Category Archives: Art

Dreams, Passion and Purpose – SUSS 2023 10 10 Convocation Speech

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As promised to some of my friends and followers of my pages, blogs and website, here is the transcript of my convocation speech tonight at the SUSS Convocation 2023: Session 3 – Undergraduate Programmes (NSHD). The Youtube ‘live’ video (link below) does not have captions, so I have put my transcript here.

Mr Aaron Tan, Member of SUSS Board of Trustees; distinguished guests, graduates, ladies and gentlemen, thank you for this honour. My heartiest congratulations on this very special occasion.

I cannot tell you how to make a lot of money, rise up the corporate ladder, or how to achieve worldly success. I have never managed any of these. I owe my very existence today to a few loyal friends, my one supportive sister and a gentle yet magnanimous creature called Lucy Like-a-Charm, a Greyhound rescued from the cruel racing industry in Australia.

(Slide 1 – Lucy Like-a-Charm, a black Greyhound is lying on a white puffy quilt, head upright, looking at camera, ears perked up and spread out, mouth open in a happy smile.)

So, what can an ordinary person like me bring to this milestone occasion? Please allow me to share a glimpse of my life’s journey. I was born in 1965, the year of Singapore’s independence. Like many in my generation, I found out my Autistic identity only in my early forties. I’ve also struggled with a lifelong, painful medical condition.

My childhood dream was to become an artist, musician and scientist. I loved animal science and multidisciplinary arts. Learning was smooth sailing at first when I was allowed to pursue my own interests at home. Sadly, my learning journey was derailed after I entered mainstream education. I went from being labeled a “kid-genius”, to “rebellious” teenager, and onwards to “lazy, useless bum”. One art teacher told me I would never become an artist because I could not colour within the lines. By the way, I still do not colour within the lines.

After a lot of stubborn perseverance, I managed to gain an undergraduate place to major in music at the University of Hong Kong. There, in Hong Kong, I met professors who recognised my unusual learning style. Nobody talked about autism at that time. I was thrilled to be encouraged to bring difficult questions to class — my professors were happy to push boundaries and expand their own paradigms. I am most fortunate to still be close friends with two of my early mentors to this very day. 

I returned to Singapore after graduating, and unfortunately spent the next twenty years employed by a former family member in a job that I was most ill-suited for. My medical condition constantly triggered, and I felt as if my entire mind and soul had been stolen from me. During those bleak years, I still managed to author and illustrate three music textbooks widely used in Singapore schools; write and record two albums of my own songs; and produce, direct and perform in two public music concerts. 

In 2007, at the age of 42, I finally broke free and returned to the University of Hong Kong to pursue an M.Phil in music composition. Faced with a confusing social situation, struggling with my illness, dealing with my father’s death and family disintegration, I was pushed to the edge of mental and physical breakdown. I sought help from a psychologist and that was when I found out about my Autism. It was a pivotal moment for me, a vindication that I was not deliberately bad, rebellious or lazy, my brain merely functions differently — simply put, I was like an Apple computer living in a Microsoft world. I am disabled according to the social model of disability. In 2012, I was awarded a full Ph.D scholarship by the University of New South Wales in Sydney, Australia. I adopted Lucy that same year and with her, began the best ten years of my life.

“Like-a-Charm” was Lucy’s former racing name, and I kept the name because it rang resoundingly true. Lucy became my autism anxiety assistance dog, and was the first Greyhound assistance dog in my university and, in fact, all of Sydney, inspiring others, especially Autistic persons, to adopt and retrain rescued Greyhounds as assistance dogs thereafter. We were interviewed by television, radio and newspapers in Australia about my research in autism and multi-art practice, Greyhounds as assistance dogs, and autism and disability awareness. She was also the first Greyhound to be invited into Parliament House during a campaign in 2016 to ban Greyhound racing.

Much more than a pet or assistance dog, Lucy was my creative muse, research assistant and the driving force for my PhD dissertation on autistic embodiment and alternative non-human sentient and material empathies. In 2016, we graduated together with the highest honour, the Dean’s Award.

(Slide 2 – Convocation – Dawn-joy and Lucy receiving their PhD from the Chancellor, UNSW, Sydney Australia, 2016)

Now, don’t get me wrong, those years were wonderful, but still no easy breeze. I faced intense internal and external challenges, which I don’t have time to tell you about, but I had Lucy with me. She was my rock of stability and strength throughout. In fact, she saved my life just a few weeks before my PhD submission, and I am alive today because of her. Lucy taught me how to recognise my own vulnerabilities and strengths, and to accept with gratitude and grace support from others.

Finally, I’d like to end my story on the importance of Dreams, Passion and Purpose. I am blessed that three of my Dreams did indeed come true, and with many wonderful bonuses too.

