A play that celebrates people with learning disabilities and that was written for an actor with Down’s syndrome is being revived this week at Bristol’s Tobacco Factory Theatres.
Myrtle Theatre Company’s show is a sequel to the company’s Up Down Boy, which was first performed in 2013 at the National Theatre and then toured the country. Nathan Bessell, an actor with Down’s syndrome, plays Matty Butler in the play inspired by real stories from families of young people with Down’s syndrome.
As part of the run from this Wednesday (Nov 8) to November 18th, Tobacco Factory Theatres will host an evening of free events for young adults, led by REACT, the theatre’s team of young producers aged 14-25. There will be a series of free pre-show events and a post-show debate on the play’s themes. There will also be a series of relaxed performances which offer a welcoming environment for theatre-goers with additional needs.
Last year, when I interviewed the theatre company’s director, Heather Williams, she described the necessary adjustments to the production process when working with a learning disabled actor. This includes going at a slightly slower place, trying to follow “rather than lead”, being flexible and – above all – listening.
All of this, she told me, allows Nathan to grow as a performer: “You just need the right conditions to flourish.” This approach – creating an environment where people can more easily meet their potential – is one I wholeheartedly support (and a belief that drives my latest project, the book Made Possible). Find out more about the play here.
Photos of the 2016 run of Up Down Man, shot by Richard Davenport
What does someone who is supported by social care look like?
Transforming stereotypical perceptions of social care is the aim of a new photography exhibition showing in London this month – some of the featured images are shown below.
SELF Season 2 is a collaboration between photographer Dean Belcher and social care provider Certitude.
Everyone featured in the exhibition is either connected with Certitude or with activities offered by Age UK Hounslow, west London. The project’s ambition is to use imagery “to depict the commonalities between people within social care rather than reinforcing the often-imposed barriers and roles that people are given”.
The new show follows the success of an exhibition (SELF: Portraits in Social Care) held in Brixton earlier this year.
* SELF: Portraits in Social Care is running until Thursday 28th September at Montague Hall, 30 Montague Rd, Hounslow TW3 1LD, Monday to Friday 3pm – 5pm. For further details, contact firstname.lastname@example.org
The public is being asked to suggest permanent homes for a trio of murals created to highlight disability issues.
A group of disabled artists, the Vision collective, created the collaborative art boards which have been displayed for a limited time on the Shoreditch Art Wall, east London, to mark the recent World Para Athletics Championships. The collective’s mission is “to inspire artists with disabilities to have an integral voice in their community through their artwork”.
A fourth mural, created with children supported by the Action for Children charity, is earmarked for use by the charity.
The murals are up until this Sunday, and the artists are inviting ideas for their relocation. The Vision group’s facilitator, Sarah Hughes, says: “We feel they are suitable for play areas, shared community space, special schools, hospitals, the Olympic Park- there are lots of possibilities.”
The Vision artists include Michelle Baharier, Dawn Barber, Dwain Bryan, Julie Cordell, David Elton, Lynda Evans, Lorraine Peacock and Sandra Pink.
For more information see the website or to suggest a location, contact email@example.com
The inaugural event has been sparked by the successful monthly Rock House nights at music venue The Green Door Store.
For the last eight years, the accessible Rock House nights have attracted crowds of up to 100 and feature one non-learning disabled band, alongside up to five learning disabled bands.
Musician Tom Cook and promoter Richard Phoenix, who runs community interest company Constant Flux, launched the monthly band nights eight years as a showcase for the learning disabled musicians they worked with.
It’s hoped the new festival will become an annual fixture in the UK summer festival scene.
* Festival venue The Green Door Store has wheelchair access and wheelchair accessible toilets. For ticket information, see the festival website.
Step Into Dance is a partnership between grant-making organisation the Jack Petchey Foundation and the Royal Academy of Dance. The scheme runs extra-curricular classes and performance opportunities across London and Essex, enabling young dancers to develop their talent and mix with a diverse range of people.
The project reaches 200 mainstream and special needs schools a year and since its launch 10 years ago, has worked with hover 50,000 young people.
The gallery of images here show the project’s regional performance events and last year’s live festival.
The pioneering project’s last class before the summer break is on Saturday, and founder Rashmi Becker stresses there are no restrictions on ability, in terms of who can join in.
