Evelyn Glennie Sounds Off
Friday, 10 July 2015
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Dear Readers,
Earlier this year we redesigned my website to make it more flexible, informative and fun. We tried hosting my blog there as well, which we hoped would keep things neater and reach a wider audience. I'm pleased to announce it was a great success! After running the blog in duplicate for a few months we've decided to migrate everything over to evelyn.co.uk. We'll keep the Blogger account active but no future posts will be uploaded here.
If you want to continue following my blog you can do so over at www.evelyn.co.uk/blog. Don't forget that my website also contains all the latest news, touring information, essays and the Evelyn Glennie Online Shop. You're all welcome to visit. We look forward to seeing you!
Evelyn
Photograph © Hasse Linden
Blog Migrated
Dear Readers,
Earlier this year we redesigned my website to make it more flexible, informative and fun. We tried hosting my blog there as well, which we hoped would keep things neater and reach a wider audience. I'm pleased to announce it was a great success! After running the blog in duplicate for a few months we've decided to migrate everything over to evelyn.co.uk. We'll keep the Blogger account active but no future posts will be uploaded here.
If you want to continue following my blog you can do so over at www.evelyn.co.uk/blog. Don't forget that my website also contains all the latest news, touring information, essays and the Evelyn Glennie Online Shop. You're all welcome to visit. We look forward to seeing you!
Evelyn
Photograph © Hasse Linden
Thursday, 23 April 2015
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What is Art?
Due to a truly hectic schedule, I’ve not had chance to update my blog. And, believe me, there’s been
so much that I’ve been wanting to share!
This will be a collaborative
blog post connected to a very interesting
project that I’m very fortunate to be involved
with. Written by Rebecca Boyle Suh, Executive Chairman for Art is Education, this is the follow
up on an interview about a competition among primary school children to answer the question ‘What is Art?’ in no more than 10 words.
Quite a challenge!
Curiosity, arts education and music by Dame Evelyn Glennie
Curiosity, arts education and music by Dame Evelyn Glennie
As a solo percussionist, Evelyn Glennie performs with the world's
greatest conductors, orchestras, and artists. Profoundly deaf since the age of
12, Evelyn taught herself to hear with her body. She has received over 86
international awards, is a triple GRAMMY award winner and a BAFTA nominee. In 2007,
Evelyn was awarded Dame Commander of the British Empire.
Children's minds are fluid and free. They explore in an undaunted
manner and have a flexibility in the way they connect things. But encouraging
children to develop their own imagination doesn't always fit into the school
setting where their minds can become restricted by categorisations and
boundaries.
Schools and teachers face pressure to produce results and hit targets.
Incorporating the arts across the curriculum can help teachers approach
subjects in many different ways, giving them tools to teach flexibly. As a
child, I was very lucky to have a maths teacher who could see that teaching me
in a formal way was not registering with me. But because he could see my
interest in music, he was able to transform his teaching into a language I
could relate to. Fostering a sense of exploration in children is really
important when dealing with subjects that may feel more rigid in form.
The body is also important in the learning process. Sound is all around
us, and just as things around us vibrate, the body vibrates too and receives
resonance. When I'm teaching young children, I like for them to discover what a
sound is with their body. Because if you imagine that sounds only comes from
musical instruments, you already have a barrier there. But if you ask a
youngster to create a happy sound from a cushion or a chair or a school desk
then suddenly this object becomes a thing of exploration for them, and they're
using their bodies in ways they might not when in contact with an actual
musical instrument. I encourage them to feel the sound, to analyse it in
accordance with their particular journey and thoughts, and to develop a sense
of discovery and freedom regarding who they are.
Some children might say "I can feel that drum through my
feet" and someone else might say "I feel that drum through my
tummy." Whilst the eyes are unable to pick that up, your actual body
becomes the resonator. In fact, the body will receive more of that sound than
the ear, the ear will have lost that sound long before the body has, and the
sound will resonate far longer through the whole body. What young children can
do is really tap into the senses. It's not just that the eyes are there to see,
or the ears are there to hear; everything is connected. Which means we can
relate to things around us in greater ways than we probably are.
And the wonderful thing about the arts is that you never know what's
going to happen because you're feeding off the environment you're in and the
people you're with. Art helps you become comfortable with the unexpected, the
uncertain. It allows a form of creativity whereby if something doesn't go your
way you can feed off that and let it take you in a completely new direction.
