In early April, we had the amazing opportunity to access the Clayton Community Centre Studio Theatre for a technical residency. Marnie Perrin, Artistic Director of the Surrey SPARK Stages was instrumental in liaising this opportunity. In order to enhance the residency’s impact on the local artist community, we were asked to host a conversation, open studios and offer space for interaction with local artists. I decided to invite my dear friend and mentor Jacky Essombé, of the African Friendship Society, to be our special guest for this session. 

The group assembled artists, and artists who are also occupational therapists centering children living with disabilities in their practice, librarians, academics and researchers in neuroscience and therapy, arts and community organizers and children, as in all we do, from Surrey and beyond. We shared sushi and gathered around a long table for a wonderful conversation with Jacky Essombé and the attendees.

We began by introducing ourselves, letting people know of all our spoken languages and the various roles we hold. I opened the circle with the concept of the many hats, and how this multiplicity of identity and skills informs our work and how we show up whole in our practice, integrating the arts in unusual spaces, so that people felt comfortable sharing the intricacy of their point of view.

I asked Jacky about the value of intergenerational opportunities. I noted that while we may be marketing Baby Space Opera as a “baby show,” in my mind,  it is truly intended for everyone in attendance. Jacky reflected on how our society often retreats into age-specific silos and how parents can feel isolated. She shared stories of starting community events because she missed contact with small children, and has now become the Aunty of many hundreds of them, Queen Aunty Jacky, proudly named by a four year old girl. She shared how in Cameroon, there is a belief of the need to bring very young children and elders together because elders can teach children about life and very young children can teach them about the world beyond, because they were just there not long ago.

The conversation turned to the dynamics of participation. Many at the table felt a strong desire for parents to let their children engage more freely, which seemed to trigger observations about control and a lack of trust. Dave Pay (Music on Main) suggested that allowing a child to participate requires a fundamental trust that the world is prepared to support them. Ultimately, we realized that the entire process for this performance but also our work, at Foolish Operations, is about building that trust.

Trish Van Kuyk, an occupational Therapist at the Surrey Centre for Child Development and also often stage manager and accessibility consultant with the performing arts also had very helpful accessibility pointers, emphasizing simple messaging to the audience at the top of the show for how to be in the space and support participation.

Since this conversation, I have updated my Baby Space Opera opening words to the audience with simpler instructions, and to acknowledge the different ways children and parents engage and participate. I underline how some babies will come in the performance at times, while others observe and listen comfortably with their favourite adults, and emphasize that each parent understands their child’s needs best, including the need to contain a child, sometimes, for whatever reason that specific day, to avoid parental judgment, and put everyone at ease. Trust building takes time. Let it be our commitment, in our own ways, in our own circles. Foolish Operations will continue this effort, gently, one performance at a time, to construct together the spirit of a village, for the whole society to hold all children safely, with love and support.