I was 7 years old in 1972, suffering a painful attack of mouth and throat ulcers where I could barely open my mouth or swallow, when I dreamt that I had a voice and I could sing. In 1999, I wrote and recorded my own collection of songs, a dream come true that a precious friend helped to finance. The bonus was that my existential questions in these songs finally found resolution many decades later, in Lucy.

I also dreamed of a transdisciplinary art-science PhD from a very young age. After forty years, I received a full PhD scholarship. As a child, I yearned for Love, and went looking in all the wrong places. Well, I finally found the Love of My Life, Lucy Like-a-Charm, who brought me a Perfect Love that no human or non-human ever could.

I’ve lived a privileged life, but I also faced great persecution for having Dreams at all, ironically from some of those I thought were closest to me. I not only worked hard, but I fought very fiercely for my Dreams, they didn’t just drop onto my lap. In the process, I lost most of those I once considered close friends and family. However, I found truly loyal friends both old and new who helped me along my journey, and my one good sister has never wavered in her support for me.

Since returning to Singapore, with Lucy by my side, I have exhibited my art locally and overseas, engaged in autism research, conducted workshops and given talks on autism and art, mentored aspiring artists with disabilities, been interviewed and featured in various media, delivered a TEDx talk, and volunteered at disability-focused organisations.

(Slide 3 – Dawn-joy and Lucy Like-a-Charm speaking at TEDx 2018)

Gratitude and humility now lead me onwards, as I am nearer the end than the beginning of my journey. I suffered two losses this year. One of my very best friends passed away from cancer in late February. Two weeks later, in March, Lucy died, at the age of 14 human years. My promise to Lucy on her death bed, was to complete our Magnus Opus, the hardest work I’ve ever attempted, an autobiography in the form of a multi-art multi-access fantasia, entitled, “Wake Up in My Dreams”, in honour of Lucy’s legacy of Love and Truth.

(Slide 4 – Full frontal head shot, digital composite portrait of Dawn-joy and Lucy Like-a-Charm emerging from both sides of Dawn-joy’s face.)

Thank you for bearing with me, and congratulations once again! Lucy and I wish you all the very best that life can bring, and may your dreams come true in the strongest of ways, beyond even your own imagination.

SUSS Convocation 2023: Session 3 – Undergraduate Programmes (NSHD) – full video

(My speech – around 44:29)

Creating Clement Space: Collaborative Design for Accessible Inclusion

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Apologies for the late post. This is my latest article for the National Gallery Singapore, about creating Clement Space in public places – conducive environments for restoration and respite – that is accessible and inclusive. Please click on title that will link to the article on the NGS website.

Creating Clement Space: Collaborative Design for Accessible Inclusion

Lucy Like-a-Charm – Elemental Empathic Resonance.

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Author’s note:
This piece took me awhile to complete, because I have been struggling with the devastating aftermath of Lucy’s death on my mind, body and every part of my existence. I was invited some time ago to write a reflection for a blog-journal, but upon submitting it on 4th July 2023 at 14:22 Singapore time, I was told by the editor (in the UK) that they will push back my article to end July, because the editor was too busy with other things. Coincidentally, they have just published another piece expressing almost identical thoughts, though written in a completely different style, of course. I am fine with that. The more people asking the same questions, the louder our voices become.

I have therefore decided to put mine here, unedited, with date and time reflecting the exact moment my piece was submitted via cyber-waves into the Great Unknown. Whether or not the journal’s editor decides to publish it in the near future, when and with what edits they deem fit, is immaterial to me. The Artist respects the autonomous entity of The Work, which will forge onwards along its own inexorable path, free from the tyranny of control and manipulation at the hands of humans preoccupied by and with human-centric glorification and maniacal demands of human ego. After some deeper contemplation, I feel that The Work, in this embodiment, is telling me that it would like to be launched from this Clement Space, an interstice created for me, for us both, by Lucy, because it is in its very purest essence an intimate tribute to Lucy, and to her and only her, do I really owe anything at all. When the Artist frees The Work, the Artist shall also be emancipated. I love you so, Lucy Like-a-Charm, thank you for teaching me such profound sensing.

Content warning: suicide and death is discussed in this article.

Lucy Like-a-Charm – Elemental Empathic Resonance.

For ten years and eight months, I awoke and drifted off to sleep gazing into the eyes of the purest Beauty I have ever known, my heart brimming over with awe and gratitude that she was mine to have and hold: this amazing canine called Lucy Like-a-Charm, rescued from the cruel Greyhound racing industry in Australia.

Lucy entered my life on 11th July 2012 in Sydney, Australia, during the first year of my PhD candidacy at the University of New South Wales. I did not know then, but that moment marked the beginning of the very best years of my human existence.

