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Contents
List of Illustrations
xiii
Prefacexv
Acknowledgmentsxvi
Part I
1
1
2
Setting Up
3
Case Study: An Ethic of Accommodation
7
Exercises
1.1 Disability Accommodations: What Is Out There?
1.2 Playing with Classroom Conventions
3
4
Topics
Practicing Interdependency Safer Space Disability Disclosure and Privilege 6
6
7
Languages of Disability
9
Living Languages
Living Change
11
12
Exercises
2.1 Association Map
2.2 Group Agreement
2.3 Coming Out
2.4 Neurodiversity
2.5 deaf/hearing impaired/Deaf
2.6 The Serious Play of Language 2.7 Media Images 9
11
12
13
13
19
19
Topics
Unstable Identities Normate Design and Language Choice 10
11
14
Activity
Language Change
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Discourses of Disability
21
The Medical Model and Discourses of Normalcy
The Social Model and Beyond
Playing with Models: Arts Practice
23
27
32
Exercises
3.1 Images of Disability in Cultural Texts
3.2 Relative Normality 3.3 Rethinking Dominance
3.4 Sins Invalid
3.5 Playing with Models
3.6 Signifiyin’
3.7 Disidentification
22
25
25
31
33
39
39
Topics
Discourse and Power Ableism Indigeneity/Disability Living with the Social Model: Vic Finkelstein Going to the Bar: Star Wars Queer Studies/Disability Studies Crip, the Promise of Legitimacy, and the Poster Child from Hell
Pushing and Cripping The Disability Arts Ghetto 22
24
26
27
28
29
30
32
33
Activities
1 Feeling Complex: Eli Clare
2 Sculpting with Augusto Boal 34
37
4Embodiment and Enmindment: Processes of Living 41
Feeling and Being
41
Embodiment and Enmindment
43
Performativity45
Time and Space Engagement
49
Simulation Exercises and their Weird Sisters
53
viii
Exercises
4.1 Relaxation
4.2 Opening Awareness
4.3 Performing Body Histories
4.4 Gender Performance
4.5 Transformation
4.6 Disability Justice
4.7 Spatial Patterns
4.8 Good Kings Bad Kings
4.9 Buildings and Bodies
4.10 Accessible Date Assignment 4.11 Wellness
42
43
45
46
48
48
52
52
53
54
55
Topics
Communicate with Me: D.J. Savarese 44
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White Disability Studies Intersectionality Spirit Murder DeafSpace Touch/Sound/Image Crip Time 47
47
49
49
50
51
Disability Culture
56
Living Cultures
Death and Culture
Life and Culture
Describing/Creating/Analyzing Disability Culture
56
59
61
66
Exercises
5.1 Cultural Webs
5.2 Disability Culture Webs
5.3 Disability Culture Providers in Two Regions
5.4 Disability Culture and Online Webs
5.5 Disability Hierarchies
5.6 Mercy Killings/Hate Crimes
5.7 Remediation
5.8 Eugenics
5.9 Raymond Williams: Culture
57
57
57
58
59
60
62
64
65
Topics
Shaman Frank Moore Survivance Ugly Laws Phenomenology 63
65
67
71
Activities
1 Disability Culture Field Trip and Field Notes
2 Setting up a Disability Culture Event
3 Bodies as Anchor Points: Disability Literature
66
69
71
Part II
6
75
Exercises
Looking up Definitions
Study Circle 75
75
Life in the Institution: Discourses at Work and at Play
77
Exercises
6.1 Separation in Films
6.2 Audio Description
6.3 Ekphrasis
6.4 Asylum Porn
6.5 Toward Self-determination 78
78
79
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6.6 Junius Wilson
6.7 ADAPT
6.8 Sadie Wilcox: Visioning Healing
83
93
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Topics
The Total Institution Institutionalization as Event Chanika Svetvilas: Space and Experience How to Remember Institutional Life 82
88
89
90
Activities
1 Writing/Poetry 1   Writing/Poetry 2   Writing/Poetry 3   Writing/Poetry 4   Writing/Poetry 5
Writing/Poetry 6
2 Video 84
86
86
90
93
95
95
Freak Shows and the Theatre 96
Contemporary Freak Show: Mat Fraser’s Sealboy96
Freak Sex
100
Case Study: Casting and the Weight of Experience
108
8
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Exercises
7.1 Party Time
7.2 Graeae Theatre Company and Commissioning Contemporary Plays
7.3 Durational Performance Art: Invoking an Epileptic Fit
7.4 Casting
7.5 Performing Madness
102
102
106
108
109
Topics
Riva Lehrer: Totems and Familiars Bakhtin and the Carnivalesque Struggle and Reclaiming 99
102
105
Activities
1 Back to Back Theatre
2 Suzan-Lori Park’s Venus and Bernard Pomerance’s The Elephant Man
3 Performing P.H.*reaks
4 Still Lives: Metaphor and Disability
5 Disability and Theatre: Authors 103
104
106
109
113
Disabled Dance and Dancerly Bodies
114