Step Change, which is based at the Abbey Centre and launched earlier this, is open to all. As Rashmi, a disability advocate as well as a dance specialist, explains: “We have people with learning disabilities, autism, wheelchair users with different physical and neurological conditions such as MS and cerebral palsy, people with visual impairments, young and older people…There are simple things I do to enable people to join in – for example I meet people with visual impairments at the station and support them to the dance space”.
Adrienne Armorer, for example, gave up her beloved salsa 10 years ago after developing the physically debilitating condition multiple sclerosis (MS). But she has taken up dancing again through Step Change, after hearing about the project through her local MS society.
Here’s how Adrienne, who details her experience in full on this blog, described her first Step Change class: “Wow – a 50:50 mix of wheelchair dancers and those without. Cool! A little warm-up and then we were off. I’m not a regular wheelchair user and get fatigued quite easily, so I was worried I wouldn’t be able to keep up. It was fine. Nuno and Rashmi [the instructors] are on hand to help and answer any questions. I also needed to ask one of the other wheelchair dancers how he was managing to turn his chair using just one hand. The hour flew by. What a great afternoon. We left on a high.”
There are, as the report states, six prisons situated within 25 miles of the gallery, including two for young offenders and two for women. More than 420 prisoners and young offenders took part in workshops over the least year and WGAV has had an artist in residence at HMP Send for over 10 years.
The report has been commissioned by Watts Gallery Trust and written by Helen Bowcock, a philanthropist and donor to WGAV and, as such, a “critical friend”. Bowcock argues that, despite the impression of affluence, Watts Gallery – Artists’ Village “is located in an area that receives significantly less public funding per capita than other areas of the UK”. The argument is that local arts provision in Surrey depends more on the charity and community sectors and voluntary income than it does elsewhere in the country (the concept that philanthropy, volunteering and so-called “big society” – RIP – only works in wealthy areas is something I wrote about in this piece a few years ago).
As public sector funding cuts continue and community-based projects are further decimated, Watt’s words are as relevant today as they were during his Victorian lifetime: “I paint ideas, not things. My intention is less to paint works that are pleasing to the eye than to suggest great thoughts which will speak to the imagination and the heart and will arouse all that is noblest and best in man.”
More information on the gallery’s community engagement and outreach programme is here.
“It is the one place she can be herself” is how one parent described the inclusive dance school I wrote about for the Guardian last year.
I’ve been following the progress of the Bristol-based Flamingo Chicks, which has just published its latest impact report and is now preparing for its spring show tomorrow, Saturday (you can read more about the background to the organisation in this original piece).
The three-year-old community interest company, which has English National Ballet artistic director Tamara Rojo as a patron, brings disabled and non-disabled children together to do ballet.
Over 2000 children and young people aged 2 to 25 attended the classes and workshops in 2016-17 through workshops across the UK and regular classes in Bradford, York, Bristol, Cardiff, Leeds and London. The campaigning slogan is “ballet not barriers” and while the majority of young participants have a range of physical disabilities, learning disabilities and autism, 22% are not disabled.
The need for more more inclusive arts groups is reflected in a recent survey by charity Scope and parenting website Mumsnet. It showed that four in 10 parents of disabled children say their child rarely or never has the opportunity to play with non-disabled children.
Josie Wilkins, who has a learning disability, attended mainstream dance classes with the help of her older sister, but as she got older the “gap” between her and the other pupils became wider and she had to leave. The family found Flamingo Chicks, where Josie, 10, who is also visually impaired, is a regular. She recently had major surgery but returned to class as soon as she was out of hospital, wearing, Ingrid adds “a pink tutu, and dancing in her wheelchair using just one arm!”
Recognising that preconceptions about ballet may put off boys, Flamingo Chicks launched boys only groups and introduced more male teachers and volunteers (in the last year, 38% of participants were boys). The company’s recent Dad & Me campaign also focused on the challenges fathers face when caring for a disabled child. Of 250 fathers who participated in a survey as part of the campaign, only 10% had told their boss they had a disabled child, mostly due to fear that it affect their career.
