Neurodiversity isn’t a description of the 20% of us with a neurodivergence. It is a statement that 100% of us have diverse neurological states. That 20% of the population with a specific neurodivergence are the ones who need access considerations, but the whole 100% is uniquely, neurologically, diverse.
Diversity is an umbrella term for all ethnicities, races, abilities, genders, sexualities, beliefs, economic circumstances and age groups. That’s widely accepted and understood, yet it has been 26 years since, journalist, Harvey Blume first described neurodiversity and as a population, and an audience, it still feels like a term that needs explaining, and access issues relating to it, are widely overlooked.
“Neurodiversity may be every bit as crucial for the human race as biodiversity is for life in general. Who can say what form of wiring will be best at any given moment?”. – Harvey Blume, 1998, The Atlantic.
From there, and Blume’s earlier writing on “neurological diversity”, which he attributed to forums led by autistic communities online, developed a raft of further exploration, and a publication by Judy Singer the following year, which explored the concept in more detail.
Essentially, for 26 years, we’ve been trying to work out what a term that was explained at its foundation means. It means that every person on this planet is diverse in the way they think. That is probably the defining characteristic of the human race, but somehow, when it comes to supporting and advocating for those with neurodivergences that stand out from the majority, we become stumped.
As ramp access, hearing loop, and BSL interpreters demonstrate for physical diversity, there isn’t a one-size fits all approach to improving access for neurodivergent people.
Speaking to Chris Beaumont, the festival’s director, it was clear that her approach to this programme is about balancing the time she spends listening to artists, with the time spent listening to venues. Artists know what they need to access venues, and venues know how they want to support. Neurodiversity Arts Festival proves to them how they need to support.
So, by siting this festival across the majority of Liverpool’s cultural institutions, they become liable for the follow up actions.
What does Tate do to extend its good work with their Autism-friendly quiet sessions? How does the Walker make its exhibitions more approachable for visitors with anxiety? How does a venue like Unity Theatre enable audience members with ADHD or Tourette’s to enjoy theatre comfortably? And how do any of them make it more likely that neurodivergent artists can become part of their programme outside of events like this festival?
And that’s just the internal workings and drive of this incredible project. For us as audience members, its worth remembering that this is a festival of exceptional art, with outstanding events and exhibitions to engage with.
Tess Gilmartin, who emerged from Bluecoat’s Blue room programme last year to exhibit on their exterior walls, is now fronting a takeover at LUSH, as well as being commissioned to design their advent box, for sale across the county this Christmas. The Blue Room takeover is 28th September and free to attend from 1:30pm.
The programme kicks off with a huge night of comedy at the Brain Charity, and regular workshops, education events and exhibitions throughout.
There’s a wonderful Meet the Artist event at Tate x RIBA North on the 25th, with Becky Beasley, Sonia Boué and Pierce Starre in conversation with Claire Penketh, Professor of Disability Studies and Art Education at Hope University (link).
Creative workshops at the Black-E with Wilful Misfits transform how neurodivergent people can explore their creative talents without barriers, while neurotypical audiences have an opportunity to gain insights into the processes requires to facilitate that (link).
Katie LEe’s photography exhibition at U@nity is a great reminder of the diversity of venues we have across the region too, offering gallery space in one of the region;’s most accessible cinemas for an exhibition wholly focussed on the hidden burden of living with neurodivergence. Whether that’s from trying to hide it or trying to fight it. The exhibition promises to share these experiences of shame through humour, building beauty into her own experience.
And Bluecoat’s Young Blue Room have hidden artworks all over the gallery’s gardens, celebrating 300 years of the building’s history.
I’m personally most excited for Jordan Connerty’s immersive play at World Museum (28th September). The one man show delves into the history of the Boy King, Tutankhamun, in the form of an immersive museum tour by a tour guide, Jordan, whose love of history transformed his life growing up with autism.
What’s really clever about this programme, perhaps demonstrated best by Johnny Vegas opening it all, is that it ties art, music and comedy in together. They are treated was as a single art form. It’s good for engagement, but it’s also true to the artists, and the foundations of most good art and good comedy; those who create it are neurodivergent. They present the world to the everyone else in different ways, because they experience it differently.
That’s how change has happened since the start of human history, and it’s how it should be led in the arts today.
You can get tickets for all events at www.thebraincharity.org.uk/neurodiversity-arts-festival/. The programme runs from 21st – 29th September across Liverpool, with a retelling of Romeo and Juliet with an all-neurodivergent cast and crew at Shakespeare North Playhouse taking the festival outside city boundaries.