Ballet’s Pleasures
Dancetheatre: Learning to See Differently
Case Study 1: Edge Spaces of Contemporary Disability Dance:
AXIS/Dandelion Dancetheater Case Study 2: Bill Shannon, Dance and the Street
115
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Exercises
8.1 Watching Dance 8.2 Witnessing Dance
8.3 Wheels
8.4 Dance>Detour 8.5 Dance on the Internet
117
117
118
118
128
Topics
Dancing Wheels Dancetheatre Staree/Starer Encounters 119
120
121
Activities
1 Marketing and Disability
2 Anthropology of the Street
126
127
Superheroes and the Lure of Disability
130
Sensualities: Wheelchairs in Murderball
Performing Fantasies with Guillermo Gómez-Peña
The X-Men and Sleek Mutant Surfaces
Minority Reading Practices
Blindness, Visuality and Daredevil
130
132
137
141
143
Exercises
9.1 Loving Props
9.2 Stereotypes
9.3 Postcolonial Disability Studies 9.4 Colonial Madness
9.5 Hybridity
9.6 Film Review 9.7 Translating Icons
9.8 Comic Book Heroes
9.9 Film Festivals
9.10 Disability History, Material Culture and Visuality: Museum Exhibitions 131
133
134
135
139
140
142
143
147
147
Topics
Postcolonial Aesthetic Nervousness Living Wheelchairs Blind Space Reorienting the City 134
136
142
146
149
Activities
1 Children’s Books
2 Audio Description
3 Design Brief
4 Project Art Consultant
5 Trust Walk
6 Frida Kahlo
142
145
148
148
149
150
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10 Looking at Autism
153
159
160
Exercises
10.1 Subverting the Language 10.2 Experiencing Communication
10.3 Disability Culture Music
10.4 Embodied Memory and Autistic Selves
10.5 Autism Blogs 152
157
159
161
162
Topic
Amanda Baggs 156
Activity
Expanded Performance
163
11 Classroom Activism and Resources
152
Mainstreaming Autism: The Curious Incident of the Dog in the
Night-time
Autism and Performance
Shrouded Representation: Autism on the Experimental Stage
165
1 Connecting Students toward Change
2 Disability History Markers
3 Pride Parades
4 Public Protests
5 Wikipedia Activism
6 Art Activism
Resources: An Exercise
165
165
166
166
166
168
169
Exercises
11.1 Pride Parades
11.2 Occupy
166
166
Activity
Autism Speaks Protest 168
Appendix For Teachers
170
Quotes170
171
Exercises Developed Exercises and Activities
171
171
The Observation Wheel
Exercise
The Observation Wheel: Cultural Difference and Ways of Knowing
172
Bibliography 174
Index181
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1
Setting Up
In this chapter, you will gain some beginning insights into these issues:
•
•
•
•
•
Disability accommodations
Fuzzy communication and multimodal classrooms
Classroom conventions and interdependence
Disclosure and privilege
Ethics of accommodation and their complexities
It’s the first meeting of a disability studies classroom, or the beginning of a
course section on the theme. You are likely among a predominantly nondisability-identified group in the room, maybe with some people who are
easily externally identified as disabled, plus some who come out as disabled
over time. It is pretty likely that you have people among you who choose for a
variety of reasons not to out themselves. A lot of you might have experiences
of disability in your families, or other personal connections to disability. There
is a lot of knowledge among you.
Your teacher will likely have been informed of sensory access issues
before classes start, and there might be a sign language interpreter or a
CART (Computer Assisted Real-time Translation) reader set up in the room,
either for the whole group or assisting a particular student. There might be a
student’s note taker in the room, other assistants, or service animals.
E xercise 1.1
Disability Accommodations: What Is Out There?
List all the accommodations you have encountered in classrooms you have been
in. As we are now living in a world that reaches more and more toward disability
inclusion, most of you will have had contact with disabled peers over your
careers in school settings. So, as a classroom community, we should be able to
create a long list here.
When done with the list, research the technologies you are not familiar
with, which might be ones like communication boards, screen readers,
induction loops, or the like. Also look at mechanisms not usually included in
accommodation lists, such as stimming devices, compression vests, scent-free
environments, or interaction badges.
