Scheherazade of the Sea – ART:DIS+SWF

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…















I am




Performing the unnatural

As naturally as possible.

But am I me?

And what,

Or who is 

A “me”,


This me…

Sucked into

Your orbit

Of deceit:

Tiny child,




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 –


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!

something about home and inclusion

This comes one year and six months late. So much has happened since, so many adventures. But delay and slow churning is part of how my Autistic brain works – every little detail is taken in and slowly teased apart, and this is why I need a lot of time to ponder the great many threads and trajectories and to ‘grow’ these tendrils in my mind, nurturing them into larger conjoined structures.

I’ve been revisiting some events and work that I’ve done in recent years and thinking about issues of access yet again. One show that marked a very strong and visible stride into opening up the meaning of ‘inclusion’ in practice was “Something About Home“.

“Something About Home” premiered on 11 January 2020. Singapore’s first promenade theatre performed by a cast of all disabled artists. Conceptualised and directed by theatre maestro Peter Sau, the work was commissioned by the National Gallery Singapore.

There are many things I have to unpack about my experience in this work – I even played two different roles – but I’d like to only focus on just one: inclusion. What does ‘access and inclusion’ look like? To be honest, there is not a single framework cast in stone, and most interpret and improvise as they see fit, or as it fits in with their personal, organisational or commercial agendas. This is my own professional and personal opinion and perception of how I’d like access and inclusion to look like, at a very basic level at least. I am still learning, and my views may change as my understanding and experiences develop.

Sensorially, rehearsal and team sessions were excruciating. My senses scream whenever I am locked inside the vortex of human bodies, moving around, talking at once, human smells – some really pretty confronting, including that of ammonia especially after everyone has had really long days – odours emanating from the carpet, echoes and reverberations bouncing here, there, everywhere in a horrific cacophony, and to top it all, I have to muster the inner energy required for my role. Theatre is a jumble of bodies, I get that, which is the reason I never aspired to become an actress in a professional sense. I’m acting enough, as it is, being Autistic and female, my own favourite quote I coined, “performing the unnatural as naturally as possible.” Yet, when it all comes together, it is immensely satisfying.

What kept me going throughout the intensely challenging rehearsals was the director’s dedication, going as far as he possibly could go to practise access and inclusion, and a keen, meticulous eye for detail. The entire team were united under this strong ethic, and of course, his skilful leadership. To be frank, I’m not really a rebel for the sake of rebellion. I am actually extremely compliant, but only if the leader can show me good reason for my compliance. I’m lucky to have worked with a few such leaders, and Peter has now been added to this list of honour.

What does access and inclusion look like to me, a person with multiple disabilities, then?

Most entities – especially enterprises that need to meet the bottom line financially – are focused on how to pay the artists the least possible for the best possible result. I have done work for some for a pittance or even nothing, because I liked what they were doing for the community at large, fully aware of this bottom line, and I have rejected some others that I felt crossed the line into exploitation and bullying. It is understandable, of course, oppression and capitalisation is really how most industries operate, and the arts industry is no different. However, working with Peter Sau in Something About Home was different. I discovered that we share a similar work ethic where it comes to others we work with and leadership. Professionalism. Transparency. Honesty. And making all effort to offer the highest possible remuneration for the highest possible result. Of course, we demand high quality work, and we also do our best to budget for commensurate payment. This is, to me, the fundamental spirit of access and inclusion when working with disabled artists. Every artist is paid. If the artist does not deliver then the artist does get the role or position. Simple. Professionalism is not charity.

Well, if you’re curious now about my fee, since I am the only artist in the cast with international experience. Well, I was not paid more than the others even though I played two separate roles. I was paid the same as every performer, but that was my own decision, when Peter discussed this issue with me. I chose, it was my gesture of solidarity and support for a common goal, a common ethic, because I trust the director and I believed in the work we were embarking on as a team.

To the enterprises that I have turned down, to the ones that I have given quite a sharp piece of my mind about decent payment as a mark of respect, I meant it. I have also said very often that the choice should be mine alone, whether to forfeit payment, to give back some of my fee to a good cause etc., or not. Non-payment, pitiful ‘honorariums’ and worthless ‘exposure’ should never be a presumption on the part of the enterprise or whoever invites me to work with or for them. Payment for work done is a universal principle, but ever more important when wheeling and dealing in the Arts and Disabilities. Do arts practitioners in this field even know the facts of life for any disabled person? That it costs more to simply stay alive at all?

Think about visible costs like wheelchairs, transportation, equipment and aids, assistance animals etc. Then there are hidden costs like medical bills from visits to the doctors and specialists – yes how often does a ‘normal’ healthy person have to see a specialist? Well, some of us with medical disabilities are in and out of specialist clinics on a regular basis. Then there are other add on costs like medication – again, some of us need specific and costly drug interventions just so we can function even at the most fundamental level. Healthcare is not cheap in Singapore. How about special diets and allergies? Throw that in the mix too. And finally, the most overlooked, ignored and misunderstood of all, sensory accommodations. These are complex and subtle, too often overloaded, suppressed and repressed. The costs are high, if sensory needs are to be supported.