I think this is why the arts in education is so important. Art allows
us to listen in different ways, to see in different ways, to connect in
different ways, to move in different ways. But if you're introducing arts at a
later age, there are only a few who can hold onto that childlike curiosity, to
have freedom in their own thinking and to do something that is truly them. The
younger we can catch children the better.
Evelyn Glennie is a solo
percussionist. She graduated from the Royal Academy of Music, London in 1985, and
now performs with the world's greatest conductors, orchestras, and artists. She
performed at the Winter Olympics in Salt Lake City in 2002 and at the opening
ceremony of the Deaf Olympics in Taipei in 2009, then went on to lead 1000
drummers for the world premiere of 'And I Will Kiss' at the London 2012 Olympic
Opening Ceremony. Evelyn is the commissioner of around 170 new works for solo
percussion from many of the world's most eminent composers, and also composes
music for film and television. She advises the next generation through Master
classes, lecture demonstrations, and motivational speaking.
Evelyn delivered a TED Talk in
2003 on 'How to truly listen', which has been watched over 3 million times. You
can watch here.
(c) Word Cloud provided by Art is Education
Wednesday, 3 December 2014
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Keynote speech for the 2014 British Composer Awards
Last
night I was invited by the Artistic Directors of the British Composer Awards, Julia
Haferkorn and Ed McKeon, to give a keynote speech at the 2014 BASCA-hosted
event. I didn’t expect the sheer amount of creativity that filled the room. It
was a privilege to be able to experience the broad scope of sound exploration
amongst contemporary composers of all ages.
Anyway,
and without further hesitation, here’s the speech I was privileged to give:
I
would like to start by saying a huge thank you to BASCA for their ongoing work
and, of course, for inviting me to share a few words with you at this
prestigious event. It’s an honour to be here at Goldsmiths’ Hall among
Britain’s most talented composers.
My
sincere congratulations to all those being recognised this evening. Your
contribution to the world of music is extraordinary. Through your talent,
creativity and commitment, you are
inspiring the nation and, indeed, the world. Every one of you is proof that
Britain continues to produce composers of the highest calibre. I have no doubt
that your outstanding work will inspire a new generation of composers,
continuing this great tradition of quality music-making long into the future.
Reading
through the list of nominees for tonight’s awards was both breath-taking and
heart-warming. People of all ages, from all backgrounds, are working right
across the country (and across the world) to ensure our society has a deep and
rich musical culture. The value of music to society is incalculable. Who here
has not been moved by music? Who here has not experienced music that made them
stop and think? Music is the lifeblood of our culture. Without it we would
wither and perish.
Discovering
new music is one of the most invigorating experiences anyone can have, which is
why it’s vital to have a healthy body of composers producing new works specifically
for our time. This evening is a celebration of our country’s very best. What a
shame we can’t give awards to all the nominees!
If we
stop to consider the world we occupy, the success of our living composers is truly
remarkable. The economic downturn has hit everybody hard and the music industry
is no exception. Contracts are scarce, while paid commissions and funding for
new projects are harder to find than they once were. Not only that, but the
process of getting projects off-the-ground takes much longer these days. I’m
proud to have commissioned hundreds of new works, but I can’t deny that, over
the course of my career, it’s become more and more difficult to commission pieces,
to find sufficient time to get projects off the ground and to negotiate funding
with groups of organisations who increasingly depend on each other for support.
Being
a composer today is about much more than writing music; it’s about working
collaboratively, making the most of the tools available to us in the digital
age and, above all, it’s about creating opportunities for new music to be
heard. However challenging the outlook, there’s still plenty of potential to
create new, high-quality music. Organisations such as BASCA, PRS for Music, the
Arts Councils, Sound and Music and the Musicians’ Union work tirelessly to
provide supportive schemes, to protect composers’ rights and to raise awareness
publically. We should thank these bodies – as well as the hundreds of other
schemes, foundations, festivals and clubs – for making the business of being a
composer less of an uphill struggle than it might otherwise be.
It’s
important to convince as many institutions as we can to support new music. If
music is the lifeblood of our culture then ensuring its healthy survival is
everybody’s responsibility. We – avid supporters and dedicated practitioners –
are the best people to lead the way. We should do everything we can to
encourage radio stations, television networks, concert venues, opera houses, orchestras
and public bodies to promote the music of our time – music as it lives and
breathes today. A stronger industry means more opportunities for work and a
greater contribution to the country’s economy. The more people we can get to
support our music-making, the more the industry will flourish.
