Audiovisability: the project that drove my creativity

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.

Advertisements

Review: So Beautiful, by Chris Fonseca

image

Chris Fonseca’s debut dance video was created with the lyrics to ‘So Beautiful’ by Musiq SoulChild in mind. Melissa Mostyn asks what makes this piece of romantic choreography unique?

Originally published in Disability Arts Online, 18 March 2014

So Beautiful is exactly as the title describes. An aesthetically pleasing, easy-on-the-eye choreographed piece, for the first two-and-a-half minutes you do not realise the dancer is deaf – that is, until he turns his head in close-up and pauses. Other than that, it’s just some guy who could be chilling out on a Sunday, texting a loved one in bed surrounded by a collection of vintage watches and washing his face before he gets into his moves.

And what moves they are. Minimal, yet precise and idiosyncratic, they could not belong to anyone but Chris Fonseca, who performs them. This is not a video targeted specifically at Deaf audiences. You need to be a member of the Deaf Community to know who Semhar Beyene, the female co-dancer who appears at Chris’ front door three minutes in, is.

Why is this important? Can Deaf people not dance? Of course they can – Beyene is one of a number of accomplished Deaf dancers who can adapt well to whatever pop-music routines they’re asked to deliver.

But this is where So Beautiful deviates from the Deaf Community norm. Within ghettoised communities, it is not unusual for members to emulate mainstream pop stars – Michael Jackson, Justin Timberlake – in their performances, and in that respect, the Deaf Community is no different. Groups like Def Motion and X-Factor-alike sign-karaoke contests are devised for the exact purpose of entertaining their Deaf audiences, who enthusiastically lap up every second (and long may that continue).

Rare, however, is the opportunity to watch a well-crafted routine like Chris Fonseca’s, and feel that it came from him alone.

Of course, skilful film direction and editing plays a vital role in the presentation of So Beautiful, and the discovery that the work was done by none other than Bim Ajadi, a consummate Deaf film director, made me smile.

Although he is credited at the end, downplaying Ajadi’s involvement is a clever strategy that reinforces the sense that So Beautiful is a dance video that has moved out of the ghetto; the twist being, it gives Ajadi scope for more creative freedom too. This is not intended as a slight on his more Deaf-orientated work. Rather, he should be allowed to work outside the ghetto if he so chooses.

It’s been pointed out by Dao’s editor that as an art form, dance allows more room for manoeuvre in terms of presentation of identity – often making it hard to tell if the work is coming out of the experience of marginalization, unless it’s encoded within the artist’s practice.

I’d say that especially applies to the Deaf Community. Precious little deaf access to professional dance training, coupled with a proliferation of pop-music videos and DVDs since the 1980s, ensures that those within the Deaf Community seek out easier ways to learn to dance, but sometimes incline towards sheer mimicry due to the challenges of practising moving in tune. This often results in them emulating well-known routines with a degree of quiet, intense concentration that you don’t get with hearing dancers, who ironically tend to show more facial expression in the duration.

In contrast, the ease with which Chris Fonseca shifts and twists his body in So Beautiful is as if he’s slipped on his own dancing shoes without realising it. If he removed his CI processor before the film began, how would I know he was deaf?