Being disabled is extremely expensive, though the actual costs vary according to the individual and the type of disability. That is why I fight for decent, respectful remuneration, not only for myself, but for all others like me, who are unable to speak up loud and proud on this subject. The ones who have to agree to exploitation because they simply cannot afford to speak up and bear the ugly societal consequences of not getting any payment or job at all, miserable or dire as they may be. Something is better than nothing. Yes, I’ve been at those crossroads too, but I’m fortunate enough to have had ample support that helped me survive the times I’ve turned tokenism and exploitation down plus daring to lecture them in my by-now-infamous inimitable way. This was put hilariously in a neat little nutshell by a well-known non-autistic public figure and vigorous campaigner for autism and autistic persons.

“That Dr. Dawn, she just says whatever is in her mind and the whole world gets to hear it, no filters at all!”

Yes, I admit, that is me. I’m not ashamed of it, by the way, so I did chuckle a bit when I heard through the grapevine that this was being said about me, in Autism circles, of all things. Don’t they know it’s a proud intrinsic Autistic trait? How many autistic people / disabled persons are in privileged positions such that they can and do call people to task and expose the profiteering and bullying that is going on in the ‘charitable’ or ‘social enterprise’ sector?

Access and inclusion, to me, starts with giving disabled persons access to equity, respect and justice, and including disabled persons in ways that empower equity, respect and justice. Disabled artists have the right to access proper training, mentoring and opportunities to grow, we also need to be paid accordingly. What is most important to access and inclusion is not the fanciful waffling and teary-eyed videos with nice music and voice overs about how wonderful society is to include the disabled, nor is it the awkward ‘celebration’ of ‘achievements’ of disabled people having ‘overcome’ disability to become someone worthy of society’s admiration. Instead, it is what is crucial to our survival: fair payment.

Remember, I reiterate, we have higher bills to pay just to stay alive, but yet we are paid far less than everyone else, if at all. We merely want to be paid decently and fairly. Disabled people are so used to injustice that when we are given due justice, we greatly appreciate it. We are even encouraged by it, that perhaps we could do better the next time around, since we are valued enough.

A crucially important approach taken by the director, Peter Sau, is to factor in access costs from the very beginning, detailed and well planned, according to each individual’s needs. Not as an afterthought. I have had more than my share of encounters with entities who have invited me to speak at their ‘inclusion’ events but offered neither fair payment nor access costs. When asked, they have the gall to tell me that they never factored any of this into their budget. “No budget”. No budget for fair access and true inclusion? No budget for the disabled? What is your ‘disability event’ for then? These are questions I have in mind when scrutinising invitations to collaborate. One of the most insulting conversations I have had was with people who offered me – as a last option – transport money for me and my dog – and then turned around and lectured me about how ‘senior’ artists should give freely to aspiring young students to inspire them to become artists. What a twisted preposterous line of reasoning. Especially where it comes to disabled ‘senior’ artists. First, how ‘inspired’ do you think young emerging artists or students hoping to enter the arts world would be when they find out that ‘senior’ artists – disabled ‘senior’ artists at that – are expected to work for free?

Returning home to Singapore has been full of interesting adventures to be sure.

On the other hand, my experience with this production, Something About Home, has been all positive, even the sensory challenges I faced and my own mistaken lack of self-advocacy for my personal access needs, because this experience provided me with more questions to ponder and ideas to study. For example, I began to think about how I may improve the space and methodology to better suit my own functioning needs and that of others, especially in the area of the unseen senses. From here, emerged the access and inclusivity strategy that I experimented with in my own work, Scheherazade’s Sea: continuing journey, 2021.

Lastly, here is the Director’s Interview made by the National Gallery Singapore. It was Peter’s idea to include us in this interview. What better witness of access and inclusion than bringing in members of the team to speak as respected equals? This director has grasped the meaning well. This is the kind of ‘exposure’ disabled artists need and appreciate. Not the exploitation freebies and candy floss. I hope you enjoy the short video as much as we have enjoyed the entire process.

That this took place in my homeland is of great significance to me. It’s given me hope. There is indeed something about home and inclusion that we need to improve upon and at the same time much to celebrate about.

Thank you, Peter Sau, and the amazing National Gallery Singapore, for this opportunity to experience true access and inclusion!

Scheherazade’s Sea: continuing journey, 2021

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.

Something About Home

Promenade Theatre Performance: Something About Home,
conceptualised & directed by Peter Sau, in collaboration with 6 pan-disabled artists,
commissioned by the National Gallery Singapore.

Something About Home“, a commission by the National Gallery Singapore as part of the Light to Night Festival 2020, features members of the Disabled Artists’ Collective in a groundbreaking professional performance by a cast of artists with different disabilities. Directed and conceptualised by theatre maestro, Peter Sau, “Something About Home” vehemently rejects the common exploitation of the disability narrative, pushes past the current trend of trite and contrived tokenism, and – in a determined collective effort – sets the bar higher for professionalism in the local Arts & Disability arena.

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