charge, are on display at Bristol’s Paintworks from today until Thursday. The collection will then be available online, as an illustrated book and, it is hoped, used in schools to raise awareness.

Rogan says of the project’s aims: “There is still this common urge to treat people who are in some way ‘different’ as dangerous aliens, or objects of scorn or mockery, people we need to keep separate. Thus, learning disability and mental ill-health are both experienced by a minority of people in our society and, though the experiences are very different, the stigmatisation both can meet is the same. It cripples lives. It shuts them off.”

While acknowledging that poems are no substitute for policy or resources, Rogan says “they can connect and can enlighten”: “Politicians keep emphasising the urgency of the need for better mental health services and better understanding – I suspect to relatively little effect. There is a crisis here and it just continues. And reports keep emphasising the need for better mental health education and resources in schools, so that children already struggling can seek help at an early stage…[the poems] can help children who are struggling recognise what might be happening and what might help.”

The collections draw on poetry written or collected over the last four decades including through Rogan’s work, personal connections, creative writing workshops and the Postcards from the Edge project run by United Response.

The poem “Other People” by Shiraz, who is supported by United Response, was part of the postcards campaign: “People are like apples or eggs. They look all right on the surface, but you don’t know what’s going on inside.”

In another poem, “A father to his son (with Down’s syndrome)”, the author, John Mclorinan, describes his child as “wonderfully irreverent, irrelevant, inappropriate, spontaneous, topsy turvey, upside down. vulnerable, perceptive, aware, eager to communicate, willing to please”.

The collections that launch today, writes United Response’s director of policy Diane Lightfoot in the illustrated book that contains them, “shine a light on those who too often remain unseen in the shadows and on the fringes of our society”.

The poem below is by Rogan, written from the perspective of his late sister Kim. The poet explains: “We often went out together. Some of the words and phrases above are Kim’s own. Somehow she had to make sense of the way people looked at her, in the street, or when she entered a public room.”

Shall we go for a walk ?
When I go for a walk people look round at me.
Will you come too ?
Will you hold my hand ?
They look round at me. There’s something wrong.
Will you come too ?
Perhaps I’ll put my ear-phones in and play my music extra loud.
I am going for a walk. What’s wrong ?
Will you come too ?
Will you hold my hand ?

poems-for-bridges-to-disability-poster-inviteA4 copy

* See Poemsfor.org to read more or read about the exhibition opening times here.

Tailor made theatre for an overlooked audience

The Forest, by theatre company Frozen Light, immerses the audience is in the multi-sensory world of  (pic: JMA Photography)
The Forest, by theatre company Frozen Light, immerses the audience is in the multi-sensory world of (pic: JMA Photography)

“Today is different” is a recurrent phrase in the latest show from theatre group Frozen Light. But the refrain is more than just part of the script; the words also reflect the innovative company’s hope for young people with profound disabilities.

The plot of the accessible, inclusive and multi-sensory play involves a journey of self-discovery for the main characters, Thea (Amber Onat Gregory) and Robin (Al Watts). Both dream of escaping their humdrum hometown existence, and a series of unexpected events, explained by narrator Ivy (Lucy Garland), result in a forest adventure, which changes their lives.

Frozen Light, led by co-artistic directors Garland and Gregory, is among a handful of companies that devise productions especially for people with profound and multiple learning disabilities (PMLD). While cultural access and inclusion have improved in recent years (projects like Autism Friendly Screenings are part of a burgeoning movement), the arts barrier remains down to people with complex physical and cognitive issues.

The group is currently on a nationwide tour of high street theatres and arts spaces. Garland and Gregory say many of their audience members have never before been into a mainstream theatre: “We want to enable people who rarely attend high street arts venues to experience the theatre. With our 26-date tour, we hope to reach as many people with PMLD as possible…We want people with profound needs to be more visible in their local areas.”

Recent work from the Lancaster Centre of Disability Research suggests there are over 16,000 people in England with PMLD, with an average area home to 78 adults with such needs. Think about where you live, when did you last see someone with profound disabilities on your high street, let alone any of your arts and community venues?

Performing to a maximum of 12 people – six people with disabilities, each supported by a carer, the three-strong cast accompanies the audience from the foyer into the performance space, ensuring a smooth transition into the theatre environment. One-to-one interactions include actors singing or talking directly to an audience member, or offering a prop to be touched. The specially composed music is pitched at an appropriately sensitive level.