I was unaware of my Autistic1 identity until my early forties, hence, I belong to the category frequently referred to as the “lost generation”.2 During my childhood, I was surrounded by pets — white mice, guinea pigs, rabbits, ducks, chickens, fish, and dogs. I loved the Dr. Doolittle stories by Hugh Lofting, which I read over and over again. Even though I knew these stories were fantasy, I was nevertheless convinced that non-human animals communicated in their own languages, and we humans could do so with them, if only we learned how. Back then, people just laughed at me, but today, more than fifty years later, animal communication has become a subject of extensive study and practice. At the age of five, I developed persistent painful, visible physical symptoms that confounded medical experts, so they said it was “psychosomatic”, and people accused me of deliberately making myself sick, as if I was gifted with such a super power! Medical science has since progressed a long way, and doctors now presume it is probably an autoimmune condition (still unconfirmed) under the broader category of vasculitis.

Looking back, I realise that most of my struggles were the consequence of society’s inflexible, prejudicial attitudes towards conflicting divergences. As if chronic illness were not challenging enough, navigating an alienating human social system with its sensorially assaultive built environments became increasingly perilous as I grew older and the politics of neurotypical human interactivity became more and more convoluted. Like many Autists in similar circumstances, I found solace in the non-human domain: spending time with my pets and other creatures, plants and trees in the garden; engrossed in my chemistry set; reading, creating art and music; and collecting favourite objects. Here, in this vibrant ecology of wonderment, instead of being a hindrance or anomaly, my Autistic heightened senses, attraction towards detail and minutiae, and fascination for rhythm, pattern and order found mellifluous reciprocity.

Humanity considers itself superior to the non-human, a perception I suspect is based on what we humans do not know, rather than what we know, about the non-human animals who share our earth, in close proximity and beyond. Between us, Lucy was the finer being by far. She carried me into a dimension of symbiosis far richer than any relationship I’ve ever had before — whether with my pets or the few good humans I know and love. She has never once failed me, but I, maladroit human, have failed her over and over again, each time being humbled by her forbearance and forgiveness. No human possesses that capacity and strength of heart and soul. Lucy understood my expressions many times better than I hers. She taught me our own secret language of exuberant joy, kaleidoscopic colour, thrilling exhilaration, quirky eccentricity and reverent wonderment. For more than a decade, I completely forgot what loneliness felt like.

Numerous studies reveal that suicidal thinking and suicide rates are disproportionately high among Autistic people.3 Lucy saved me from suicide in 2016, during an intensely traumatic incident just weeks before the deadline for submission of my dissertation. Pressing her front paws hard on me, she awoke me from my dissociative state to her presence.4 In that instance, a simple thought entered my mind: “What would happen to Lucy if I died?” From that moment, Lucy became my reason to live, compos mentis: I was determined to survive because of her. 

As my assistance dog, she challenged stereotypes and transcended entrenched norms. Very early on, Lucy began to perform ‘tasks’ which assistance dogs are specially trained to do from a young age. Lucy was a former racing dog, how could she know? Yet, she knew exactly what I needed for my specific sensory anxieties and lapses in executive functioning even before I was aware of them, and decided of her own accord to help me — demonstrating acute discernment and autonomous choice. Lucy’s behaviour in public also rivalled that of assistance dogs, even before we began official training for the role.

It is common practice that when an assistance dog retires from active duty, the human handler would acquire another, either keeping the old one as a pet or rehoming the dog to someone else. When it came time for Lucy’s retirement, I was asked to consider finding a successor. I, of course, declined, but this brought to the forefront pertinent issues that greatly disturbed me about the system currently in place. Giving Lucy away was out of the question, but I could not even bear the thought of leaving Lucy at home while I take another dog out. Ours was a profoundly intimate connection. How would Lucy feel?

I have since begun to ponder more deeply the non-human animal’s mental and emotional experience and needs, beyond food, shelter and healthcare, and the problematic ways in which we currently practice human and non-human animal relationships.

Lucy was (and remains) a dynamic creative influence on my professional work. The symbiotic nature of our relationship inspired my PhD dissertation about distinct Autistic elemental empathic resonance with non-human entities.5 Observing Lucy’s way of ‘sensing’ precipitated richer interpretations of Autistic sensory-cognitive experiences in my artistic practice. Lucy even helped me to design and choose the materials for Sonata in Z (2015),6 an immersive installation exploring sensory comfort from the Autistic paradigm. From this emerged one of my most popular research trajectories, Clement Space,7 about finding and establishing conducive space for respite and restoration.

In 2021, I presented a whimsical glimpse of our close attachment in a multidisciplinary experimental digital show, Scheherazade’s Sea: continuing journey,8 featuring a cast of professional and amateur artists with different disabilities.

