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.