In other words, Nao wanted to create “sign languages” that transcribe movements of music as faithfully and precisely as possible while making the “languages” themselves interesting and artistic enough to stand in their own right, and got awarded funding to start exploring the possibil- ities.
Nao came up with the idea in 2013 after many years of working as a musician, first as a pure musician playing the music for the music, then moving into the theatre world where all the pro- jects she had been involved in had something other than music as a core element.
Having experienced both two fields, she felt compelled and inspired to establish a field that stands in the middle.
She had a 2-week research and development with Caroline Parker MBE, Mark Smith, Ruth Mont- gomery, Avatara Ayuso, and Jacob Casselden, 4 out of whom are deaf artists working profession- ally with music.
Although Nao was very much inspired by the outcome of the R&D, the direction the funders and supporters expected was not exactly the one she had in mind and she put the project on hold. Meanwhile, crossing paths with deaf artists have opened up new doors for her and she started being involved in more and more events and projects with deaf artists and for both deaf and hear- ing audience, which naturally made her explore ways of communicating music with those who do not hear it.
Especially collaboration with Deaf Explorer since 2016 has helped Nao develop her unique skills to work as a connecter between music and deaf dancers, some of whom now regard Nao as access to music.
It still feels like an early days and the progress has been slower than Nao wishes it to be, but her Music in Motion Project continues.