In the audience for the opening performance of the tour at the Gulbenkian in Canterbury, Kent, I was drawn into the show’s multi-sensory world; swathed by leaves with a warm breeze on my skin, I could smell forest fruits and the scent of a wood after rainfall (I’m not taking poetic liberties – this is a factual description of how the show sparks your senses). The actors captivate the audience with the use of simple props and, I won’t spoil it, but the combined effect of helium balloons, LEDs, torches and white discs is quite hypnotic.

It was noticeable how much time the actors spent with each person, adapting their interactions – language and behaviour – according to need, ability and interest. One young boy who particularly enjoyed the feel of rain drops on his hands was allowed time to explore the sensations and appearance of drizzle. His joyful reaction was priceless.

Given I write and read so much about (warning: social care jargon alert) “choice and control” and “person-centred planning” or “personalisation” (ie when the unambitious “choice and control” box ticking basically means offering someone the choice between water or tea to drink..) – this was truly “person-centred” performance.

I did some editorial support work the company some months ago and, having come across the show in its conceptual infancy, I was blown away – almost literally, given the multi-sensory context – to see the fully fledged performance (a note of transparency here: this blogpost is mine and mine alone, written in my own time and, like every post on this site, independent, unsolicited and unpaid for).

Talking to parents and carers in the foyer after the show, several told me how their young people are starved of theatre that is tailor-made with complex needs in mind, but which also manages to be high quality and pitched at the right level for the audience (ie unpatronising).

One father told me his visually impaired son’s attention span was short, but he was moved to see the teenager captivated by sound, scent, taste and touch during the performance.

After the show’s premiere at the New Wolsey Theatre, Norwich, website The Public Reviews described The Forest as “the ultimate 3D live interactive performance”, and this detailed review by Max J Freeman is worth reading too for its reflection of the audience’s thoughts. And this Guardian piece by Frozen Light explains how the group stages its work for its audience.

Provoking some thought and evoking the senses, The Forest leaves you wondering why every day can’t be as different for its audience as “today”.

Social inclusion, sewing patterns and silver linings

Social inclusion: being "more busy" with people, places and projects is vital
Social inclusion: being “more busy” with people, places and projects is vital

“More busy”. This quote from Kelvin Burke of Rocket Artists reflects what people with learning disabilities need in order to be more included in society; people want to be busier with opportunities to do, make and see more things, to have more time to spend with people (incidentally, that’s people who hang out with you by choice and because they share your interests, not simply because they’re paid to support you).

Kelvin shared his words at a Tate Modern seminar on inclusive arts that I was involved in earlier this week. The event’s title – “a research discussion bringing together practitioners and academics to explore issues around inclusive arts practice” – doesn’t do it full justice.

This engaging, creative, interactive, collaborative and fun event (yes, fun! There was golden ink! Stickers! Sewing patterns! And cake – both drawn and real!) encouraged participants (academics as well as artists and performers with learning disabilities and without) to explore the barriers to social inclusion, within the context of the arts sector.

People on the table I chaired talked about what stopped them from being more involved in society as well as what needs to happen to change that.

Although these issues are something I’ve looked at before (see, this piece or an opinion piece here about the unequal treatment of learning disabled people), until Monday I’d not explored them with marker pens, golden ink, coloured stickers, gargantuan Post-it notes, A4 size speech bubbles and dressmaking patterns.

But there’s a first time for everything (and now I only ever want to write in golden ink).

More seriously, the method and materials were necessary if the discussion about access and inclusion was to be accessible and inclusive, so everyone had an equal opportunity to contribute thoughts, words, doodles and designs.

I can’t faithfully describe all the challenges and solutions identified in a room buzzing with the ideas of around 50 people, but a few ideas are captured in the images on this page. (unfortunately I wasn’t able to take a shot of the “Bolloxometer” designed, I believe, to slice through meaningless rhetoric purveyed by those in authority, but I’m first in the queue for this should it ever go into production).

Segment of a sewing pattern for a coat, decorated with hopes and solutions for the future for people with learning disabilities
Segment of a sewing pattern for a coat, decorated with hopes and solutions for the future for people with learning disabilities
People with learning disabilities should be seen as people first, with potential and talents, rather than being defined by their support needs
Another segment of the coat pattern, reflecting how people with learning disabilities should be seen as people first, rather than being defined by their support needs
One idea to help celebrate differences...
One idea to help celebrate differences…

Time was, however, a big theme for discussion. Those who work with people who have learning disabilities said they wanted more time for sustainable projects (rather than be caught in commissioners’ and grant-makers’ short-term funding cycles). People with learning disabilities said they wanted more time to do things they enjoy, as Kelvin said.

