In a previous post, I mused about Disabled Leadership, the great divide between theory and practice that many disabled persons face, and suggested one fundamental element that is crucial to recognition of disabled participants in the conversation on disability: payment as a basic mark of respect. Now, in this brief ‘follow-up’ post, I’d like to provide some straight-forward concrete examples of its practice in the arts and film.
I’ve iterated and reiterated before, and now once more, I am no activist – I have an aversion for confrontational activity, but advocacy is something that most disabled professionals are forced to engage in (in some way or other) due to the dominating climate of ableism and stubborn ignorance surrounding the disabled practitioner. In other words, advocacy – sometimes quite vehement and insistent – is made necessary because disabled practitioners need to clear the debris-strewn paths, clogged channels, and polluted waterways so that we can proceed with our practice. Continue reading →
I am not an “Autism Activist” – far from it – so, please do not call me that. Thank you. I do support the work of activists, it is a necessary force when things are woefully wrong and a great deal of vim and vigour is needed to create change for the better. It is just that my natural constitution does not fit well with the vivacity required for effective activism. Sometimes, though, I do engage in advocacy. Well, all right, quite often especially of late, but this is not what I deliberately set out to do. I am, first and foremost, an autistic researcher and multi-artist. Unpacking this further, my research interests include (but are not confined to) autism, autistic sensory idiosyncrasies, alternative and elemental empathic resonance, clement spaces of mind and body, and my material practice reflects this research, employing multiple artistic disciplines. I love my research and multi-art practice, and I adore my beloved Lucy Like-a-Charm, the two represent mental, emotional and physical wellbeing and equilibrium to me. Continue reading →
My mom and I were in the store when it happened. It wasn’t the first time and it wouldn’t be the last, unfortunately. It was a common occurrence, “par for the course” as they say. An acquaintance of my mother (my mom’s real friends know better) had walked over to us and started a conversation with us. Just normal things until she switched the conversation to kids, she looked and my mother and asked “what subject does she like most in school?” Despite standing right beside my mother, despite having been introduced to me by my mother, despite the fact I had nodded quite attentively to what she had yammered on about, she decided to ignore my presence and address the question to my mother. For most abled people, this may seem like a momentary slip up in decorum, but for disabled people this is all to familiar: proximity to…
There is increasing talk about Disabled Leadership in the Arts. There are stirrings, positive ones, potentially amazing even, in the arena of the Arts and Disability. (Even in wider fields, for example Autism Research – just reading the Twitter feed coming from IMSAR2018 indicates that level of Actual Autistic participation has increased and that is a cause for hope for a better future in research and practice.)
Excitement and awareness aside, there are still some brass tacks issues to face and tackle head on. Before we can even make that leap into Disabled Leadership, there needs to be some basic concepts of respectful and ethical interactional treatment of disabled people. How do we establish leadership if the non-disabled world cannot even bring themselves to the level of viewing disabled people as human beings worthy of esteem and regard as equal participants in society?
A fundamental topic is that of payment. Yes. Money. And plain simple respect. Let’s start here. Continue reading →
My recent casual blog post, musing on Arts and Disability, and the devastating effects of non-disabled colonisation of the disability conversation, theory and practice in any field, with a focus on the arts, simply because this is my field of research and praxis.
“Perhaps it is time to take the entire conversation back and situate it on our own platform – the Actually Autistic / Actually Disabled stage. One that we choose for ourselves, not that which is designed and built by the non-disabled colonising forces. One in which there is no prerequisite social-political posturing of ambiguous, veiled or hushed up mumblings, no copious mists of gas lighting, and no contemptuous slime of condescension. Just honest truth and a light shining onto a path ahead clear of the debris of gurgling bloviation. Is this even a possibility, I wonder?”
I learned this new word from my friend Rick. I like it. It has a robust movement to its physical form, flow and force. It sounds and feels like thick copious slimy globules arising from a pit of bubbling sludge. This word has a sensorial constitution that matches its meaning. Thank you, Rick!
“Bloviation” – such a proliferate and aggressively dominating activity in the field of Autism and Neurodiversity. Autism is a trendy topic these days, isn’t it? Everyone – from the housewife ‘AutismMom’ to the Professor in Psychiatry, and the outright quacks touting ‘cures’ and ‘healing touches’ mushrooming like unbridled viruses in between – seems to be dancing vigorously around the jolly campfire of Autism.The word makes me think of the many (I have lost count now, it is a long and wearying list) instances of having to silently endure protracted lectures, workshops, conversations, discussions, seminars…