Our
composers are a fantastic cultural resource, and not just for their artistic
output. Music is a vital form of expression, giving us the means to say things
we can’t say with words alone, to entertain each other in a uniquely cherished
way, and to tackle ideas of beauty that we can’t tackle through other means.
Music is not just an artistic product, it’s a practice; music doesn’t just
exist – music is made. Composers are experts in a very profound sense. We might
be tempted to think of them as the people who put dots on a page, put notes
into digital workspaces – people who marshal sounds ready for performances –
but they’re so much more than that. Composers are specialists at creative
thinking, at making difficult connections, at finding a unique means of
expression through the art-form that we prize more than any other. Yet, composers
tend to go undervalued.
I
firmly believe that composers can make a huge contribution to education and
community development, showing us all how to unlock expressive, creative and
problem-solving potential that would otherwise remain untapped. Every day we see adverts for art classes, cookery
classes, yoga classes, sports training. What about learning to create music? I
don’t mean playing music, but creating it in the first place. Learning to play
an instrument often involves years of training and considerable financial
investment, which can be prohibitive to many individuals. But anybody can create music. Anybody can learn to bring
others together through the power of music-making. Here in the room tonight and
all around the country we have highly skilled, highly talented people with lots
to offer. It’s about time we put more effort into promoting music, not as a
passive nicety or even an obligation, but as an active practice that we can all
benefit from – individuals, families and communities.
Who
better to learn from than the best? Composers: tonight we honour your individual
achievements, your portfolios of work, your dedication to your craft. But let
tonight also be a celebration of your potential and the unparalleled mark you
leave on society. Already, we owe you a great debt, and there’s still so much
we have to learn from you.
I’ve
been lucky enough to work with some of the best composers in the world and some
of the most promising young talent. I know all too well the value of a good
piece of music and just how many ways music can impact people’s lives for the
better. I’ve worked on the classical concert stage, at jazz festivals, in the
recording studio, on film & TV projects, in classrooms, with charities,
with folk musicians, with improvisers and with pop artists. My journey has
taken me to all corners of the music industry and I can say with certainty that
nothing would happen without the work of composers – the people who create the
music in the first place. What you do is vital and I’m privileged to be part of
the industry that you make possible.
Congratulations
again to all the nominees here this evening. Many thanks to all the thousands
of other great composers around the globe who toil to make our world a better
place, many without recognition. Of course, we should all thank our host,
BASCA, our sponsor, PRS for Music, and BBC Radio 3 for helping to share this
wonderful event with everybody far and wide.
I hope
to continue collaborating with composers for many years to come; I can think of
nothing better or more important. I wish all of you here tonight every success
in the future.
Thank you!
Wednesday, 12 November 2014
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Celebrating half a century
With 2015 fast approaching, Evelyn Glennie gives us a glimpse of one of
her projects. A calendar that features a selection of her instrument
collection. Here’s a short interview to let you know a little more about it.
Why a calendar? How did you come
up with the idea? Why 2015?
A good quality calendar is something to cherish, not just for the given
year but forever. More so when it is personalised.
I wanted to create a simple but poignant calendar that is almost like a
piece of art. One that gives a little glimpse of my life as a solo
percussionist and an even smaller glimpse to my ever growing instrument
collection.
2015 is my 50th anniversary, half a century, can you believe that? I
have never been one to celebrate birthdays but this time is different: I will
also be completing 30 years since being a fully pledged professional musician. All
reasons that led me to believe that a calendar would be a good way to celebrate
each month of 2015.
Is there a reason for you to
choose the instruments portrayed?
All of my instruments are special but my first ever snare drum [which I
was given at the age of 12 by my parents], my first pair of drumsticks and
first practice pad all hold a special place for me. They represent the
beginning of this musical journey and I still cherish them to this day.
I chose the Aluphone, for instance, because this was one of the most
recent instruments to be developed and one that I believe is fast becoming a
standard instrument in the percussion world, already with major composers
writing for it. Bells and drums because they are found all over the world,
making them easier for people from all walks of life to relate to the beautiful
visual aspect of those instruments. And, due to my fascination with creating
new instruments from old materials, I also wanted to feature my drawer of
“toys”, since they’ve always been present in my life as an important aspect to
percussion - as children we are usually given a rattle or something that
creates a sound and it wasn’t different with me!
