I often ask myself what is the point of Disability Arts? Every board meeting we have discussions about how we are swimming against a tide in our desire to raise the stakes for equality for disabled people. The attitudes that keep us in chains abound everywhere we look and our small attempts to challenge collectively are consistently ignored.
Just last week we suffered the BBC’s annual celebration of everything Tragic but Brave in which Pudsey Bear struts his stuff to let the world know how lucky it is to be ‘normal’. According to the Guardian an average of 8.3 million viewers watched Children In Need.
Disability is a role imposed on us as bearers of abnormality. The BBC ups harp music to the max in order to play on peoples’ fears of impairment, using the wit and charm of Sir Terry Wogan to preach their disabling message. At its core that message is that we can only make sense of our impairments in negative terms; that our worth as human beings can only be measured through a discriminatory lens.
Children In Need exploits the poor, needy and desperate straits of children and young people in order to remind us of the value of normality and to ram home the message that unless ‘normal’ people want to experience stigma, they’d better keep on conforming to disabling value systems and keep their own little idiosyncrasies and abnormalities well hidden.
And so it goes on… I don’t think anyone could argue that many of charities the BBC’s fund-raising marathon supports are not doing good work. This year Children in Need raised a record £32.6m for disadvantaged children and young adults in the UK, £1.6m more than last year.
The reality is of course, that at the end of the day it is disabled people who pay for the appalling piece of marketing that the BBC is so proud of. Disabled People Against Cuts are now estimating that the average number of deaths directly or indirectly attributable to austerity measures has risen from 32 deaths per week to 73 deaths per week. Attitudes proselytised by campaigns like Children in Need only serve to justify the human cost of discriminatory attitudes.
Meanwhile events such as DaDaFest are still attempting to raise awareness through showcasing artwork that presents conversations about the experience of disability and of impairment.
Art of the Lived Experiment, this years’ curated show at the centre of DaDaFest International 2014 has had a piece of work blacked out in protest by one of the exhibiting artists who took offence at his work being labelled as Disability Arts. Quite why Mike Carr would agree to have his work exhibited in a Disability Arts festival if he objects to the term is not clear. DaDaFest says what it is on the tin. What this act does demonstrate, in my mind at least, is how high feelings run in the running away stakes.
Disability arts still has a role to play in allowing conversations, not marred by media spin, that demonstrate the realities of living with imperfect, impaired bodies and minds in a way that is balanced and real, rather than tainted by negative sensationalist attitudes.
By Colin Hambrook
Happy New Year to one and all. As a theme running through DAO's tenth year I want to draw attention to features in our back catalogue for those who may not be aware of the depth and breadth of the content in the journal.
Many of you will be aware of the value and importance of the Social Model of Disability to the history and development of Disability Arts, but may be confused or sceptical about the Affirmative Model of Disability which attempts to bring the theory into a 21st century understanding.
One of the most consistently accessed pieces of content on DAO over the past few years has been an interview I conducted with Colin Cameron in 2009 whilst he was researching a PhD on the Affirmative Model of Disability. Colin has a knack for illustrating disability theory with lived experience - and in the process often refers back to Disability Arts as having been instrumental in his personal understanding of his relationship to disability and impairment.
It's lengthy and time-consuming to read, but I would suggest that it's essential for anyone working within disability arts to develop an understanding of the discussions which have laid a cornerstone for our movement.