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The festival is managed by The Brain Charity
Find out more at www.thebraincharity.org.uk/neurodiversity-arts-festival/Preview: The Liverpool Neurodiversity Arts Festival
Neurodiversity isn’t a description of the 20% of us with a neurodivergence. It is a statement that 100% of us have diverse neurological states. That 20% of the population with a specific neurodivergence are the ones who need access considerations, but the whole 100% is uniquely, neurologically, diverse.
Diversity is an umbrella term for all ethnicities, races, abilities, genders, sexualities, beliefs, economic circumstances and age groups. That’s widely accepted and understood, yet it has been 26 years since, journalist, Harvey Blume first described neurodiversity and as a population, and an audience, it still feels like a term that needs explaining, and access issues relating to it, are widely overlooked.
“Neurodiversity may be every bit as crucial for the human race as biodiversity is for life in general. Who can say what form of wiring will be best at any given moment?”. – Harvey Blume, 1998, The Atlantic.
From there, and Blume’s earlier writing on “neurological diversity”, which he attributed to forums led by autistic communities online, developed a raft of further exploration, and a publication by Judy Singer the following year, which explored the concept in more detail.
Essentially, for 26 years, we’ve been trying to work out what a term that was explained at its foundation means. It means that every person on this planet is diverse in the way they think. That is probably the defining characteristic of the human race, but somehow, when it comes to supporting and advocating for those with neurodivergences that stand out from the majority, we become stumped.
As ramp access, hearing loop, and BSL interpreters demonstrate for physical diversity, there isn’t a one-size fits all approach to improving access for neurodivergent people.
Speaking to Chris Beaumont, the festival’s director, it was clear that her approach to this programme is about balancing the time she spends listening to artists, with the time spent listening to venues. Artists know what they need to access venues, and venues know how they want to support. Neurodiversity Arts Festival proves to them how they need to support.
So, by siting this festival across the majority of Liverpool’s cultural institutions, they become liable for the follow up actions.
What does Tate do to extend its good work with their Autism-friendly quiet sessions? How does the Walker make its exhibitions more approachable for visitors with anxiety? How does a venue like Unity Theatre enable audience members with ADHD or Tourette to enjoy theatre comfortably. And how do any of them make it more likely that neurodivergent artists can become part of their programme outside of events like this festival?
And that’s just the internal workings and drive of this incredible project. For us as audience members, its worth remembering that this is a festival of exceptional art, with outstanding events and exhibitions to engage with.
Tess Gilmartin, who emerged from Bluecoat’s Blue room programme last year to exhibit on their exterior walls, is now fronting a takeover at LUSH, as well as being commissioned to design their advent box, for sale across the county this Christmas. The Blue Room takeover is 28th September and free to attend from 1:30pm.
The programme kicks off with a huge night of comedy at the Brain Charity, and regular workshops, education events and exhibitions throughout.
There’s a wonderful Meet the Artist event at Tate x RIBA North on the 25th, with Becky Beasley, Sonia Boué and Pierce Starre in conversation with Claire Penketh, Professor of Disability Studies and Art Education at Hope University (link).
Creative workshops at the Black-E with Wilful Misfits transform how neurodivergent people can explore their creative talents without barriers, while neurotypical audiences have an opportunity to gain insights into the processes requires to facilitate that (link).
And Bluecoat’s Young Blue Room have hidden artworks all over the gallery’s gardens, celebrating 300 years of the building’s history.
I’m personally most excited for Jordan Connerty’s immersive play at World Museum (28th September). The one man show delves into the history of the Boy King, Tutankhamun, in the form of an immersive museum tour by a tour guide, Jordan, whose love of history transformed his life growing up with autism.
What’s really clever about this programme, perhaps demonstrated best by Johnny Vegas opening it all, is that it ties art, music and comedy in together. They are treated was as a single art form. It’s good for engagement, but it’s also true to the artists, and the foundations of most good art and good comedy; those who create it are neurodivergent. They present the world to the everyone else in different ways, because they experience it differently.
That’s how change has happened since the start of human history, and it’s how it should be led in the arts today.
You can get tickets for all events at www.thebraincharity.org.uk/neurodiversity-arts-festival/. The programme runs from 21st – 29th September across Liverpool, with a retelling of Romeo and Juliet with an all-neurodivergent cast and crew at Shakespeare North Playhouse taking the festival outside city boundaries.
—
The festival is managed by The Brain Charity
Find out more at www.thebraincharity.org.uk/neurodiversity-arts-festival/