Edinburgh Deaf Festival programmer Nadia Nadarajah: 'Deaf artists belong in the arts — not occasionally, but always'
It’s time we normalised deaf creativity, writes Nadia Nadarajah
There’s a whole world of deaf creativity that many people have yet to encounter. Not because it’s hidden, but because it’s rarely given space in the mainstream. As a deaf actor, writer, director, and now Creative Programmer of Edinburgh Deaf Festival, I want to help change that. Because our creativity isn’t niche; it’s vibrant, diverse, and long overdue for recognition.
We often hear about “showcasing” deaf talent, but what we really need is to get to a place where we can normalise it. That means reaching a point where seeing deaf artists on stage, using British Sign Language (BSL), or leading creative projects isn’t treated as a novelty, but as part of the norm. It means building a cultural landscape where deaf people are not just included, but expected, welcomed, and celebrated on equal terms.
That’s exactly what we’re working towards at Edinburgh Deaf Festival. This August, we return with our biggest programme yet, spanning theatre, drag, comedy, music, storytelling, film, panel discussions and more. All of it centres deaf creatives, with BSL and captioning built in from the start. This isn’t a side programme. It is the programme.
We’re proud to host much of the festival at our home on Albany Street in Edinburgh, within the headquarters of Deaf Action. Deaf Action is the charity behind the festival, and this year marks its 190th anniversary. It’s the oldest deaf organisation in the world, and that heritage means something.
That legacy matters. To be creating work today in a space shaped by generations of deaf activists, artists, and leaders is both a privilege and a responsibility. It reminds us that deaf creativity is not new – it’s deeply rooted, and it deserves to be seen, supported, and celebrated.
With the support of our partners, we’re expanding our reach across the city. We’re thrilled to be working with Summerhall, the Edinburgh Art Festival, the Fringe, and others to bring Deaf-led work into more of the capital’s cultural spaces. One highlight is Evie Waddell: Ivory Cutlery, performed at Summerhall as part of the Fringe. Evie blends signing, Scots, and music into a powerful and original performance. It’s the kind of work that deserves a central place on Scotland’s cultural stage.
It’s also important to recognise the progress being made. More venues are offering BSL access, more festivals are including deaf-led work, and there’s a growing awareness that inclusion benefits everyone. We applaud the organisations taking meaningful steps. Not just because it’s the right thing to do, but because it makes the arts richer, bolder, and more representative.
That said, there’s still work to be done. Normalising deaf creativity also means rethinking how the arts industry operates. It’s about who gets commissioned, who gets funded, who gets seen. And it’s about ensuring deaf artists can thrive without constantly having to justify their presence.
As part of this year’s festival, I’ve written and directed a new play, Echoes Across Time, which follows three women across different eras, connected by themes of silence, strength and legacy. It’s performed in BSL with integrated voiceover and visual storytelling. Not as an afterthought, but as an artistic choice. It’s a bilingual, bicultural production designed for deaf and hearing audiences alike. That’s part of what normalisation looks like: making space for both languages, both perspectives, in one shared experience.
When I performed as Cleopatra at Shakespeare’s Globe last year, I was reminded how powerful that shared experience can be. Hearing audiences told me that BSL helped them connect with the text emotionally. That they could feel the story more deeply because they could see it. Deaf performance doesn’t just add access, it adds value.
Of course, none of this happens without support. Just last year, the festival was at risk due to a major funding crisis. Thanks to a strong public response and a three-year investment from Creative Scotland, we’re now able to grow, take creative risks, and plan for the future with confidence. That backing helps us make deaf creativity more visible, and more normal.
So how can you help? Come to a show. Bring a friend. Try something unfamiliar. Learn a few signs. Talk about what you enjoyed, not because it was “inclusive”, but because it was brilliant. And if you’re in a position to platform or commission artists, ask yourself: are deaf creatives part of your picture?
This isn’t about being exceptional. It’s about being part of the whole. Deaf artists belong in the arts — not occasionally, but always. At Edinburgh Deaf Festival, we’re not just showcasing deaf creativity. We’re normalising it. And we invite you to be part of that change.
Nadia Nadarajah is creative programmer of the Edinburgh Deaf Festival, which runs from 8-17 August. Her own show, Echoes Across Time, is at Deaf Action, 15-17 August, 6.30pm. edinburghdeaffestival.com
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