With Lucy, I have thrived and flourished, experienced amazing adventures beyond my wildest imagination, and my work has appeared in print, online media, television, radio, conferences, arts festivals and museums in the USA, UK, Australia, Hong Kong, South Korea, Japan and Singapore. It is therefore a straightforward, unembellished truth to state that I owe my life and worldly achievements to Lucy.

When Lucy died in March this year (2023), I became engulfed by a crushing desolation that I had never known before, and I desperately wanted to follow after her. My entire world crumbled and I reverted to my old struggles with severe insomnia.9 Concurrently, a polyphony of medical conditions, extant and ‘new’, exploded with aggressive violence into the foreground. I do not believe in artists “suffering for art”, but in reality, my very existence has been marked by affliction, a confrontation that Lucy softened and alleviated. In fact, the healing that Lucy brought reached far back into my past. More than twenty years ago, I wrote and recorded some songs expressing existential questions and yearnings, but it wasn’t until I was softly singing and playing these songs to Lucy as she neared her mortal end, that I recognised in a concrete, palpable way how Lucy embodied the answers to all my questions, and she was the ultimate gift of perfect love that I had longed for since childhood.10  My greatest regret is that I had not more consciously apprehended this exquisite truth much earlier. I shall grieve for her to the end of my days.

Epitome of pulchritude, Valiant Princess, tender lover, creative muse, and my moral responsibility, Lucy revealed the infinite prospects of vivid, sonorous magnificence that lie beyond the human obsession for navel-gazing. Yet, I wonder, is it even possible for the limited human intellect and senses to attain such percipience — to discern the susurration of the universe? But I must leave these mysteries to researchers and thinkers of the future who, without a doubt, surpass my own capacity. I made a promise to Lucy on her death bed to live to tell our story, in honour of her legacy. My mission henceforth is thus to focus on completing our ‘memoir-fantasie’, a multimedia autobiography in the form of Fantasia, Wake Up in My Dreams, as a testament to the Love of My Life, Lucy Like-a-Charm.

Endnotes:

1. I use Identity First language – Autistic / Autist – in line with the preference of the majority of Autistic persons worldwide. The premise for this is explained in numerous articles available online. Autistic advocate, Lydia Brown, wrote the following explanatory article in 2011. Lydia Brown, “Identity First Language,” ASAN – Autistic Self Advocacy Network, webpage, accessed 27 June 2023. https://autisticadvocacy.org/about-asan/identity-first-language/

2. Johan Nyrenius, et al. “The ‘lost generation’ in adult psychiatry: psychiatric, neurodevelopmental and sociodemographic characteristics of psychiatric patients with autism unrecognised in childhood.” BJPsych open vol. 9,3 e89. 24 May. 2023, doi:10.1192/bjo.2023.13

3. D. Mandell, “Dying before their time: Addressing premature mortality among autistic people,” Autism, 22(3), (2018): 234–235. https://doi.org/10.1177/1362361318764742

4. An action commonly referred to as “grounding”, a kind of deep pressure intervention that not only provides comfort during distressing situations but also serves to redirect or reconnect persons in dissociative states.

5.  Dawn-joy Leong, “Scheherazade’s Sea: autism, parallel embodiment and elemental empathy,” PhD diss., (University of New South Wales, Australia, 2016), accessed 27 June 2023, https://dawnjoyleong.com/phd-dissertation-2016/

6.  Dawn-joy Leong, “Sonata in Z, 2015”, webpage, accessed 27 June 2023, https://dawnjoyleong.com/performances-exhibitions/sonata-in-z-2/

7.  Dawn-joy Leong, “Performances / Exhibitions”, webpage, accessed 29 June 2023, https://dawnjoyleong.com/performances-exhibitions/

8.  Dawn-joy Leong, “Scheherazade’s Sea 2021 – excerpt ‘Celestial Being’, Youtube video, accessed 3 July 2023, https://youtu.be/iKbekC82VtU ; “Scheherazade’s Sea 2021 – excerpt ‘Lucy Like-a-Charm’, Youtube video, accessed 3 July 2023, https://youtu.be/lNfKW0Y6YQk ; “Scheherazade’s Sea 2021 – excerpt ‘Happy Feet’, Youtube video, accessed 3 July 2023, https://youtu.be/PAIyeZJhZZ4 ; “Scheherazade’s Sea: continuing journey, 2021,” webpage, 2021, accessed 28 June 2023, https://dawnjoyleong.com/scheherazades-sea-continuing-journey-2021

9.  E. Halstead, E. Sullivan, Z. Zambelli, J.G.Ellis, & D. Dimitriou. “The treatment of sleep problems in autistic adults in the United Kingdom,” Autism, 25(8), (2021): 2412–2417. https://doi.org/10.1177/13623613211007226

10.  Dawn-joy Leong, “Lucy Like-a-Charm – embodiment of love and grace,” Soundcloud audio playlist, 9 tracks, accessed 30 June 2023, https://soundcloud.com/dawn-joy-leong/sets/lucy-like-a-charm-embodiment

Scheherazade of the Sea – ART:DIS+SWF

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I always enjoy working with veteran director and theatre maestro Peter Sau, probably the only director in Singapore that I love working with, because he understands my artistic/creative foci and my needs arising from my disabilities.

