BREYDON’s a surname, which came around me through family who lived the mid twentieth‐century in Euro Yuroke Saint Kilda, a salty sigh east of Nairm. I too am calling from cool Birrarung-ga, on Boonwurrung and Woiwurrung Country. My pronouns are “they” in Englishes, “yel” in Frenches, and gender‐neutral wherever.
1. Doing things for you
For those who’d like to hire me — I’m pretty alright at public speaking; facilitating productions in the arts or media; and consulting on inclusivity anywhere.
If this sounds useful, or you rightly suspect there are other grouse things I could do for you, too, just sing out.
2. Tharts, meed, & crit
I like to examine, create, and facilitate works that inspire stretchy conceptualisations of theatre.
My practice in visual arts has blended hand‐drawn animation, dark‐room photography, comics, sculpture, digital performance, and cartography.
As a writer, critically, I think a lot about physicality as sociological text: whether that be in textures of inhabitation; the kinetics to communication; infrastructural, industrial and agricultural manifestations of politics; or continua merging “beings” and “surroundings”.
In aural media, I especially love music, subaltern story‐telling, nudging techniques around, and to pick — as a nesting bird with a coir pot — at field–recording/–re‐forming.
3. Place & déplacement
Speaking of being out in the field, I love organic gardening (particularly bolstering indigenous habitat), bushwalking, city walking, and community radio.
I am a big appreciator of super walkable urban design, dense and intense public transport systems (particularly through electrified, decentralised rail), and the treatment of roads foremost as community space; as integral networks for trams, bicycles, other mild vehicles, and people themselves, including wildlife.
When I say “walking”, I mean wheeling chair and such, too. Appropriate provision of assistive technology is another passion; attitudes to this are so connected with issues of societal and environmental health.
The author grinning from an iced‐up wheelchair sinking in its own tracks through a snow‐covered park. Photographer: A Whitfield. Photo © A Whitfield.
Possibly the world’s first non‐binary athlete in elite football of any code, I am acutely conscious of the denial of safe sports opportunities to marginalised populations. I would love to connect with others yearning to fix this. And to play for play.
I enjoy skating (in chairs, on boards, or even on skates), am unreasonably fond of basketball, make an awe‐filled/awful swimmer, and am fascinated by dance.
At my most sensible, my engaging in the physical world is informed by musicality.
Formally, I am most at home on finger‐tickled string instruments, playing the acoustics of a scenario, or in abstract theoretical spaces. Arranging is divine. I play piano like someone who has paid too little intellectualisation to too many forms of art music, and atonal percussion like a poptimistic sound designer.
Despite a preference for the irrefutably physical, I can get painfully earnest about the possibilities of electronic synthesis for microtonality, adaptive musicianship, sophisticated timbral innovation, interrupting the westernisation of recorded music, and of course stagecraft.
More than anything, I struggle to accept what my motor impairments have done to my precise manifestation of rhythm, although there will be something phenomenal to touch once I begin to, for sure.
Music has far more to teach people about the universe and ourselves than we impart to it. Still, what an extraordinary repository of culture.
6. What else?
Unsurprisingly, I am deeply absorbed in the interrelated nature of community, environment, and story. I hope to continue to help nuture oral histories, t’support decolonising media (well, everything), and seeing about what better things might follow the field of “international development”; to wax enthusiastic.
Oh, and there’s always The Most Lackadaisical Press‐Clipping Scrapbook.