For three months last year, I was an artist and writer with Audiovisability, supporting their research and development (R&D) project funded by Arts Council England.
The project revolved round deaf Para-dressage rider Laurentia Tan, a multi-medal winner who has been competing in Paralympic and global sports events for ten years – and yet has never won gold. It came about due to her growing frustration over barriers to participating in individual freestyle, the only dressage test set to music.
My role was to shadow her in a variety of ways – online discourse, information-sharing meetings, interviews, flying to Cologne for a weekend – and combine that with my own research and development, eventually writing a report accompanied by my own drawings. The result can be viewed here, with a shorter version on Disability Arts Online here.
Laurentia has cerebral palsy. It was for that reason – among others – that Audiovisability’s creative director, Ruth Montgomery, invited me to take part. I am, after all, a parent to a child with cerebral palsy who has explored that road through my blog and my Kindle book, My Daughter and I, which can still be downloaded from Amazon UK. Besides Laurentia and I had been wanting to meet for years – almost since my daughter Isobel was diagnosed at age one in 2010, just after the sportswoman had entered competitive dressage.
Audiovisability therefore facilitated a precious moment where, Laurentia paid us a personal visit and lent Isobel her latest silver medal, won at the 2018 World Equestrian Games, to wear for a photo opportunity. I can’t overstate how significant this was for my child’s self-confidence, for her younger non-disabled brother to witness this, and how proud I felt that day.
Meanwhile Ruth sought to both bring the R&D to a wider audience through a variety of creative disciplines, with music at its core, and use it as an unique opportunity for the artists to build on existing skills and expertise.
So not only did Laurentia boost her music literacy through a combination of music lessons and collaborative discourse – but as one of the contributing artists, addressing a subject that I knew very little about enabled me to spawn a new writing language; which in turn, also pushed my drawing into a more innovative, almost allegorical style.
Given the almost polarised demands of the two strands – bombarding my mind with structural, grammatical thought for long periods of time (even when taking a coffee break!), and then switching to freeform drawing – it was possibly the most challenging and intensely creative task I’d taken on.
Nevertheless, it provided an invaluable opportunity to drive both forms of creativity to new places, transforming my art and my writing as a whole. This new development will be crucial in realising an ambition that I have of producing illustrated children’s books in future.
I am privileged to have worked alongside such a wonderful bunch like the Audiovisability crew, and I look forward to more collaborative work with them. Indeed we are planning for workshops, funded by Decibels, to take place at the PACE Centre in Aylesbury later this year, which will explore similar dressage music themes with their students.
May I extend deep thanks and appreciation to Ruth Montgomery, fellow musician and producer Eloise Garland, sound designer Chris Bartholomew-Fox, German dressage coach Volker Eudel, film director Louis Neethling and most of all, Laurentia Tan and her mother Jannie, for their kindness, patience and time.