Were you the one deciding the
month the instruments should be associated with? If so, how did you make those
decisions?
Yes, I was clear that my first ever snare drum would ‘open’ and ‘close’
the year, due to its sentimental value. Apart from that, I was mainly thinking
about the materials and sounds that the instruments make in order to represent
the different months and seasons. The Aluphone’s shape and colour, for example,
represent a cold feel which is why it features in February. The toys, on the
other hand, being full of fun and bright colours embody a warm feeling making
them perfect for July. As for the bells, they somehow transport me to Christmas
Season [am I the only one?], making them perfect to illustrate November.
Within every page of the calendar you will find a brief story about the
instrument displayed and what it means to me. This is the result of a very
intimate processes, one that I am now sharing with you. A little journey within
my life’s journey.
How often do you play these
instruments?
Some more often than others. The ones that I find myself playing the
most would be the Aluphone, the Waterphone, Toys, Bells and, of course, the
snare drum. But rest assured that none of them sits on a shelf long enough to
gather dust!
Where and when can we find the
calendar?
You can find it here, both signed or not: www.evelynglennieproductions.com/c/11/gifts
How much is it?
£25 without an autograph and £30 for the signed version.
Friday, 19 September 2014
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Image: Old House 4 on Flickr
Today I had to make a difficult decision. I was recently invited to work in Russia at the request of a valued promoter. Due to the current political climate between Russia and Ukraine, I felt I had to decline. I’m left wondering what the future holds for the arts on an international stage.
Looking at our twenty-first century world, I can’t help feeling the arts are losing ground, and the industry I work in is reaching a point where it needs redefinition. This is a task that no one person can undertake alone – this is something we need to look at collectively on a global scale.
After deciding not to go to Russia, I found myself thinking about what else is going on the world and how the arts are coping across the globe. I've worked in the music industry for 30 years– and the landscape is changing faster than it ever has before. I can’t help thinking about what is happening in America, where top-grade orchestras, opera companies and other performing arts organizations are being forced to take drastic measures just to keep their heads above water. Some, regrettably, have already gone under.
Do we really want to live in a world where the arts are defined by politics? I don’t. But then again, how much can one person do?
I was taught that change starts with one single step, and that maybe – just maybe – if you succeed, people might follow. Even though it pains me to decline the offer from Russia, I’m left wondering whether we can stop politics defining artistic activity. Ultimately we’re on the brink of losing the spirit of music, something we love for its universal reach. Are we ready to temper that reach for the sake of unrelated political wrangling?
I believe music is a social cohesive that binds people from all cultures all over the world. What does our future hold? Surely we want to maintain this priceless means of shared expression? But how do we ensure that process of sharing lives-on for future generations? I’m not sure I can even begin to answer this question alone.
What does the future hold?
Image: Old House 4 on Flickr
Today I had to make a difficult decision. I was recently invited to work in Russia at the request of a valued promoter. Due to the current political climate between Russia and Ukraine, I felt I had to decline. I’m left wondering what the future holds for the arts on an international stage.
Looking at our twenty-first century world, I can’t help feeling the arts are losing ground, and the industry I work in is reaching a point where it needs redefinition. This is a task that no one person can undertake alone – this is something we need to look at collectively on a global scale.
After deciding not to go to Russia, I found myself thinking about what else is going on the world and how the arts are coping across the globe. I've worked in the music industry for 30 years– and the landscape is changing faster than it ever has before. I can’t help thinking about what is happening in America, where top-grade orchestras, opera companies and other performing arts organizations are being forced to take drastic measures just to keep their heads above water. Some, regrettably, have already gone under.
Do we really want to live in a world where the arts are defined by politics? I don’t. But then again, how much can one person do?
I was taught that change starts with one single step, and that maybe – just maybe – if you succeed, people might follow. Even though it pains me to decline the offer from Russia, I’m left wondering whether we can stop politics defining artistic activity. Ultimately we’re on the brink of losing the spirit of music, something we love for its universal reach. Are we ready to temper that reach for the sake of unrelated political wrangling?
I believe music is a social cohesive that binds people from all cultures all over the world. What does our future hold? Surely we want to maintain this priceless means of shared expression? But how do we ensure that process of sharing lives-on for future generations? I’m not sure I can even begin to answer this question alone.
Friday, 4 April 2014
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Don't Cry for Me
There are some experiences in life that nothing can prepare you for. No amount of reading, watching or studying will create a sense of anticipation or understanding of what you are about to encounter.
