Embracing Neurodiversity: Unlocking the Creative Potential of Performing Arts

In the performing arts sector, the divide between the extremes of diva antics and legitimate self-advocacy often sets a low bar for accessibility standards, particularly for neurodiverse artists. While the industry is magnetic to those with unique perspectives and self-expression, it can be hostile to the sensitivities that artists, especially neurodiverse individuals, consider a matter of urgency rather than mere preference. As awareness of neurodevelopmental conditions like autism and ADHD grows, it's time to reconsider the conventions of performance practice and create a more inclusive environment where excellence is not a matter of exclusivity.

Empowering Neurodiverse Voices in the Performing Arts

Identifying and Addressing Unique Needs

Conversations with neurodiverse performers, including musicians Evelyn Ida Morris and Nat Bartsch, and theatre-maker and advocacy consultant Tom Middleditch, reveal key themes around collective benefit, de-institutionalizing ableist standards of value, and the challenges of advocating for invisible disabilities. The two most critical aspects to address are helping performing artists identify and understand their needs, and fostering a culture within the industry where individuals of all levels of creative success and access requirements can confidently raise their needs and expect a proportionate response.Evelyn Ida Morris, a multi-instrumentalist, emphasizes burnout as a key challenge stemming from unmet needs. Their autism diagnosis has provided new perspective, allowing them to recognize situations where they had previously felt "too demanding" were, in fact, instances of being "constantly on the edge of meltdown." Morris acknowledges that being unaware of their challenges initially had some benefits, as "if I had started out as a disabled artist, it would have been a lot harder."Nat Bartsch, a pianist and composer, echoes this sentiment, sharing that her autism and ADHD diagnoses came after she had already begun building her career. "None of those neurodiverse needs were met, because I didn't know I had them," she says, leading to burnout and self-doubt. However, with greater awareness of her sensory and cognitive needs, along with access to support, Bartsch feels better equipped to manage the demands of life as a performer.

Navigating Conflicting Needs and Expectations

The inherent tension between conflicting interests becomes an obvious barrier, as Morris points out, "Our needs are so different that they're often contradictory." On one hand, predictability is identified as a core requirement for a strong performance, with Bartsch expressing a desire for a "sense of familiarity with the experience before it happens." On the other hand, flexibility, particularly in relation to time, is also highly valued, as it intersects with challenges around self-regulation, time-blindness, and focus.Bartsch's experience exemplifies the challenges of a work environment characterized by chaos, where "you're constantly adjusting to so many new conditions." She highlights how the cognitive load this demands can be debilitating for neurodiverse individuals, acknowledging the neurotypical perception that "it's really hard to understand why another person can't make that pivot."To address these issues, Bartsch proposes "flexibility in terms of the level of engagement you have" for days when symptoms are flaring, such as through the use of double bills where performers can share the load. "For neurodiverse folks who have performance anxiety, so much of it stems from not having these needs met," she says.

Redefining Excellence and Embracing Accessibility

Middleditch argues that to effectively address these issues and make a compelling case for their value to the wider community, a shift in mindset is required. He is critical of the current system of "exceptionalism" and "virtue policing," where the artistic practice of disabled artists is often valued against a different metric, emphasizing the "miraculous" nature of their talent despite profound challenges.Middleditch emphasizes the need for a diversity of what is considered "excellent" and a decentralization of the idea of excellence as the only valuable feedback a piece of art can have. "The principles of universal design are such that anything that is considered and targeted for a particular community can eventually be used by everyone," he says.Morris echoes the need for greater support, urging us to consider the impact this could have, so that "people who are less financially stable would be able to consider contributing their voice more." Middleditch is hopeful that if large organizations can "lead the way in seeing to the access needs of patrons, workers and artists, those with more difficult needs will start to believe that they have an opportunity to be included as well and thus the circle widens."

Embracing the Universality of Human Experience

Bartsch describes the universal nature of human experience, noting that we all understand states of dysregulation, but for neurodiverse individuals, "those needs might be greater or more urgent." She illustrates this through the self-regulatory nature of "stimming," a behavior seen in many neurodiverse people, which is akin to the common habits we all have, like playing with our hair or biting our nails when nervous.While acknowledging the sense of urgency as a key difference for neurodiverse people, Bartsch suggests that all people would benefit from greater accommodation and accessibility. By embracing the creative potency of embracing the challenges of accessibility needs, the performing arts sector can unlock new avenues for artistic exploration and inclusion, ultimately enriching the creative landscape for all.