Words like “equality”, “access”, “value” and “listen” cropped up a lot. As did the importance of celebrating differences and valuing people for what they can do, not defining them by what they can’t. While the challenge of funding and cuts (both to social care and the arts sector) was a major concern, people were generally unwilling to focus on money alone as a problem or solution, when so much rests on changing the perception of people with learning disabilities.

Barriers to people with learning disabilities being included in society
Barriers to people with learning disabilities being included in society

Rocket Artists performed towards the end of the day, captured in this lovely shot shared on Twitter by Brighton arts organisation Phoenix:

The event also included the launch of a thought-provoking and beautifully produced new book, Inclusive Arts Practice. Authored by the University of Brighton’s Alice Fox (also artistic director of Rocket Artists) and Hannah Macpherson, it was created through interviews with and guidance from learning-disabled and non-learning-disabled artists. The book looks at inclusive arts – defined as “creative collaborations between leaning disabled and non-learning-disabled artists” – and its “socially transformative potential for collaborators and audiences”.

It addresses difficult questions, such as the differences between art therapy, occupational therapy and inclusive arts and clearly sets out the practical steps to create more collaborative art. The book acknowledges the fact that the term inclusive arts “presupposes exclusion” and asks how such collaborations between artists of different abilities can have real, cultural value (something I’ve blogged about before and which the Creative Minds project is exploring).

The book makes a persuasive case for everyone to have a cultural life in their communities; Southbank Centre director Jude Kelly, for example, comments in the book on how “we believe in cultural rights as a profound part of human rights”. Creative collaborations with the use of time, trust, skills and choice, are presented as “a force for societal good”:

“People with learning disabilities tend to be undervalued members of society, are much more likely to live in poverty, and are much more likely to suffer hate crime than their non-disabled counterparts. It is estimated that around 1.5 million people in the UK have a learning disability and over 3,000 of these people have spent over a year in an ‘assessment centre’, often a long way from family, and which is not designed to be a permanent residence. Many people with learning disabilities do not have access to any regular creative leisure activity outside their residential environment, despite the proven benefits of such activities for health, well-being and resilience…”

Inclusive arts can make audiences “feel differently about the people whose work they see and they can feel differently about themselves”, that is one powerful message in Inclusive Arts Practice.

Which is why the inclusive arts movement has an important place when it comes to equality for people with a learning disability. “We want greater powers to be seen, to vote, to be included, have the same opportunities in social life, education and employment as everyone else,” as campaigner Gary Bourlet says, or as the rights set out in the campaigning LB Bill show).

As for the sewing pattern that everyone contributed to on the day, one stylish spark made the beautiful observation that the final garment, emblazoned with words and images setting out some ways to break down social barriers, should have a sliver lining; the team from Brighton now plans to make the dream coat a real life action mac.

I can’t wait to see it.

Photographs offer fresh perspective on disability

Alliance by Tim Beale
Alliance by Tim Beale

Depictions of friendship, cityscapes and natural images are among the powerful photographs in an international arts competition reflecting the world from a disabled person’s perspective.

Photographers with Down’s syndrome from the UK, Greece, Japan, New Zealand and America have entered the Down’s Syndrome Association’s annual My Perspective competition which, this year, challenged people with the learning disability to go behind the lens.

As the association says: “In years gone by, people with Down’s syndrome were photographed as exhibits; the viewer was not supposed to see the person, just the difference. The Down’s syndrome Association’s My Perspective competition turns the camera around and gives people with Down’s syndrome the chance to show the world from their point of view.”

I’m sharing some of the 25 shortlisted images in the competition, which was launched in 2010, here (more can be seen here) and the winner will be announced on 11 June by a panel of judges including photographer Richard Bailey, curator of the groundbreaking Shifting Perspectives project.

The pictures reflect a beautifully wide range of subjects.

Ready for a ride, by Daniel Harrison
Ready for a ride, by Daniel Harrison
Coco by Kyle McKay
Coco by Kyle McKay
Blue Body, by Rory Davies
Blue Body, by Rory Davies
The Old Tree, by Emily Buck-
The Old Tree, by Emily Buck-
The Park, by Takis Koumentakis
The Park, by Takis Koumentakis
Swimming with frogs, by Klay Green
Swimming with frogs, by Klay Green
Cheeky Robin, by Steven Padmore
Cheeky Robin, by Steven Padmore
Shadow Stories, by Lillie Davies
Shadow Stories, by Lillie Davies
Hello, by Takeo Niikura
Hello, by Takeo Niikura

Crowdsourced art project maps our democratic history

Digital art project Democracy Street allows users to share pictures taken on mobiles.
Digital art project Democracy Street allows mobile users to share pictures reflecting the country’s parliamentary history.

