Our Mythical Childhood - Introducing the Roehampton wing of the ERC Project

Previously on this blog I've included details of events I'm involved in that bear in some way on autism/classical mythology. I'm currently getting quite a buzz out of organising another such event. I mentioned it in my previous posting last week: it's an event to introduce the work being done at Roehampton for the Our Mythical Childhood project - including my work on autism. Here's the text of the notice I've put out.

Booking is open here.

Over the next 5 years, the University of Roehampton will be part of an international project, funded by the European Research Council, to develop a pioneering approach to the role of classics as a transformation marker in children's and Young Adult contemporary culture. This event, held during the 2017 ERC Week, will introduce the Roehampton wing of the project. It will include presentations from the following academics who will introduce how their work is unfolding:

Susan Deacy - autism and classical myth

Sonya Nevin - vase animations on mythical themes

Katerina Volioti - gods and other mythical creatures in literature for young children

You will also hear about the major survey of classical mythology in children's culture which is being collected by scholars around the world.

All are very welcome.

Where and when: Thursday 16th March 2017, 5.00pm-6.30pm in the University of Roehampton's beautiful (and mythologically rich) Adam Room in Grove House.
Further information on the project

ERC Website: http://cordis.europa.eu/project/rcn/205179_en.html

Roehampton News: https://www.roehampton.ac.uk/humanities/news/funding-received-to-research-benefits-of-ancient-myths-for-children-diagnosed-with-autism-/

Sonya Nevin's animations blog: http://panoplyclassicsandanimation.blogspot.co.uk/

Facebook: https://www.facebook.com/events/784466598373583/

Twitter: @OMChildhood

        

How Roehampton's Adam Room might stimulate the autistic imagination

On Monday I said that I’d hopefully be posting again soon. Here - on Wednesday - is the posting I mentioned there on how I plan to use Hercules as a focus of the materials I am planning on autism and classical mythology.

 

As I have laid out briefly in earlier postings, including this one, I had been beginning to use the Perseus myth as my focus. In addition, I had started to think about the potential for owls – in light of the use of this creature as an image for autism. But, then, I managed to book a particular room at Roehampton for an upcoming event introducing the European Research Council-funded project my work is part for – for an event introducing the project to be held during ERC Week in March. This room, one of the eighteenth-century rooms at the University, is the Adam Room, which includes a chimneypiece panel representing the Choice of Hercules between Virtue and Vice (or Hard Work and Indolence, or even between Mind and Body).
 
I have decided to go beyond the potential of this artefact as, merely, a suitably – and attractively –

mythological setting for the event. I am also going to use the example to illustrate the work I am doing. The scope here is vast. For one thing, it serves as an example of where myth deals with a difficult moment: the Choice faced between two very different paths, represented by two very different females and their gifts. What’s more, in the eighteenth century, the myth was one that people were specifically engaging with as their made their own choices between what each of the women signalled – hard work on the one hand and leisure on the other, though also mind on the one hand as against the body. And the myth was, even, used in the eighteenth century to educate young people, as I have mentioned in previous work on this topic. There's an interview of me talking about the chimneypiece with Classics Confidential a few years back

And by doing this, I should be able to use the research I have done to date on this chimneypiece. Thus, to my pleasant surprise, I am finding once again that another aspect of my academic life is impacting on the autism and classical myth project.
 
I now want to update this educational potential in the Choice of Hercules. In particular I shall investigate how the episode can help:

• Stimulate the imagination
• Extend experience
• Develop social and personal skills
• Give cultural experience to autistic people
• Aid interaction with others

I’ll post an update as soon as possible.

Disney, Sidekicks, Autism and Classical Myth

Over the past few years while I have been developing my autism and classical myth project, I have been thinking about the potential of classical mythology as a means to engage autistic children – and potentially adults too. Over the past couple of months, I have been thinking about how other kinds of stories can also provide this role, namely those put out by Disney. Disney taps regularly into fairy tales and folktales such as Aladdin and Mulan, though there has also been a foray into classical myth with their Hercules and so there already is a classical mythological dimension to explore and build on. 

What has got me thinking about Disney has been the hugely successful work by Ron Suskind who charts his journey to reach his autistic son Owen in the book Life, Animated: A Story of Sidekicks, Heroes, and Autism, which has provided renewed publicity for autism and how autistic children can be supported in the US and beyond. Right now, what he has done is hot news thanks to a recently premiered film charting his son’s journey since he suddenly started to show autistic traits as a three-year-old in the 1990s and lost the ability to speak in any way intelligibly to others. The one word he would keep saying sounded like ‘juice’ but it later transpired that he was saying ‘just your voice,’ which is what Ursela says in The Little Mermaid. Thus he was using a Disney film to communicate but no one could yet understand him. Then, one day, his father picked up his puppet of Iago, the villain’s sidekick from Aladdin and started talking as that puppet. Owen started responding – and thus began his father’s recognition that what he had here was a pathway to is son. It was not merely that there was echolalia here – whereby Owen had memorised lines from the plays. Owen was using the Disney characters to communicate his feelings while also to help him reflect on his own self and his relationship to the world. And, since then, including as he moved into adulthood, Owen has continued to draw from film to enable him to process his feelings at key points in his life including to deal with difficult experiences, such as a relationship break-up.

