Tag: inclusive practices
Human rights, equality, diversity, inclusion and justice, through art, the arts and creativity. And art is a human right, as Bob and Roberta Smith states. So is the freedom of movement- of the body and the mind, to be a free thinker, trespassing borders/boundaries/silos ideological, disciplinary, geopolitical, cultural and more. Hence the Hyperactive Octopussy, who is insistently tentacular, and intellectually promiscuous, with no fixed abode, who can’t be fixed, and who gets her fix by seeking risks and novelty. Neurodiversity – one that is genuinely diverse and not as white/privileged/autism-centric as it frustratingly remains – would be important in a just, biodiverse, inclusive and creative ecosystem (Tan and Northey 2020).
Instead of OBE/MBE/CBE, we’ll have NDE (NeuroDiversity medal of Excellence). Universities will finally stop failing or boring people, offering interdisciplinary MASc and PhDs. ‘Neurodiversity’ will also become truly diversified. We’ll then run around with tentacles on our heads. New performance-lecture at Royal Society of Arts attended by 130 people.
Celebrate the Extraordinary (2015) was a practice-led investigation that outlines an inclusive approach to artistic collaboration. It centred on the £4 million opening and closing ceremonies of 8th ASEAN Para Games in 2015, commissioned by the Singapore government.
05/2020: Get in touch to help me learn and do better as a woman, teacher, artist, and human being.
This is a new performance-lecture created in June 2020. It will premiere on 7 July 2020 at Manchester School of Art. It was developed from a talk I gave at Live Art Developmental Agency Summer 2019, by invitation by ‘allies’.
Since 2019, I have been thinking about ‘Artful Leadership’: thinking, making, organising and being in ways that are artful, agile and atypical. This is about leading within, as well as beyond the arts/cultural realms, by which I refer to being embedded within the socio-political structures, to effect cultural, social and systemic change.
As we move from the immediate crisis towards new ones, we need atypical thinkers, agile doers and creative problem-solvers who thrive in unknowns. A call for a more inclusive and creative socio-political ecosystem.
It’s not business as usual anymore. Instead, it’s time to lead, creatively. Redacted sketch of how I envisage a new creative arts leadership MA/MFA programme, which proposes ‘creative arts leadership’ as an interdisciplinary creative research and practice paradigm is curated through an art school ethos, and situated as extension of art intervention, social practice, seeking to catalyse and make change, in an Industry 4.0 and VUCA (volatile, uncertain, complex, ambiguous) contexts.
I am (co-)founder, (co-)leader, trustee, consultant, co-leader or member of 20 national and international networks and organisations in research, arts, health, and human rights.
Seeking collaborators/sponsors: I aim to curate a residency-cum-collaboration programme that will lead to an exhibition asking, ‘What Could A Neurodiversity-led 2050 Look Like?’ I want to matchmake unlikely pairs of neurodiverse artists and designers with scientists and technologists, and choreograph ways for them to work collaboratively towards the co-creation of new pilots and prototypes of apps, objects or experiences.
Productive antagonisms is an interdisciplinary mode of knowledge exchange and production (Latham and Tan 2016). Itself an artful juxtaposition of concepts and practices and co-created by an artist and a geographer, I have since extended the concept into a mode of learning and teaching, although it has come from prior framings such as ISLANDHOPPING (2002-2005).
Here are two films by two extraordinary award-winning filmmakers: Kleopatra Korai (NY/Greece) and Bertrand Lee (Singapore), commissioned for the opening and closing ceremonies of the 5th ASEAN Para…
Is there too much, or not enough ‘neurodiversity’ in art & academia in the UK? Premiered at Birkbeck, Arts Week May 2019.
Disability Arts Online 2018 article. One of its top 10 editorial pieces, later presented as a performance-lecture at the Science Museum.