Back in December 2010, together with 22 other people I climbed a mountain. Some of us were from the UK, some from Africa, and some were disabled; this was the first expedition to the summit of Kilimanjaro, Africa’s highest peak, that included a group of disabled climbers. That journey was arduous, challenging and at times even euphoric. I climbed because I wanted to help in some small way. I bore the hardship because I believed I could manage the journey. I shared my joy with others as we reached the summit. The catalyst for me began with a challenge and I of course could not resist. In doing so, I made a commitment to help a small charity called AbleChildAfrica whose work with disabled children in Africa rang a bell with me and I wanted to help support those who are often the most vulnerable or excluded in a community. As a child losing my own hearing was devastating but made bearable because of the support and encouragement I had from my parents and school and I wanted to give something back. I chose Able Child Africa because it has an ‘inclusive’ ethos. Their aim is to enable children to become valued members of their homes and communities. Therefore AbleChildAfrica recognises the support they provide must also include the support and education of the parents to enable them in turn to understand and support the needs of their children. Unlike my family situation, many parents of disabled children in Africa are led to believe that when their child is born with a disability it is by way of retribution for their wrong doing. They also believe disabled children are unable to contribute to the family wealth in that they will never work and will therefore become a burden. AbleChildAfrica are continually pushing these boundaries and dispelling myths by replacing them with facts and support.eriences in life that nothing can prepare you for. No amount of reading, watching or studying will create a sense of anticipation or understanding of what you are about to encounter.experiences in life that nothing can prepare you for. No amount of reading, watching or studying will create a sense of anticipation or understanding of what you are about to encounter.
I had discussed the importance of the work that AbleChildAfrica does with the Director, Jane Anthony. I also had the opportunity to discuss some of the challenges faced by disabled children in Kenya with the Director of the Little Rock Centre, Lilly Oyare and the Executive Director of Action Network for Disabled Youth, Fred Ouko (both AbleChildAfrica local partner organisations in Africa), with whom I had shared my mountain climb. I listened carefully to all their accounts of the work they are undertaking in Kenya, Tanzania and Uganda. So, as an AbleChildAfrica Patron I felt well prepared for my eventual visit to Nairobi. I was sure I understood the challenges and indeed I felt confident the trip would not contain any surprises. I could not have been more wrong.
As our taxi bounced over the rough terrain of Kibera, often described as East Africa’s largest slum , the first signs of an environment where no human or animal should be expected to endure unfolded before us. Out of the dusty window, amongst the hustle and bustle, I could see malnourished children selling small buckets of coal and makeshift stalls trading everything from dusty furniture to fruit and vegetables as well as pans of meat scraps and fish heads smothered in flies. I began to witness the abject poverty of the Kibera slums and I was shocked.
As the days unfolded I underwent an emotional roller coaster. At first, I was overwhelmed, dismayed, shocked and appalled. I accompanied Lilly and 3 very young boys with hearing impairments from the Little Rock centre into the depths of the slums. We went in turn to the homes of each child. We walked amongst the shacks, bending low to avoid cutting ourselves on the sharp edges of the corrugated roofs that hung low enough to gauge out an eye. Stooping, ducking and trying not to slip into the human excrement streams that run through every tiny crevice. The stench was unbearable but we continued; I cannot show that I am not able to endure it because it is where thousands of people live. I cannot judge because their circumstances are complex and complicated. They are truly victims of a society, like so many others, which at times can feel as if it feeds off human misery.
We reached the home of Albert*, he pulls back the slatted wood door to his home, a single dark room tidy room with a mud floor and very little furniture. His mother is not home and he becomes distraught. His teacher tells us he is afraid we will leave him alone and not take him back to the centre but Lilly is there, she holds his hand and assures him in sign language that he she will not leave him alone. We go on, the heat is unbearable and adds to our discomfort. I am not familiar with the terrain and we stumble often, unsure of my footing and keeping Lilly in sight we move onward to the home of Daniel . The entrance is via a dark dank muddy alleyway and it takes several minutes for my eyes to become accustomed to the dim light in the room. It is here I am struck by just how much of an impact environment can have on functioning, without sufficient light in this house I have difficulty seeing and therefore reading the lips of the group and encountered difficulties communicating , I struggle to know what to say without patronising. No words seem appropriate. There is a woman sitting on a slat of wood with a thin mattress, no duvet, no comfortable furniture except one chair which the woman says she moves at night so the children can sleep on the floor. We hear a noise and in the gloomy darkness, there is another child stirring from a nap. He is startled by our presence and somehow this all feels voyeuristic and uncomfortable. I try to rationalise what I am seeing. It is hard to comprehend how these families survive, much less provide for the needs of their disabled children. Another sibling sits in the dark alleyway outside, It’s Arnold’s little sister, she has huge eyes and she is staring at us. I smile, she smiles back and her face lights the passageway!