Previously, his parents had been told by professionals to ‘tame’ his love for Disney because they saw this as something that was holding back his progress, but it was in fact Owen’s gateway to the world, and the world’s gateway to Owen’s inner world.

The relevance to my work is something that I am currently exploring. I want to think about how the characters of myth – and the difficult moments they need to negotiate – can serve as a just such a gateway. As I have commented previously, whereas I started out thinking about how one might ‘reach’ autistic people, I am increasingly gaining a stronger sense of the distinctive world view of each autistic person. It won’t be solely that myth can aid autistic people to develop social and other skills to enable them to interact with the world – in addition, others can be enabled to gain a deeper understanding of the world of an autistic person.

In an interview with Ron and Owen Siskind for Democracy Now, the interviewer, Amy Goodman, asked Owen:
 

What does it mean to be autistic?

 

He answered,

 

It means that you have special skills and talents inside you.

 

Like Disney, classical myth might provide a means to help bring these skills to the world outside. By a really nice coincidence, I have been thinking about the specific Greek myth adapted by Disney – and one which Owen and Ron would also use to in their communications with one another – that of Hercules. I’ll discuss how I came to think about this myth, and what I’ll be doing with it, in the next posting, hopefully later this week.

DrawDisability and Giving a Hoot about Autism

As promised in my previous posting, here are some notes about a seminar in Education at my institution about a project that bears on the Our Mythical Childhood project - and my own work on autism for this project.

The speaker, Andrea Pregel, did the master's degree in Special and Inclusive Education at Roehampton and then went on, with fellow students, to found a voluntary organisation Global Observatory for Inclusion (GLOBI) to build on their shared interests in disability and childhood. While their background is in disability, they're also interested in inclusion broadly including e.g. migration. Their vision of embraced diversity values includes active and global citizenship and the biggest project to date, DrawDisability. This was the topic of Andrea's paper - and as I listened, I was struck with the potential for making connections with our own project.

Working with the UN, the team are seeking to raise the awareness of children worldwide about disability via a global art project. Here children draw disability after a discussion of what constitutes disability and submit their picture - a selection of this work has already been put together in a book available in print form (I have a copy which Andrea was kind enough to sign beside me as I write) and online.

Andrea explained that they went for art because of its potential as a global language - and this got me thinking of the potential for art in our work - e.g. in collecting oral traditions and communication them and in Sonya and Steve's animations, and also in relation to how artefacts, for example in museums, can get children personally engaged with the classical or other pasts and presents. One thing that struck me was how far children around the world appear to have been saying comparable things - and I asked afterwards whether any regional variations came up. The response was that they don't know for sure yet - but they have all the data thanks to the artwork and this could now potentially be analysed.

I came away from the session mulling on the potential for art as a powerful narrative tool for social transformation, which can empower children - as global citizens - to observe their own societies differently - and to discover that their voices count. And then, as I was browsing through the book after the session I discovered that one of the published pictures, by Spoorthi Cherivirala, Aged 13, from the USA, depicts - tenderly - an owl, held inside a pair of hands with a brain visible behind the hand. This picture, called 'Trapped Wisdom' includes the word 'Autism' in the bottom left-hand corner - if you open the link to the book given above and turn to p. 19 you'll be able to see the picture.

I've long been thinking about the potential for using Athena in the materials I put together on autism and classical mythology - and now I see that I'm not alone here. And to illustrate this poster I just searched for 'autism owl' and was blown away to find a range of uses of the owl as a symbol for autism awareness, including this one, which I've now inserted at the head of this posting. This is all going to need investigating - and I'm wondering whether to start the materials with the owl, perhaps as a counterpoint for the gorgon, which I'm certain planning to use, as mentioned in my previous posting.

More soon!

Art, noise, music and monsters - Perseus, gorgons and frescos in the autistic classroom

One thing that I am currently doing is revisiting the notes I have made over the years associated with my autism and classical myth work - which now, thanks to the ERC funding for the Our Mythical Childhood project OMC)- I can advance at last. Looking through my notebook from 2011, I discovered some notes I made towards a posting in the wake of an event I'd attended the day before at the Ure Museum in Reading. There's still information up on the event here thanks to Rogue Classicist.