With the election a few weeks away, democracy is the timely subject of a new digital art project designed to shed light on Britain’s parliamentary history.

Democracy Street is curated by artist Jon Adams who has Asperger’s syndrome – a form of autism – and I wanted to briefly mention the crowdsourced project today, on World Autism Awareness Day. Adams’ work focuses “on arts sciences and creativity as a person with Aspergers, including synaesthesia, systemising and sequencing”.

Participants in Democracy Street can use mobiles to take photos that contribute to the digital project.
Participants in Democracy Street can use mobiles to take photos that contribute to the digital project.

The Houses of Parliament have commissioned the project with support from The Speaker’s Art Fund and Arts Council England. A mobile web app allows users to explore and discover streets that have a connection to democracy and upload their own images. Images can include, for example, streets that share the same name as a Parliamentarian or that reflect events in democratic history. Adams will use the data generated by users to create new artistic maps of the UK and as users upload information, it appears on the web app, so you can see the crowdsourced project developing in real time.

The participatory scheme also coincides with the 800th anniversary of Magna Carta and the 750th birthday of Parliament.

More information here.

Art show celebrates diversity

Painting by Chantelle Bellinger, from the Nexus art group, Surrey.
Painting by Chantelle Bellinger, from the Nexus art group, Surrey.

The graceful depiction of birds, above, is among the art works on display in a new exhibition celebrating diversity.

I’m sharing some of the pieces here because I was taken by the broad range of subjects and contrasting styles of the artists. Most of the pieces are inspired by nature and natural landscapes.

The paintings were created by participants in the Nexus project, run by care organisation Surrey Choices, and are being exhibited at the Sunbury Embroidery Gallery until March 1 (entry is free). Nexus provides specialist support and activities for adults with physical disabilities and mild learning disabilities.

Work by Bryan Aldridge
Work by Bryan Aldridge
By Chantelle Bellinger
By Chantelle Bellinger
Painting by Marc Leosing
Painting by Marc Leosing
Artwork by Michael Somers
Artwork by Michael Somers
By Terry Prosser
By Terry Prosser

For information, see the gallery website.

Mental health on TV: entertainment vs realism and sensitivity

If someone’s arm was broken on TV we would see it bandaged up. If someone had diabetes we would see them receiving insulin. If we see someone had a heart condition we would see them wired up to an ECG machine.

So why when we see people displaying symptoms of mental illness do we usually see this depicted as violent or histrionic, with a focus on the challenge and not the solution?

Christmas is next week – a time of year that can brings an unbearable pressure to people with mental health issues. We are all very familiar with seeing mental illness portrayed in cliched, negatively stereotypical ways on our TV screens. The storyline involving the character Steve McDonald’s unfolding depression in the TV ‘soap’ Coronation Street is generating much interest currently .

I am watching closely as this storyline unfolds, not least because we at Time To Change are advising on this to try to ensure as much sensitivity and realism as possible.

Although only in the early stages of the illness, Steve’s behaviour is causing both consternation and confusion for those close to him, and not so close. People are trying to make sense of it all at the moment. Classic symptoms pointing to clinical depression can often be overlooked in the early stages. The programme is cleverly highlighting this and showing the insidious nature of the illness.

I believe it is all around finding the right balance between providing drama for the viewers but also ensuring mental health is not further stigmatised through lazy, damaging scriptwriting. It is a win-win situation for everyone to have mental health storylines depicted with responsibility, authenticity and maturity:
• viewers will gain more awareness of symptoms and treatment
• the programme will receive positive publicity for the research and efforts made
• a powerful anti stigma message will be ultimately delivered.

It is critical to present as authentic a picture of mental health symptoms and treatment as possible to de stigmatise mental illness. The media plays a role that must never be underestimated. It will educate and challenge opinions, it will inform. The viewers opinions and impressions are often influenced by what they see and hear on their TV screens. In advising on the Zak Dingle depression storyline in Emmerdale, I was at pains to reinforce how the illness not only impacts on the sufferer but also the family and significant others.

This is the reality.

The person who is ill does not usually suffer alone, their families/partners have usually cared for them before they seek help and continue to provide care afterwards. I will be watching the Coronation Street storyline to see how those near to Steve are effected by his own deterioration. It must also be realistic in showing the time span of the illness. It would be ludicrous for the viewers to see a decline into severe clinical depression undermined by a miraculous recovery within weeks.