We continue to the home of Peter. He is luckier than most because he has both parents at home in their one room, they have recently moved across the slum. Because Peter’s father is working they have electricity and a small black and white TV with a blurred image on a small table which has pride of place. The door is made from planks of wood and is hard to open over the rough mud floor, we ease ourselves inside one at a time into a single room, which is no more than 3.5 metres square. Families, often with several children, eat, sleep and cook in one room. A tribute to survival under the most extreme conditions.
As I begin to walk back to Little Rock my thoughts reflect on the items I have not seen. The homes are all void of toys, books, toilets, washing facilities and running water. Most have no electricity. No basic essentials or home comforts. I have no words to describe how I feel at this point. I was later informed that each family must pay 500 Kenyan shillings (about £3 UK or $5 US ) per month for rent. My heart feels so low and pitiful faced with the enormity of the challenges, at this point I cannot begin to imagine how I can possibly help.
As I emerge from the slums and turn the corner I look towards the gates of Little Rock. The new building, recently constructed by AbleChildAfrica, is like a mirage in full colour brimming with smiling happy children. This centre for early years education sits like an oasis in the midst of the slums. A beautiful bright sunny building, its walls decorated with cartoon characters and colourful friezes, surrounded by manicured borders shaded by clusters of bougainvillaea flowers. Here is the result of years of hard work, tenacity, persistence and vision. Almost 800 children benefit from this inclusive centre annually; it is a sanctuary of care and understanding in Kibera.
During my visit, I was accompanied by Jane Anthony, Executive Director of AbleChildAfrica and a trustee, Alanzo Blackstock. Alanzo became a Trustee of AbleChildAfrica as he has a personal connection to their work, his brother Larry resides in Kenya and serves as a Trustee for Little Rock It was also good to meet up with Shikuku Obosi, also a Trustee of AbleChildAfrica, whom I met on the Kilimanjaro climb; we share our memories of the trials we endured together. As I spent more time with the teachers, children and trustees I gradually begin to realise this is not a story of despair but one of hope ; with encouragement and funding they have created a tangible positive environment for the future of the children from Kibera. Lilly soon realised she could not educate students when they were hungry so she feeds them. She could not create a comfortable environment for them until they were clean, so she taught them about cleanliness. The Centre takes the children each day from as early as 7am. From the age of 3 months They are provided with a uniform of purple shirts and grey trousers, which they wear with pride. The Centre gives each child 2 meals per day. Most children would otherwise go hungry and the school feeding programme not only keeps the children nourished, it allows them to better concentrate on learning when in school. Each child is given structured tuition on reading, pronunciation and language including signing which means they become bi-lingual and this gives them a huge advantage I join the children in various classes and noted the school has an ‘inclusive’ policy, whereby all children, including those with disabilities, are taught together, working together to support each other to learn. In fact, the extent of the inclusion is such that no child is left out and children automatically support those who need it, whether it be inside or outside the classroom.
Lilly, or Teacher Lilly as she is affectionately known to the kids, works alongside state primary schools to secure placements for the Little Rock graduates, and the children who have already been placed have attained top marks amongst their peers- they are a credit to her excellent teaching skills. They excel in their studies and will stand very good chances of going on to complete compulsory education, which is sadly by no means the norm for many children in the area. AbleChildAfrica and Little Rock are joining forces to ensure disabled graduates are afforded the same opportunities in state primary schools.
On my last day in Nairobi, I met with Fred Ouko, Director of ANDY, a youth lead Disabled People’s Organisation. Together with AbleChildAfrica, ANDY is currently running a programme that uses sport to engage young disabled people in social groups and healthy lifestyles and also offers them access to employment and training opportunities. Due to poor rates of access to education and training, the unemployment rates of young disabled people in Kenya are high. I attended a deaf volleyball session and chatted with the team members about some of the challenges they face. I also meet with Benjamin and Eric, who are visually impaired, who participate in the ANDY Swimming club. They are currently looking forward to internships arranged through the programme to help them get some skills that they hope will lead them into employment and ANDY will be there to support them along the way.