Here’s a video clip of my performance at the Singapore Writers Festival 2022 presented by ART:DIS, directed by Peter Sau. Small bits of it have been edited out, but it’s mostly intact. Watch it on ART:DIS’ Instagram page. The beautiful soundscape is by the talented Niran Jierapipatanakul, intern at ART:DIS.

For those Deaf/deaf and hard of hearing, or those unable to make out the spoken word because of the echo in the soundtrack, here is the script. For the blind/visually impaired, the sharp sounds you hear intermittently are made by my placards of key words falling to the ground.

“Scheherazade’s Sea” is the main title of my series of autobiographical multisensory, transdisciplinary work. Scheherazade, the charming storyteller in the Arabian Nights fairytale, symbolises for me the Autistic woman in many ways: a young woman, betrayed and abandoned by her own father, handed over to an evil, violent monarch. Alone in a perilous situation, she must improvise, pretend, perform, weave compelling stories and tread carefully between reality and fantasy. Her life depends on it.

A similar conundrum faces the Autistic woman. Women throughout history have been exploited and subjugated. Autism is largely male dominated, Autistic women are a minority within a minority.

How may she survive intact, without parts of her integrity and selfhood being erased or broken? How much of myself is “I” and “me”?

I describe my struggle in this way: “Performing the unnatural as naturally as possible.”

Is it even possible, now, to separate “I” and “me”? Am I really Me? What if “I” is not “Me”? What if there is no more “I” or “Me”? 

Perhaps now, after 57 years, there is just “her”?
Scheherazade moves onward, inside her vast Sea. Regardless.

(A resonant, dark soundscape begins.)

Who am I?

I am…

Amazing.

Mundane.

Modest.

Haughty.

Compliant.

Naughty.

Generous.

Selfish.

Talented.

Inept.

Withdrawn.

Confident.

Enabled.

Disabled.

I am

Perpetually,

Consistently,

Instinctively,

Performing the unnatural

As naturally as possible.

But am I me?

And what,

Or who is 

A “me”,

Anyway?

This me…

Sucked into

Your orbit

Of deceit:

Tiny child,

Defenceless,

Gullible,

Trusting.

You said

You loved me.

You said

You’d take care of me.

And I believed you,

As you robbed

Of half a lifetime,

Both I and Me –

Manipulated,

Made your servant.

Trapped inside

Lavish, opulent

Golden Cage!

You the Mistress,

I subaltern.

Resplendent brilliance,

Fragile, broken body.

Hapless dichotomy,

Yearning to Become,

Mourning the loss

Of one

Called, “Me”,

A person I did not even know.

A soul longing to be free.

And then,

Staring into roaring Abyss,

Life and death

Called to me.

Choosing death

In order to live…

I caught a glimpse,

A fleeting vision,

Of Me.

“Run!” I whispered.

“Flee!” cried Me.

And so, I and Me together,

We did.

As far and fast

As we possibly could,

As you pursued.

Hell hath no fury…

Heaven hath no peace…

Now, you want to destroy me, because I dared to leave you?

I am Bunnyblu – naive child.

I am Little Duckling – innocence betrayed.

I am Mermaid – hungering, thirsting.

I am the Seer – watching, waiting.

I and Me, we are

Scheherazade of the Sea:

“Slave to no master,
Owned by none!”

I am Nothing, Nobody –

Yet Everyone lives in Me!

International Women’s Day 2022 – Interview

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I do apologise for not keeping up with this website. I think I need to ask for help here. But I’ll do things cautious autistic style. In the meantime, here is the latest article to emerge on yours truly.

Thank you, True Colors Festival, for making this interview so enjoyable for me, and it’s so encouraging to see my country finally beginning to embrace neurodiversity respectfully. Baby steps still, but everything has to have a humble beginning.

Women at work: Dr Dawn-Joy Leong

(Please click on title or photo to link to the article in the True Colors Festival VOICE blog page. Thank you!)