This was, I am seeing, at a time when so many aspects of my practice and interests were informing one another - often unexpectedly. This mirrors what I am currently finding - all the more so indeed - in fact, more than I realised when I initially sketched out this posting in my current notebook yesterday, as I shall show at the end of this posting. One lesson to draw is - I think - to get out to as many events and other opportunities as possible and to reach out to as many people as I can think of. For instance, here is a quick example. Earlier this week, I went to a session for a module on Pompeii taught by my colleague Marta Garcia Morcillo - which Marta had opened up to colleagues and postgraduate students. She had brought along an artist, Rayda Guzman, to provide a workshop on creating Roman frescos.  So we got to learn about the theory - and practice - of frescos. The balance between individual work (we each got a specific section to work on - from the Villa of Livia in Rome - it's mine that's illustrated above) - and collaboration (e.g in the end we were shown how each of our tablets - shown here drying on Marta's desk - fitted within the wider iconography of the fresco) has suggested the value of an activity of this kind for the autistic classroom, with possible applications including:

• Development of social skills - e.g. sharing and asking for help.
• Helping others
• Development of visual learning skills
• Enhanced executive functioning - including planning and organising one's time.

The Ure Museum aulos

And - now - to what I drafted in 2011, the day after the event in Reading, along with some updates including some links that came my way - by coincidence - just this morning. The event was centred around the Ure's prize collection piece, this aulos - an unusual example of a surviving musical instrument from antiquity. Highlights of the event included an auletic performance, by Stefan Hagen of the University of Vienna - where I'd be working just a few months earlier but whom I met only now in the UK. I am particularly mentioning this performance because it gave me an additional perspective on one of the myths that I am particularly planning to use - that of Perseus and his gorgon encounters. In one of Pindar's odes, the creation of a piece of music (Greek, nomos) for the aulos is narrated. This is after Perseus had carried out his quest of beheading of the gorgon Medusa with Athena's help - indeed: under Athena's direction. Inspired by the wail of the surviving gorgon sisters, Athena composes a piece that imitates the sound made by one of them, Euryale, called - punningly - the 'nomos of many heads.'  I wondered then about the potential for developing activities aimed at the visual and aural aspects evident here. And now I am thinking that, like the frescos - this could involve both individual work and group activity, including:

• Making gorgon head masks
• Imitating the sound of the distressed gorgon and the aulos.

Many of the applications could fit those I outlined for the frescos, and, in addition:

• Understanding how others behave in unexpected situations - and how others respond to these
• Exploring how to deal with distressing situations
• Behavioural applications including how to act in response to certain emotions, e.g. grief and fear
• Help with sequencing - by establishing what comes next in a story. This is a potentially challenging task as the mythological source, Pindar's poem, does not present the narrative in any linear way, but starts in the middle and loops back and forward. Plus the account does not fill in the gaps of the story. Thus it might make for a great potential activity - turning this challenge to an opportunity - which approaches sequencing from a creative angle. I'll give more thought to this.

Just this morning, in an email discussion with two of the fellow OMC collaborations, Sonya Nevin and Liz Hale. Sonya mentioned that she will be collaborating with an aulos player, Barnaby Brown of the Workshop of Dionysos, who will be composing music for some of the animations that she will be creating along with her partner, Steve Simons, of their Panoply Project. Barnaby will also play live at one of the OMC conferences. Sonya also pointed me to an interview on the Panoply site with Conrad Steinmann, an ancient music re-creator. I'm now looking forward to liaising with Sonya and hopefully Barnaby and perhaps also Stefan and Conrad over the potential applications in the autistic classroom.

The next posting I'm planning, is one reporting on the potential for co-action with a project on children and disability that I learned about recently at an event in Education at Roehampton...

Autism & mythology: learning good practice

One thing I’m enjoying right now - as we move into the second month of the Our Mythic Childhood project - is the opportunity to read the literature on autism that has been on my shelf for a while. One of the books in question is an edited volume, Autism and Learning: a guide to good practice (ed. Stuart Powell and Rita Jordan, Routledge), that has sat there for a couple of years and was first published quite a time ago, in 1997. A date of publication approaching two decades ago would be something that I would take note of were I to be reading something on a classical topic because the goals and outlook - and the positioning of the author/s – is likely to be shaped by the intellectual climate at the time of writing. This is something I’m aware of, in my own work. For instance I am fairly regularly revisiting my PhD thesis just now. When I completed it in the early months of 2000 it felt timely, but it now looks to me to be steeped in a way of thinking about mythology, religion and deities that has moved on. And how much more so with anything written on autism – a field with is constantly finding new space.