These were among the issues discussed when I recently spoke to BA and MA students at Coventry University as a visiting lecturer. I was interested in what expectations and views people preparing to enter the world of social work had of the sector, and what had motivated their choice of career.
I have spent two decades working for central government, social care providers and now, as a PhD researcher at the University of Cambridge examining what quality of life means to people with learning disabilities in residential care. An advocate for disability sport, I also recently co-founded an inclusive dance company that provides disabled and non-disabled people with the chance to learn in an inclusive environment. In addition, I am guardian to my older brother who has autism. So I started by asking the student-filled lecture theatre to indicate if they had a relative with a disability. Almost everyone raised their hand.
I was struck by the maturity, insight, and engagement of the students I met. They wanted to work in social care because they see themselves as caring. But already so early into their careers, many had met with challenges and wanted guidance and support but were not sure how to access this.
I spoke about the duty of every individual to take ownership of better practice, and not to allow poor practice to happen around them by saying nothing. A student approached me during the break. She said she had witnessed physical abuse in a care home during her placement but she was so junior she felt unable to do anything. I advised her of the regulatory authority and how to report abuse confidentially but there was wider concern among students that in a tight-knit environment where staff know each other well and there is a culture of solidarity, it would be difficult to report poor practice without being identified and singled-out. There was an echo of support for one student’s view that one can feel disempowered to make a difference when the scale of the challenge seems so vast or as she put it: ‘what difference can I make when the system is so broken’.
Hearing comments like this, I was heartened by the students’ willingness to self-reflect on how they can make a personal impact on people’s lives in spite of the wider challenges. We discussed what quality of life and identity means for people with disabilities. I shared case studies of support workers and how they had enabled people to achieve their potential by making efforts to engage on a personal, individual level and thinking about what someone can do not what they can’t.
I spoke about my work around inclusive dance through Step Change Studios, which provides disabled and non-disabled people with the chance to learn in an inclusive environment, and the feedback from disabled people on what being active and participating in society on an equal platform means to them. I was really pleased to receive feedback which showed that students understood that inclusion was not simply about taking part in an activity but goes much deeper. As one student said: ‘The description of the woman with a disability who said as a dancer she could feel like a beautiful woman was powerful and made me realise that people with disabilities often don’t ever get to see themselves in this way’.
As another student commented after the lecture: ‘I was really struck by the way Rashmi spoke about social work becoming ‘transactional’ – this is my experience of how a lot of learning disabilities services are. Relationships happen, but the emphasis that managers have is ticking boxes.’
The students also asked for advice on how to cope with challenging situations and people, I reflected on what I have learned during difficult times: identify good people who can inspire you and don’t be distracted by negative people; focus on potential not obstacles; making a small difference is better than doing nothing; and look after your wellbeing because you cannot be of value to someone else if you do not value yourself.
* Rashmi Becker’s Step Change Studios is holding a ‘Strictly’ style competition at Stratford Circus, East London, today (Monday 24th April) with care provider East Thames involving people with learning disabilities. The event is being held in advance of the UNESCO International Day of Dance next Saturday, 29 April. Contact Step Change for more information.
* A previous post on wheelchair dance can be read here.
While many of the creatives have had solo exhibitions since joining the project, this is the first time they are showing work that outlines how their experiences, including recovery, have influenced their art. The show asks visitors to consider the question “how far can one life-changing incident be seen in the artistic work you create?”.
In a related event this Saturday, the collective, which began 10 years ago, is involved in an free art workshop at London’s Southbank Centre. The event involves the artists encouraging the public to participate in on the theme of “what love means to you” with contributions acting as the basis for a collaborative piece at the Submit to Love studio. The workshop takes place in the Clore Ballroom at Royal Festival Hall on Saturday 11am – 2pm and is recommended for ages six upwards.
According to Headway, survivors of brain injury are often excluded from society, have lost skills, occupations and cannot communicate as they used to; art is an outlet for communication and self-expression. The charity is keen to reposition art from a simple rehabilitation activity to “both a vocation and passion project”.
* The exhibition, sponsored by Hyphen Law, is open 9am-6pm (Mon-Sat) and 09.30am–2pm (Sun) until Tuesday 23 February 2017 and entry is free. Venue: Stratford Circus Arts Centre, Theatre Square, London E15