Scheherazade’s Sea: continuing journey, 2021

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Scheherazade’s Sea: continuing journey, 2021, was a year in the making. It was yet again another groundbreaking work on several levels. Personally, I have always presented my “Scheherazade’s Sea” series as a solo artist – creator and performer. This rendition unpacks the continuing adventures of Scheherazade with a brand new approach: Scheherazade was played by the beautiful and talented singer, performer Claire Teo, and joining the team were two other artists, Timothy Lee and Ariel Koh. This made Scheherazade’s Sea: continuing journey, 2021, not only disabled-led (conceptualised, executed and co-directed by me) but also a work featuring a cast of differently disabled artists at various stages of their artistic journeys.

Freelance artists around the world struggle to make ends meet. In Singapore, where the arts is even less valued by society, this struggle can sometimes be very fierce. For freelance disabled artists wanting to turn professional, and departing from the charity models, the scenario is bleak. But artists always hold on to hope, keeping our dreams alive even if by a thin thread. Since Scheherazade first appeared in 2010, my personal and professional journey has been an amazing one, at times tumultuous, but always incredibly thrilling and never boring. It is a story of survival against the odds and unexpected achievements – all of which I owe to my party of valiant human supporters and to Lucy Like-a-Charm. Upon returning to Singapore, I decided that this part of my life’s journey will be one that is actively “paying it forward” for as long as I can create art.

Scheherazade’s Sea 2021, is about newness – finding new friends and loyal supporters, and being gifted the honour and blessing of Clement Space in the form of a differently embodied creature named Lucy Like-a-Charm. In honour of all the people who have supported me so generously in a plethora of ways, I am now using Scheherazade’s Sea to provide practical spaces for other disabled artists in Singapore mentorship and learning experiences they may not otherwise have access to without the benefit of an overseas education. Beyond the narrative and multi-dimensional aspects of the work itself, my intentions were for this work to be a true-to-live yet safe space for professional training and experience for the cast, wherever they may be along their own paths. I can only do this, of course, with continued support from my faithful friends, my younger sister Althea, and my confrère Peter Sau, who began my Singapore journey for me. I was inspired by Peter’s vigour and spirit in his seminal work “Project Tandem” and his role in “The Singapore ‘d’ Monologues,” and am thankful for our serendipitous meeting – because, being autistic, I have no idea how to network like neurotypical people do and so every angel in my life is to me truly a gift of providence. Thank you, Peter!

Scheherazade’s Sea 2021 is also a practice-based research into navigating the realm of the so-called ‘invisible disability’ as well as un-noticed vulnerability, and forging new strategies to artistic practice that provides access in ways that are unavailable in traditional approaches and methods. I am currently working on the final report and will share my findings soon.

A note on why I continue to make this work freely accessible to all, despite having been told to keep away from the public eye in order to pitch it to various festivals and events in Singapore and overseas. When I created Scheherazade’s Sea, way back in 2010, I meant it to be a richly textured work that everyone and anyone could easily partake of, without exclusions or arbitrary boundaries to separate people. That intent still prevails today, and even if it means no festival or big event would now want to feature this work, it is ok. The latter will be a feather in my cap and that of all the cast and crew, most definitely, but I prefer still to stay true to my raison d’être as illustrated here by a picture of Lucy Like-a-Charm, black greyhound wearing a turquoise collar with bright red silk flower, in down position, half her body visible, long slim legs, paws outstretched and facing left, against a textured ‘furry’ beige background, and cursive text in black reading:

“It is not my purpose to ‘fix’ what is ‘broken’ but to empower beauty
in the vulnerable and unnoticed.”
©Dawn-joy Leong 2010

I hope you enjoy the video and if you are a curator, we would, of course, love the opportunity to be featured in your festival or curated collective show if you understand my decision to make this video publicly available.

If you’d like to read my opening speech at the online premiere, please click on this link.

Asia Performing Arts Exchange Project

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Singaporean artist/director/producer/performing arts mentor and my collaborator for the last couple of years, Peter Sau, talks about disabled leadership in the Asia Performing Arts Exchange Project. Thank you, Peter. An honour and joy to work with you. You push for excellence and hard work, but you always work hard with heart! Just the way I like it!

some takeaways from Peter…

Can we stop talking about them, stop talking for them, and start to talk with them?

I’m just not yet disabled. (Commenting about age-ing and becoming disabled in old age.)

Why can’t we start to talk with people who know more than us?
We need a co-creation space to make something new which will surprise us, which will teach us something which we cannot teach ourselves.

Accessibility works both ways.

We need something new, refreshing.
We should be thinking about more time, more approaches, more people to come into the picture so that we can co-learn together and let go of what we know.
Letting go of what we know in order to learn new things.
Inclusion is for everyone – disabled artists include the non-disabled and reciprocal learning takes place.

and more vignettes from Peter in the Q&A…

When I first started working with disabled artists, I paid for every single transport for wheelchair users, I paid for a sign language interpreter, I paid the allowance for them to start to respect their art… everything from my savings.

