Emma Brown joined OHMI as our youngest trustee in 2022. One year on and, particularly as we celebrate Limb Loss and Limb Difference Awareness Month this month, it’s a good point at which to hear more of her experiences – as OHMI trustee, talented flautist and amputee.
Emma brings us up to date. “Life is pretty busy for me at the moment! I’m currently studying for my Masters in Flute Performance at Birmingham Conservatoire. My studies had been deferred for a year, following a life-changing injury in May 2021 which resulted in bilateral amputations below the knee. It was whilst I was undergoing rehabilitation at Queen Mary’s Hospital, Roehampton, that I realised almost all the activities suggested to amputees are sports related. I have never been particularly sporty so there was nothing on offer that held any great appeal. My unfailing passion has, and always will be, music, and I was determined to continue with that. The importance of music in recovery Being in a neck brace for some five months gave me a real insight into how it feels to be prevented from making music. As a flautist, that time was beyond frustrating but it did provide me with the opportunity, at least, to practise the piano, with my injury forcing me to rely on the pedals less and play better as a result. The ability to make music during such a period of seismic change was so integral to my recovery. Life as an amputee musician I realised early on that life as an amputee musician can be challenging, particularly when performing in an orchestra. As well as the additional considerations of getting from A to B (with musical instrument in tow and often relying on public transport), there’s the expectation that musicians join and exit the stage at lightning pace. Added to that, it is typical to stand between performances, and moving from seated to standing position so often can be pretty tiring. There are also other practicalities to consider, particularly in older theatres and music halls where the disabled toilet is unlikely to be anywhere near the stage. These experiences have brought into sharp focus the hurdles an amputee or wheelchair user faces when they seek to perform. It is what led to me setting up my own network, Amputee Musicians UK, which aims to connect people with limb difference or loss who love either playing or listening to music. I've certainly learnt a lot since commencing my studies at Conservatoire. It's inevitable that I will have ‘bad leg days’ since it’s only been two years since my injury, and I’ve only recently started to live independently. My prosthetics are a mobility aid in the same way as my manual wheelchair, and there are times the wheelchair presents the better option. As the first wheelchair user to study music at Conservatoire, there have been a few hiccups along the way – simply because such accessibility issues have never presented themselves before. Some – such as the difficulty in accessing the Winds section (always one step up) – apply to every orchestra. Others will be unique to that particular environment - in the Conservatoire’s case, it's the fact that the door to the woodwind store cupboard is unbelievably heavy. I'm pleased to say both issues were quickly addressed. I was really delighted that the Conservatoire also invited OHMI’s General Manager, Rachel Wolffsohn, to lead a workshop to help raise awareness of accessibility in music. It was really well-received by my fellow students who understand that they may well find themselves teaching disabled musicians in the future. I’ve had the opportunity to advocate for disabled students in other ways. As a Conservatoire student, I also belong to Birmingham City University where the number of disabled students means there's a huge amount of disabled support. The university has recently lowered one of its printers for use by disabled students. I was asked to test its suitability and, in return for my feedback, was offered extra printing credits. Playing the one-handed flute I see my role as an OHMI trustee as two-fold. Firstly, the empathy I can show to my disabled students when I teach. I’ve thoroughly enjoyed teaching the one-handed recorder at recent session of OHMI Music-Makers. Secondly, the part I can play in helping to increase awareness of opportunities open to amputees. When I recently fractured my right hand, I faced the prospect of going back to my parents in Surrey to wait out the five weeks until my cast was removed. Being offered one of OHMI’s one-handed flutes has given me both purpose and a reason to stay in Birmingham. I will, of course, go back to my regular flute once my hand is healed but, for now, the one-handed version is helping me to retain my sound and quality. It has also allowed me to continue playing in my Minerva flute quartet, our most recent gig being a local retirement home. My next OHMI project is to ensure that hospital Prosthetic departments know as much about music-making as they do sport activities. For anyone recovering from injury, music is, after all, as important mentally as sport is physically. There is still a lot to do if the industry is to be truly accessible for the disabled, and I am certainly committed to helping to change that! Maria is one of OHMI’s most established musicians. She started her musical journey with the recorder but moved on to the clarinet some time ago. We were delighted that she performed as part of the ‘Clarinet Trio’ at OHMI’s Tenth Anniversary Celebrations in 2021. Her performing career has only flourished since, following her acceptance to NOYO (the world’s first disabled-led national youth orchestra).