Unfortunately drama that portrays a swift recovery only serves to misinform and mislead. Realism and credibility is then left on the cutting room floor. This is why good research is the key alongside learning the lessons of the past. Lessons need to be learnt and I strongly believe this will be the case in the Coronation Street plot.

Recent research by Time To Change has shown that attitudes are changing as a consequence of responsible media portrayals of mental health. We must not become complacent though and continue to build on the good work so far.

Coronation Street is a very popular soap. Many will be watching for the drama and entertainment element, while others will be scrutinising closely to look for a positive, realistic depiction.

I want these reasons to combine.

I hope nobody is left disappointed or disillusioned. I am excited by this storyline and so should others be. Excited because the storyline will, if successful, leave a seed of hope and a motivation for change in everyone’s minds. That seed will eventually grow into a realisation that when covering the topic of mental health, it is crucial this is responsibly portrayed in the media.

Eyesore to eyecatching: art transforms boarded up London shops

Shoe shop: an empty unit in Streatham, south London, gets a makeover.
Shoe shop: an empty unit in Streatham, south London, gets a makeover.

I usually run a mile from any sniff of a town or city rebranding (anyone remember “Staines-upon-Thames” or indeed “Proud to be Slough“?).

But I’m interested in the bold focus on street art and local artists in the drive to return a sliver of London to its retail glory – “Streatham – the West End of South London” no less.

Streatham architects and design company, Beep Studio, is collaborating with the local Business Improvement District, InStreatham, to create a “voids trail” that reflects the area’s local personalities “in a bid to encourage more people to explore Streatham High Road”.

The campaign features artwork on shop fronts inspired by seven famous celebrities who lived in Streatham – shoppers will explore the area’s shops via the trail, visiting each unit and stamping their trail maps to show they have visited the shop.

No prizes for guessing which South London-born model inspired the vertiginous platform depicted on one empty front.

I’ve fond memories of the longest high street in Europe (Streatham High Road), up the road from my former home in Brixton – oh, sorry, of course I mean “Brixton Village”.

Anyway, in terms of the Streatham campaign, I like the idea of the installations and light displays by local artists that accompany the campaign. This all coincides with Small Business Saturday, a non-political drive to encourage people to shop locally.

The Streatham shopfront trail launches on Saturday along with the Christmas light switch on.

‘I am different, that is good’: how an actor with Down’s syndrome is changing perceptions

Sarah Gordy, actor.
Sarah Gordy, actor.

Really enjoyed talking to the brilliant actor Sarah Gordy for today’s interview in The Guardian.

As I explain in the piece, the established theatre and television professional, who has Down’s syndrome, is breaking new ground by playing a character without a disability.

She has just appeared in Manchester play Crocodiles, combining this with charity work, including as Mencap’s first celebrity ambassador with a learning disability, a role she took on a year ago.

If Gordy looks familiar, it’s because she’s already starred in high-profile BBC roles in Call the Midwife and in Upstairs Downstairs as well as being involved in the Shifting Perspectives exhibition, an annual project from the Down’s Syndrome Association, where she posed for the striking portrait below, entitled After Vermeer (and I blogged about the exhibition here).

Sarah Gordy in 'Sarah After Vermeer', shot by Richard Bailey
Sarah Gordy in ‘After Vermeer’, shot by Richard Bailey

As Gordy told me, “I’m just a normal person who lives a normal life.” You can follow Sarah on Twitter @sarah_gordy

Festival season: access a few more areas

Music festivals and accessibility: image from the Chase Park Festival 2013
Music festivals and accessibility: the Chase Park Festival 2013

Summer festival season is underway and in just over a week, a new event in the North East will help grow the burgeoning accessible live music scene.

Inclusivity and access are not (yet) par for the course at live arts venues and events (as my family and I have found out), but the concepts are at least becoming more commonplace at music festivals.

The Middlehaven Festival in Middlesborough on Saturday 23, run by care specialists Keiro, builds on the success of the Chase Park Festival in Gateshead (the Gateshead event was established by Paul Belk; Belk, who has used a wheelchair since his brain injury, was supported at the Keiro rehabilitation centre that lent the Chase Park festival its name).

Middlehaven offers level boardwalks and wheelchair access, specialist toilets, hoisting and changing facilities, a hearing loop and a sensory “chill out” area and on-site medical services.

The images here, taken from last year’s Chase Park Festival, give you a flavour of what to expect- and what other venues and events should aspire to. For more information, check the Middlehaven website and Attitude is Everything, which works with the live music sector to improve access for deaf and disabled people.

* This is the last Social Issue post till September as the blog takes a summer break.