We are the biggest sponsor of our own art. Because we love it, we want it.

We could be bankers, lawyers, medical doctors…

Why are we so stubborn? It’s because we are artists.

We can’t change our ‘DNA’ so what can we do about it?

I taught myself… quiet or go on.

Sponsor or find a sponsor.

Convert people to believe and believe, keep on talking, talk until we go to our grave… keep talking about it until it happens before you die…

It’s a bonus to say “I saw it happen”…

I believe I am just one small part of this ecosystem. I’m so bored with mainstream arts, it taught me nothing.

I am an actor, producer, director, for twenty years, I am so jaded and disappointed with what is out there… especially now with COVID19… it is hurting our mainstream artists already, how about our disabled artists?

We can’t do anything about it except to keep believing. For myself, I train them… up-skilling, second skills… when times are good again … when people / government can see that we are sponsoring ourselves, our lives, they would want to give something… to match up…

it takes a systemic change…

it is going to take a long time, there is no easy short cut…

… talking to (aspiring artists) in a classroom, to parents of disabled children to believe in them, to my boss, to my arts council… to friends from the mainstream… I keep on talking… it’s tiring but I want to do it.

It will have to come from us, and then hopefully the whole world would come on board.

Illumination

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Here is such an exquisite review by my friend, Autistic artist, Sonia Boué, of the beautiful film by Project Artworks, “Illuminating The Wilderness.”

Sonia has an amazing way with words. It doesn’t need to be a lengthy piece, in fact, her words are so lithe and fluid, yet exquisitely penetrating and precise, that I am left catching my breath at the sharp, deft unlocking of a wealth of unspoken, unworded meaning. And, in an uncanny way, each and every time I am incapable of bringing into the tangible realm what I wish to express, somehow, Sonia’s words will give strong yet delicate voice to the rhythmic humming resonating in my being.

“How rare it is to see people with complex needs just being. Humming is natural, and nothing is dressed-up; this isn’t ‘special needs’ for consumption. There’s no attempt to exoticise or glamorise our being. The camera captures ordinary moments valuing autistic language and expression on our terms.”

This is exactly what first hit me right there at my core, when I first watched the film. It unpacks our meanings, our world, on our terms.

Actually, I watched it three times, each time catching different details and sensory echoes. In fact, I’ve also run it over and over again in the background, allowing different aspects of it to weave in and out of my consciousness, meandering and winding around caverns of sensory subconscious as I engage in different light tasks. I love the clattering sounds, the staccato, the ripples, the appoggiatura and trills, the sudden drop in levels, the pitter patter of rain like crisps dancing inside a foil coated box…

And then, Sonia says this:

“It suddenly strikes me that this film feels like home to me because this is where I began. There’s a circularity in writing this piece for Project Art Works, which underlines its immense importance as an artwork. As a young art therapist, I was employed in a residential setting for adults with complex needs; not knowing that I was myself autistic until very many years later. Since then, I’ve come to recognise aspects of myself in those with more complex needs than my own, but as a younger person I had no way of understanding why I was so drawn to this world. Years of my life have been wasted and lost.”

Wasted and lost! Wasted AND lost! WASTED and lost! Wasted and LOST! These words sound like bells, whose echoes and reverberations fill my chest cavity, pounding against my rib cage. I think of the bells inside Magdelen College Tower on the first of May.

Everything is there, embedded in Sonia’s three words. This world that is so simply presented in the film, a realm so full, so abundant with wonderment.

When I first read Searle’s review, pronouncing it “problematic” without any further explanation, a searing hot rage shot through my core. I was shaking with fury, yet hurt, it brought back horrific wound trauma, I know that kind of dismissal too well, flicking away the rich tapestry of my multi-textured world like crumbs off a table, that neuronormative gesture of disdain so ponderous, so callous, so crude in its garish ignorance.

But then, after the film had played umpteen times like a comforting echo in my senses, I now feel sad. Sad for Searle and those like him, who are unable to access and luxuriate in our world, who stand outside and sweep at crumbs on neuronormative cafe tables, never noticing the flow, the undulating rhythm, the shuddering patterns, and the tiny clicking, chirping sounds the specks make as they fall, fall, fall to the groaning, giggling ground. A tragedy, to me, not to be able to resonate with the richness that is our multidimensional universe. This is the true loss. Yet, do they know of this loss?

Sonia’s words again, in her other article responding to Searle’s review:

“This film speaks to me in my language. This is mysensory world. For me, Illuminating the Wilderness is a rare and beautiful thing, and I feel sorry for those who can’t see it. Our immersive connection to the sensory world can feel vast and expansive – it is beyond words. This is supremely exciting to us, and joyfully fulfilling. It’s why we don’t need to people so much – we have this!”