As the work of AbleChildAfrica grows it needs more partners, good education and public awareness and crucially, funding -these things are actually making a difference.
The lesson I learned is if you help them they will help themselves – so please dig deep and support the great work of this charity I am proud to be Patron of.
*children’s names have been changed to protect their identity.
Text DRUM14 followed by £10 to 70070 to donate to AbleChildAfrica and make a difference today.
Or you can donate online; https://mydonate.bt.com/charities/ablechildafrica
If you cannot contribute financially please share this blog with everyone you know, not just for me but for the thousands of children who often do not have their story heard.
Tuesday, 4 February 2014
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Collaboration can be a challenge, particularly between different
sectors of the arts. However, sometimes artists seem naturally to come together
when a particular dynamism or unifying force emerges between them. This was
definitely the case with Maria and myself. We met in 2011 and the creative
juices began to flow straight away. Although we quickly sparked each other’s
interests it wasn’t immediately obvious how our union would pan-out. Maria enjoys
working with the spiritual responses she ‘feels’ from music and I like to work
to the vibration and feeling of sound. This connection soon developed into
something we could share through a project called AniMotion – an exciting combination of live painting, live music
and now dramatic architecture.
AniMotion continues to evolve and grow into new dimensions.
Now we are bringing some of the country’s grandest architecture into the mix. Our
most recent venture was at St Giles Cathedral in Edinburgh where the imagery was projected onto the dramatic
canvas of the building itself. The cathedral came to life; its stonework danced
with each brushstroke and its acoustic sang with musical sounds – literally when
it came to the contributions of vocalists Fay Fife and Rebecca Tavener! It was
lovely to work again with Dave Heath,
whose music I’ve recorded. DJ Dolphin Boy brought an electronic (and electrifying!) edge to the experience, too.
A Feast for the Senses
We’re surrounded by sound, art and movement, which feed
through every aspect of our world. From media to architecture, advertisement to
passing car radios, we’re engulfed in a multitude of sounds and images that either
plague or delight our senses. From buskers to classical music, pavement art to
fine ‘gallery’ art – the range is broad and getting broader every day.
Although I’m profoundly deaf I also experience the same range
of sounds as a person with unimpaired hearing, not to mention the sights,
smells and other sensations, too. The difference for me is that I won’t hear in
the same way as most people, so my perception of the overall experience will be
different. Most of us have preferences for a particular type of music or style
of art and the way we perceive those arts is different for each and every one
of us.
I, too, have a sense of what I like and dislike. Through my
music I’ve tried to break down barriers by pushing boundaries, bringing
percussion out of the shadows and pushing my own limits as a sound
creator. I’m passionate about music that
allows me to continue pursuing this goal. Along the way I’ve learned to open up
my body to a new kind of listening, which has made for some truly exciting performance
experiences.
I was thrilled when the opportunity arose to collaborate
with dynamic Russian Artist Maria Rud.
Maria, like me, is keen to push her own boundaries through a highly distinctive
artistic style and to find unique ways for audiences to experience and engage
with her work. I feel an artistic kinship with Maria – being able to work
closely with her is an absolute joy.
Maria Rud |
Maria and I at the NMS |
Our first opportunity to perform together came at the
National Museum of Scotland surrounded by an incredible array of historical artefacts
displayed in the Grand Gallery. We almost
became exhibits in our own right! Our AniMotion premiere definitely cemented
our relationship! And it wasn’t just Maria and I that found it special. The
audience, which included Vladimir Tolstoy, was treated to a spectacle in which music and art united in a way simply
not experienced before. On that occasion Maria’s images – painted on a light
box – were projected onto a large screen while myself and cellist Philip Sheppard performed. We played to
her brushstrokes and she, in turn, painted to our music. The experience was
amazing and the audience were completely absorbed and delighted with the
performance.
AniMotion at St Giles |
Our audiences have come to expect the unexpected, to be
simultaneously astounded and satiated by an unforgettable and holistic feast for
the senses. If you haven’t yet seen an AniMotion show you're missing out on one of the finest artistic experiences around today – something I'm immensely proud to be able to say and equally proud to be a part of. I wholly recommend keeping
an eye on my tour diary and booking tickets for the next event... there are some
exciting projects on the horizon!
Two Happy Collaborators! |
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