A
few weeks ago, hundreds of disability studies scholars, advocates, and activists
gathered for the 28th Annual Meeting of the Society for Disability Studies, June 10-13, 2015. I
was fortunate to be one of the attendees on behalf of the Library Company, a
recent institutional member in the Society as a result of the Common Touch project.
I
looked forward to my attendance not only for the multiple sessions related to
art and disability, but for the experience of a conference that proactively
strove to be as universally accessible as possible. Images for power point
presentations needed to be verbally described, closed captioning was standard,
and large print copies of presentations were available for distribution.
Through
my work with Common Touch project
partners, I have become increasingly aware that accessibility standards are a
benefit to everyone, disabled or not. Case in point for me at the conference
was that more than a few times I glanced at the closed captioning for a word or
name I missed while taking notes. Nonetheless, even the most concerted efforts
for accessibility can sometimes fall a bit short as did the microphone cords for
the Q&A’s. As one disabled panelist noted, even the disabled community can
be unintentionally unaccommodating as she asked an audience member, who had
vertigo, to come to the front to use the mic.
Not
surprisingly, insights also abounded from the subject matter of the panel
sessions. The panels on art and disability ranged from dialogues about
self-representation of disabled persons in art; the nuts and bolts and challenges/
triumphs of organizing professional Disability Arts festivals; and the social/cultural
implications of the stories and relationships pervading the materiality,
aesthetics, and concepts of works of art by, depicting, or representing persons
with disabilities to the benefits of subjective audio descriptions over
objective ones.
To
conclude my post, instead of expounding on one or two of the themes from the
various panels, I thought I would share
some of the snippets and jottings from my notes that continue to resonate with
me:
Disability
as relationships as opposed to a medical versus social model
If
disability is framed; disability frames us
Disability
as transformation of “normal” body
Privileging
disability vs. bridge building through disability in art
An
original non-disabled body is non existent
Erika
Piola
Associate
Curator, Prints and Photographs
Co-director, VCP at LCP
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