Here, Maria and her mum, Mirela, recount what a difference the adapted clarinet has made to their family. In Maria’s words: “It was in Year 2 that I started playing the recorder. It wasn’t long after I’d had surgery as a 5-year-old, and it was a family friend, Clare Salters, who found an adapted recorder for me through OHMI. Clare has been my music teacher ever since and is the one I thank for helping me play a musical instrument. She is always very patient if I get it wrong, and we just practise until I get it right. No disrespect to the recorder but I decided to switch to the clarinet in Year 4. I love the clarinet because of the way it feels and its deep sound, and it definitely functions better than the recorder which is small and light. Also, the clarinet is not an instrument everyone can play so it’s a nice feeling to be someone who can! I really like playing in an orchestra because no-one notices that I play any differently when I’m with others. Playing at OHMI’s event in 2021 was a bit scary but I like the idea that I was teaching people about the clarinet. I see playing the clarinet as another step to becoming what people don’t expect of me. My recent audition with NOYO (the National Open Youth Orchestra) was a success. I get to rehearse and perform with other children and young people from the ages of 11 to 25. Some have a disability, others don’t, but there’s always extra help for those who need it. When I’m older, I want to go to a university specialising in music. I want other children to see what I’m doing, see that it’s really cool and to then follow in my steps. I’d actually quite like to be a famous in this way! My advice is to remember that people can do whatever they want – even if it’s something they had never previously considered.” In Mirela’s words: “We’ve known Maria’s teacher (Clare Salters) for eleven or so years since our sons were at primary school together. Clare has become such an important part of our family because she’s really helped make things happen for Maria, including putting her name forward to NOYO. My husband and I like listening to music but don’t know much about it otherwise so we needed someone who would see Maria’s potential and help her dream big. Music is such a huge part of the school curriculum. When Maria moved up to secondary school, she initially felt left behind. The options available for whole-class teaching were only on instruments such as the flute and ukulele which, for any child with an upper limb difference, are very hard to play. That’s why the opportunity to play the clarinet is so important to her – although she now has her sights set on the piano! I have real admiration for the instrument makers out there who take the time to think about how children and adults like Maria can be supported, and to charities like OHMI who help connect the two. The ideas for adapted instruments are certainly very clever, and work in this area is so important in ensuring that no-one who wants to play music, gets left behind.” Know a child or young person between the ages of 11-25 who might be interested in joining NOYO in London, Birmingham, Bristol, Bournemouth or Cardiff? Applications for auditions are open until 31 March. Learn more on the NOYO website. We had the opportunity recently to meet once again with Martin Fröst, a Swedish clarinettist and conductor considered one of the most renowned instrumental soloists ever.
The meeting took place at London’s Wigmore Hall in December 2022, a venue included as part of Martin’s European tour. Its purpose was to bring Martin up to speed with OHMI’s exciting work on the 3D-printed one-handed clarinet following a first meeting with him some ten years ago. The 20-minute conversation involved Martin, Dr Stephen Hetherington (OHMI’s Chairman), Clare Salters (OHMI trustee) and Peter Worrell (acclaimed instrument maker). Stephen explained the concept behind the 3D-printed one-handed clarinet: namely, that the charity recognised the need to produce an instrument that is more economically viable. Fortunately, Arts Council England were in full agreement, and provided the funding for research into the instrument and development of a prototype. Peter went on to demonstrate the features of the instrument, created entirely in his workshop in Norfolk, using relatively inexpensive machinery. We were delighted to hear that Martin considered the instrument to be the ‘perfect idea’ and is committed to collaborating with OHMI further to help raise awareness. You can watch the video in full here: https://youtu.be/7gt6r1aMLLM On the retirement of our founder and Chairman, Dr Stephen Hetherington, the Trust seeks a new Chair of the Board of Trustees to lead, monitor and support the executive team in delivering our objectives. Please see the briefing pack below for further details. If you wish to apply, please send a CV and Expression of Interest to our General Manager, Rachel Wolffsohn - rachel@ohmi.org.uk - by Monday 13th February at 12:00 noon. Any queries may also be addressed to Rachel. The OHMI Trust is a charity registered in England and Wales (No. 1143623) and Scotland (No. SC052047) The OHMI Trust is committed to ensuring that its leadership, governance and workforce represent the diversity within the communities we serve. We are committed to equality of opportunity and welcome applications from all suitably qualified candidates, irrespective of their personal backgrounds. We particularly welcome candidates with lived experience of disability.
Applications are now being accepted to a new one-day course which will help teachers to assess the needs of children in their music service. The course, which will be held on 28th April 2023, is being delivered by a partnership of Birmingham City University (BCU) and OHMI. It will take place at BCU’s campus in Edgbaston. It follows an initial pilot in the summer which secured an Arts Council National Lottery Project Grant as part of Phase 3 of the IAMM (Inclusive Access to Music-Making) Programme. A total of four participants completed the pilot training which included exercises to assess the child's ability to weight bear, and explore their fine and gross motor skills and breath control. Delphine Evans, who undertook assessments with children from Northamptonshire, explains how her role has benefitted from the training, “Having worked as Head of Music in a secondary school for five years and for the music services (in Stockport and Tameside), I am very aware of the real-life challenges facing children who live with a disability. The training not only gave us the opportunity to familiarise ourselves with the kit we would be using to assess the physical needs of the children – particularly their use of digits and fine motor skills – it was also particularly helpful in improving our communication techniques. Listening back to recordings of my online sessions was really useful because it made me more aware of the language I use, and how to phrase things more positively – for example, focusing on what the child can do as opposed to what they can’t.” The training will help deliver on the Government’s ambition to be doing more, collectively, to level up musical opportunities for children with special needs ambition (following publication in June 2022 of ‘The Power of Music to Change Lives – A National Plan for Music Education’). It starts with all schools and music services considering the needs of their disabled pupils before they choose an instrument for whole class participation. Opting for the ukulele, for example, may seem inclusive; until a child presents without a digit or digits. There are alternative options, and with forethought and forward planning, there is a much different outcome. It was not long after the training that Delphine had the opportunity to see for herself the difference that access to the right equipment can make. When a pupil presented with quadriplegia caused by cerebral palsy, the school’s initial solution was that someone could hold her trumpet for her. Being fully conversant with the equipment available through OHMI’s Instrument Hire Scheme, meant that Delphine could request a trumpet stand to enable the girl to play independently. Rachel Wolffsohn, OHMI’s General Manager, adds, “Our new training course – and the awareness it raises of solutions – is a big step towards a better understanding of each individual child’s needs. We’d like to encourage music teachers across the country to take up this training so that more disabled children are matched with the right instruments and enabling equipment for their particular requirements, and are given a better opportunity to participate fully in music lessons.” Anyone interested in finding out more about the training can do so at https://www.eventbrite.co.uk/e/introduction-to-music-making-for-physically-disabled-children-tickets-506594637197
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May 2024
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