Yes, we do indeed, and what a wonderful world it is!

Scheherazade’s Sea: stories and songs from a hidden world.

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Scheherazade’s Sea: stories & songs from a hidden world. 2020.

Dear Friends, here is my most recent work. A fully digitalised re-arrangement of the original Scheherazade’s Sea, 2010.

Welcome to “Scheherazade’s Sea: stories and songs from a hidden world.”

In the next twenty minutes or so, through video, stories, poetry and songs, you will see, hear and experience tiny reflections from my Autistic world.

The title is inspired by Scheherazade in the ‘Arabian Nights’ folk tales, whose stories to the wicked Sultan helped her survive and saved her life.

My Scheherazade is an Autistic girl, journeying alone through an unkind world, where she encounters confusing twists and turns of lies, betrayal and disappointment. When at last, she begins to embrace and love her unique Autistic self with courage and determination, Scheherazade discovers that her Autistic world, Scheherazade’s Sea, while misunderstood by others, is actually a beautiful one, full of wonderment and hope, a deep and wide ocean alive with infinite possibilities. It is then, that she finds strength within to continue along her journey, bravely embracing her unique Autistic Joy.

“Scheherazade’s Sea: stories and songs from a hidden world” is fully digitalised and revised from its original version, which was performed in Hong Kong in 2010, and The World Stage Design Festival in Cardiff, U.K. in 2013.

Sound engineering by Karen Low (Singapore)
Portrait of Scheherazade by Kateryna Fury (USA)
Little Duckling narrated by Sumita Majumdar (UK)

Supported by the National Arts Council Singapore & SG Culture Anywhere.

Clement Space at Suwon

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Launched yesterday, “Clement Space @Suwon, 2020” and “An Olfactory Map of Sydney, 2017” is part of a show at the Suwon Art Museum, South Korea. (00:40 – 01:00)

Thank you to Jinseon and everyone in the team who sought me out and connected with me, I’ve had a wonderful working experience with you. Everyone is so kind and polite, a lot for me to learn!

Here is the Korean write up, for those who know the language:

#그것은_무엇을_밝히나#전시#개막 . 수원시립미술관은 아트스페이스 광교에서 9월 22일(화)부터 12월 27일(일)까지 기획전 ≪그것은 무엇을 밝히나≫를 개최합니다. . 이번 전시는 이 세상을 밝히는 근본적인 요소인 ‘빛’에 관한 이야기입니다. . 전시 제목에서 알 수 있듯, 빛을 의미하는 ‘그것은’ 시간의 흐름에 따라 시대와 사회가 공유하는 ‘무엇을’ 어떤 시각과 입장으로 어떻게 ‘밝히나’의 이야기를 담고 있습니다. . ‘1부 : 시공간을 확장하는 빛’에서는 ‘빛’과 시간 공간이 결합하여 나오는 여러 가지 경험들에 관한 탐구와 관점을, . ‘2부 : 사유의 매개로서 빛’에서는 빛에 대한 우리의 시선을 가시적인 세계 너머로 이끌며, . ‘3부 : 공동체 메시지를 전하는 빛’에서는 각각의 고민을 통하여 개인적 상징인 작은 불빛을 이용해 사회적인 현실을 담아냈습니다. . 각 섹션을 통하여 7개국 10명의 작가들이 제안하는 다층적인 빛을 아트스페이스 광교에서 만나볼 수 있습니다. . 현재 수원시립미술관은 현재 수도권 지역 사회적 거리두기 2단계 조치로 코로나19 확산 예방 및 관람객 안전을 위해 상황 진정 시까지 휴관 중이니 온라인으로 ≪그것은 무엇을 밝히나≫ 전시를 만나보세요. .

📌 ≪그것은 무엇을 밝히나≫ 전시일정 📌 . 📅 기간 : 2020. 09. 22(화) – 2020. 12. 27(일)
🏢 장소 : 아트스페이스 광교(수원컨벤션센터 B1)
🎨 참여작가 : #던_조이_렁 (Dawn_joy_Leong) #박기원#박여주#영타_창 (Yung_Ta_Chang) #우종덕#이안_번즈 (Ian_Burns) #마르타_아티엔자 (Martha_Atienza) #정정엽#피터_무어 (Peter_Moore) #FX_하르소노 (FX_Harsono) . . #수원시립미술관#아트스페이스광교#그것은무엇을밝히나#그것은#무엇을#밝히나

#TURN_YOUR_LIGHTS_ON#Dawn_joy_Leong#Yung_Ta_Chang#Ian_Burns#Martha_Atienza#Peter_Moore#FX_Harsono