The book I’m reading has a new preface, from 2012, by Rita Jordan, one of the original editors. This 2012 date itself even marks an earlier stage in thinking on autism. This is witnessed, for instance in the references to ‘children with autism’ or ‘adults with autism’ or ‘people with autism’ – when the move currently is towards such description as ‘autistic people’, ‘autistic children’ etc. One advantage here is the potential to capture how one’s autism is not some add-on to an individual. Thinking of someone as ‘with autism’ risks creating a sense that autism can be distinguished from a person – or that one can, even, perhaps be cured of the condition. This is not to say that I cannot see the benefits of the ‘with autism’ description – and I had an interesting discussion just recently about this with the press officer, a psychology graduate, who wrote a piece about the Our Mythic Childhood project.

What I’m struck with is just how far the practical strategies set out by the book’s authors are commensurate with how I am envisage how I should set about preparing my mythological studies for use in the classroom. I shall summarise a few points here:

1. It is crucial to keep the focus on the individual person – and to retain a sense of how everyone learns differently. And so…
2. There can’t ever be a recipe which sets out how autistic education should be done – and as a result…
3. It’s vital that practitioners keep reflecting on their practice, philosophy, pedagogy, successes and failures. What’s more…
4.  While each person learns differently, there is a distinct autistic way of learning – and…
5. This can be hard to grasp by those who don’t share autistic ways of thinking. I like putting it this way round – as it identifies the non-autistic here as the one who is deficient.
6.  The authors mention the insights that ‘high-functioning’ autistic people have supplied (p. 4). Increasingly, autistic voices are being shared, including from those who can now look back on their childhood and at how adults would try to ‘reach’ them and on what it was like to be reached.
7. It’s not necessarily helpful to divide autism up into subcategories – perhaps more useful is Lorna Wing’s identification of a triad of common features (more to follow here). Conversely,
8. There is rarely if ever a ‘pure’ autism - autism often intersects with other conditions. I’m minded here of a training session I took part in last year on ADHD, and which I commentated on briefly, which explored how there much of an overlap between for example dyslexia, dyspraxia, dyscalculia, ADHD and autism – so much for dyspraxia as ‘autism with empathy…’
9. Autism education should keep a focus not just on what autistics lack, but on autistic strengths and abilities. This ties with the earlier point above on a distinctively autistic way of thinking. Thus
10. It is vital to set high expectations while providing plenty of support for each learner.
11. One challenge is around picking up what non-autistics are able to do. Autistics need to learn what others manage instinctively. And so,
12. Autism practice should both support distinctively autistic ways of thinking and behaving while finding ways for autistics to live and work in a ‘non-autistic world.’
13. Good autism practice might well benefit all. This is commensurate with what I’ve discovered over the last few years namely that good disability practice is good practice per se. But, as the authors say, this might not be the case the other way round – so, what works for non-autistics in the classroom simply might not support the learning development of autistic people. There’s another potential implication here that challenges the previous point (#12):
14. Autistic good practice has the potential for impacting on, even transforming, the ‘non-autistic’ world (p.1). 

Next steps…  I shall explore on the implications of the above points around using classical mythology in autistic education, for example in providing space where individuals can work out their distinctive identifies, while also negotiating between an autistic way of understanding and the other world – the world of non-autistics.

Synaesthesia, autism and scribbled notes from 2008

Several things came up yesterday that bear on the Our Mythical Childhood project, including two things that are relevant to my particular work on autism and classical myth - one planned, the other a conversation that took a turn that has reminded me of some previous work that I can now revisit. The planned thing was a seminar I attended yesterday lunchtime at the Psychology Department at Roehampton. The speaker, Jamie Ward of Sussex University, was talking about possible links between the perceptual abilities of syntesthetes and autistic people. He reported that what he has found - and it felt a privilege to hear about how research is conducted - is that the common ground would seem to be just where autism is regarded in terms of an ability rather than a problem or deficiency in Simon Baron-Cohen's Autism Spectrum Quotient. I am not sure whether there is any direct applicability to my project beyond giving me an insight into autism and autistic experiences from a specialist in another field – that of synaesthesia – whose work has led him to research into autism. 

The second thing is this: I was talking yesterday evening with a former student, and now a colleague, at the reception after the inaugural lecture by my colleague Mike Edwards. The former student reminded me that he first came to Roehampton as a classical civilisation undergraduate student in 2008. This was just when I was beginning to develop my ideas on autism and classical myth. Indeed, I recall writing some notes on the project while a group of students – himself included – were doing an in-class activity. I think that scribbling some notes eight years ago has stuck in my mind because it was teaching this module – an introductory course on ancient Greek literature – that helped me work through a few ideas relevant to the project while it was in its very early stages. I went on to develop these sketched-out thoughts for a paper I presented to Roehampton’s annual learning and teaching conference along with a colleague in educational development.  

The chat with yesterday with the former student has reminded me that I really need to search out the notes I wrote back then on the project. I was full of ideas as to how a dramatherapy approach might offer insights into how classical mythology might inform the teaching of autistic students – while also providing a learning experience for all students. There is also plenty of potential applicability that I want to explore for using myth with autistic children.