Invisible M*ther is a collaborative piece by Rebecca Livesey-Wright and Indra Wilson, commissioned by the Mental Health Foundation for the 2024 Scottish Mental Health Arts Festival.

The piece uses polyvocal writing techniques to to visibilise hidden maternal narratives whilst affording an element of anonymity important for preserving a safe space for both ourselves and those who are adjacent to our stories.

Premonitory Urges is a sonic exploration of the sensation experienced by Tourette’s sufferers which is an overwhelming sensation to perform a tic, an experience similar to the urge to blink. This work uses sound and voice to express this buildup and release. It also uses sine and saw waves to act as a grounding solace providing a drone underneath the vocals. Other sounds include groans and also vocalised inhales, common tics experienced personally by the artist. As the piece progresses, it transitions into a harmonious blend of choral and ambient electronic elements, culminating in a euphoric soundscape that symbolises the calming effect of sound and singing on the body.

Flutter explores the constant interruption of Tourette’s to everyday life, through small sounds as well as the shame which can be experienced when experiencing tics.

A collection of erratic, arhythmic voclisations are counterbalanced by soothing lullaby-esque humming, exploring both shame and empathy. Fragments of spoken word explore the complexities of this condition alongside public perception. The work addresses the festival theme of Invisible, particularly considering masking in women (Tourette’s is often underdiagnosed in women, or symptoms are less noticeable whilst still being present).

Sit Still is a choral composition for four voices that delves into society's assumption that stillness comes naturally. It challenges the notion that movement—such as fidgeting or wriggling—is a sign of disengagement, immaturity, or misbehavior. The work draws on the artist’s reflections on her own self-criticism for struggling to achieve stillness, especially in moments when it feels most necessary.

Wax and Wane is a vocal exploration of the shifting nature of tics within the body, transforming from physical motion to vocal expressions, varying in complexity and intensity throughout the artist's life. Tics, particularly those linked with Tourette's, often diminish or become less visible at certain times of day or during different life stages. Stress can exacerbate them, while at other times, they retreat inward, becoming internal sensations only the person experiencing them can feel, yet still causing interruptions, like a subtle flutter beneath the skin.

Two of the big events at the 2024 Scottish Mental Health Arts Festival are Men Don’t Talk, a play written by Clare Prenton which tours Scotland from 18 November, and Silent Men, a documentary by film-maker Duncan Cowles which is screening as part of our Film Awards programme at the CCA in Glasgow before touring to cinemas across Scotland. Both set out to explore why men can be so reluctant to talk about mental health. Here, Duncan and Clare meet for the first time and compare notes on what they discovered.

Performing Anxiety: Nye Russell Thompson interview by Scottish Mental Health Arts Festival

Reflecting light and stillness, and the process of creativity and the essential part this can play in all of our wellbeing. Some Revolutions are ongoing, peaceful, and very quiet.

This track is by Talking Heads volunteer Paul Duncan, composed in response to the exhibition Photography Revolution by Dundee-based mental health charity Wellbeing Works.

Paul is a classically trained musician who is currently based in Perth and who composes music both as an outlet for his creativity and also for the therapeutic value that it brings into his wellbeing. Short examples of his compositions are on his Soundcloud page https://on.soundcloud.com/n1Nh5.

Listen to this podcast by Talking Heads volunteer Kirsty Ann-Watters, featuring an interview with koi collective members Sally MacAlister, Grace Baker, Zara Louise Kennedy, and Evie Mortimer about their new play Hysterical!.

Commissioned by Live Borders for the Scottish Mental Health Arts Festival, Hysterical! is a free fall through a categorically inaccurate history of mad women, based on real women in real times.

As part of the Scottish Mental Health Arts Festival, the University of Glasgow hosted Rebirth and Revolution: the Life and Legacy of Mary Barnes to mark the artist and mental health campaigner’s centenary year.

At the launch of the exhibition, a panel of experts gave a series of talks to contextualise her journey in art and recovery, from its beginnings at R.D. Laing’s controversial therapeutic community at Kingsley Hall, and how her legacy continues to have an influence in the present day.

Listen to this podcast by Talking Heads volunteer Sarah Visser, which uses audio clips from the event to explore the long and winding road that is the history of mental healthcare and how Mary’s story can inspire the use of creativity to promote recovery.