In the first installment we looked at the definition of autism and the act of “masking” in the performance process. We shall now look at an example of a highly successful autistic singer and offer guidance for autistic classical singers. I highly recommend that autistic individuals with singing talent be encouraged to study voice and perform publicly. This may be in as innocuous a situation as a karaoke night at the pub or a solo at church or synagogue.
Scottish singer Susan Boyle rose to fame in 2009 because her older age and frumpy appearance on Britain’s Got Talent belied her incredible singing voice. She was able to sing flawlessly and without trouble before a huge audience. She has gone on to become one of the top-selling singers of all time, selling 25 million records and earning a Grammy award as well as many other awards. Her debut album I Dreamed a Dream is one of the best-selling albums of the 21st century, having sold over 10 million worldwide copies.
It was later discovered that Boyle was autistic. She was diagnosed as an adult with Level 1 Autism. This was manifested in difficulties with social situations and emotional control, such as a 2016 incident where she had a disagreement with airport staff and was escorted out of the airport. However, Boyle has learned to mask, which she called “becoming a different person” when performing, and this ability to mask has been integral to her success. She does, however, still struggle with “emotional outbursts” which is a symptom of poor emotional regulation seen in persons with autism.
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For classical singers, “masking” could be further developed through acting lessons. This is because many classical singers go on to careers as opera singers and/or musical theatre singers and is an essential element to this work. It may also be necessary to mask before and after the performance because you need to perform all the necessary and perfunctory salutations and post-performance networking and goodbyes.
Although masking can be beneficial in many situations for autistic persons in terms of aiding the ability to fit in socially and in the act of performing, a caveat needs to be offered. Masking has been shown to be exhausting to the autistic person and can lead to a feeling of not “being themselves.” It is the constant effort to mimic social behaviors that can cause feelings of burnout and loss of identity. It can also lead to anxiety and depression as well as lowering of self-esteem. The teaching of autistic masking strategies is being called into question because of these negative effects of masking. This outlook seeks to promote “celebrating the differences” in neurodivergent individuals rather than promoting masking as a method of communication
I do, however, feel that the learned behavior of masking was essential and integral to my experience as a classical singer. It fit in perfectly with the social construct of standing in front of an audience and singing. I would encourage, therefore, experimentation with masking in the performance setting for autistic singers as a means of communication and achievement of performance goals.
The difficulties for an autistic person which arise from singing is much the same as it is for any other activity or situation. Autistic persons have difficulty with unexpected, sudden change. They have difficulty with small talk. They have difficulty with emotional regulation. They like regularity and routine. They often have difficulty with bright lights and loud sounds. These would be challenges for any autistic singer, as many performance venues have bright lights, and orchestras and bands can be very loud. I think being aware of the possibilities of these stimulating factors in advance will help ease unexpected hyper-stimulation and make it more bearable. Looking over the heads and eyes of the audience will help with the difficulties with eye contact that many autistic people face.
I think many autistic persons (not just singers) can excel in creative and highly-specialized fields because “quirkiness” or eccentricity is seen as part and parcel to highly creative or intelligent individuals. For the singer, some of the eccentricities of autism may be seen in the archetypical “diva” personality—someone who is hyper-sensitive, emotional, perhaps rude, perhaps wanting control. Perhaps these accepted differences are why many neurodivergent persons have had success in the arts.
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The key to success as an autistic classical singer is first of all to have a level of talent. The second is the practicing and study to perfect the art. This comes very naturally for autistic people who tend to be highly focused on a particular subject, which in this case could be singing and music. The act of practicing alone is also soothing and comforting for autistic persons who relish repetition and routine.
The next key is to develop and practice masking. It vital to mask on stage and even before and after a performance or gig. It is in fact necessary to the success of your career as a singer. I also highly recommend training by a counselor or therapist who specializes in the treatment of adult autism. I am fortunate to have secured the services of a behavioral supports specialist who is going to help me navigate the social situations that remain difficult for me, an autistic woman in her 60s, to this day. An autism specialist can help role play, offer “replacement behavior” options, and provide guidance for situations that an autistic singer might find challenging.
Can you be an autistic classical singer? I think you can. Know your limitations but also know your strengths. Work within your own abilities. Be patient and honest with yourself. Seek outside support. Try again if you fail. Learn from what sets you apart. Accept criticism gratefully. Understand that the world generally does not understand you, and you don’t always understand the world, but you must try to fit into it, performing as best as you are able. Let your talent and your gift guide and define you as you sing, not your autism.