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If your institution has a disability access provision hub, visit it, and see what kind
of accommodations and services are provided or organized there. Are there
low-stimulation quiet rooms, for instance? Do you think that gender-neutral
bathrooms fall under the category of accommodations?
The CART transcriber usually sits somewhere to the side of the class, and
she takes down everything I say and types it. The type appears as text on
a screen behind me. Studying and teaching with CART shakes things up in
interesting ways. Here’s my experience, from the teacher’s side.
As I am saying hello to my students in the first class, I can see their eyes
doing all kinds of interesting things. Some are being riveted by my wheelchair,
and by the spectacle I present in it, and I know that they will hardly hear what
I say at that point. Some eyes leave my talking face and drift up and sideways,
to where the text of my welcome appears as moving type on a screen. And
I address this: eyes move to screens, away from faces, disrupting ideas of
normative communication protocol, setting up new communicative spaces
and new ways of doing things.
A lot of us as students and teachers are used to reliable text. CART, on the
other hand, is useful, but hardly reliable; it needs to be read with a grain of
salt. Much gets garbled, in particular if speakers speak too fast for the scribe to
keep track, or if a lot of unfamiliar words are used. CART can drop whole lines.
There’s a whole genre of jokes about CART transcription out there in disability
culture land.
In a disability-focused classroom, whether equipped with CART or not,
we can learn that information is unreliable, and that all communication is
complex. This is true for audio access, too. Information is fuzzy, and those
of us who rely on hearing do not hear everything, are distracted, shift in our
seat, miss a beat, hear something that sounded familiar but might have been
something else.
Multimodal approaches can embrace these interesting diversities of
learning styles and ubiquitous communication gaps. Is it easier or harder to
follow an argument when it gets charted live as a diagram on a blackboard,
whiteboard, or Smart Board? What are good ways of using presentation
software to structure complex arguments and support audio input?
A multimodal classroom that combines visual, audio, experiential, and
other information avenues prepares us for fuzziness, redundancy, and
diversity. Our access technologies can help us understand the complicated
make-up of all communication, and the meaning-making activities we are
engaged in every time we are reaching from our own mental world into
another person’s world.
E xercise 1.2
Playing with Classroom Conventions
Rearrange yourself. Get up, and change your position in the classroom: find
a body shape and a part of the room in which you can make a comfortable
temporary home. What does your body position look like?
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Look around. Some of you might be curled up, some stretched out, some
leaning comfortably into corners, some hovering on window sills. Some probably
continue to sit in a chair, some are away from others, some are in a group. You
might choose to put the lights out, and experience non-artificial light, if you are
in a room with windows.
Shift again, to take up a new position. Go through this a few times. You are
becoming familiar with your classroom in a different way, and you are exploring
new spatial relations to one another.
Development Option
Come together – but do so on the ground, in a space created between the
tables (if you are in a room with movable furniture). Create a loose star, lying on
your bellies, facing inward. Whoever is uncomfortable on the floor, or finds it
hard to take up this particular shape, can orient themselves in a different way.
The star responds to their position, including them wherever they are. Take note
of how it feels to be so close. Nice/uncomfortable/complicated?
Now shift onto your backs, if you are easily able to do so, and look up at the
ceiling – everybody is now in their own visual domain, without the demand for
eye contact. You can experience the freedom of not having to respond visually/
physically to people as they speak, listening without having to do the small
movements of nodding or blinking that we use to communicate that we are
following a speaker. What happens in this position? Do you drift, or does your
attention sharpen?
Feedback
Eventually, move back to the relative safety and comfort of chairs. Have a brief
discussion, not a fully developed one, as much of the information gained in these
early experiential sessions is emotional and reflective, not something easily shared
in quick responses:
• What kind of information style works best for you?
• What impact do various spatial orientations have on you?
• What makes you feel safer and more connected – visual access or auditory
access, a mixture, something else?
• Do you like being closer to or further away from people?
• How does freedom from eye contact impact your sense of wellbeing?
• What are the rituals with which we sustain classrooms?
As you find your way through this study guide, see if you can reach
back to these embodied exercises, and find ways of holding against
normative rules for classroom engagements, in agreement with your
teacher and fellow students.
Maybe get up to sit by the window, taking in sunshine while participating,
or lean against a wall for a while. Turn off florescent light, if that is workable,
and does not interfere with clear sightlines for people who lip-read. If you
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know that you can experience panic attacks, maybe you can share some
information about social management with a fellow student. And that might
just be to say to the rest of the room, “she is having a panic attack. Just let her
be.” Even if you choose not to do so, reflect on that choice, and about what it
says about the different kinds of pressure you are operating under.
Some openings in classroom can be discussed and analyzed, and some can
more easily be intuited. As students, you are co-creators of your classroom,
and you can work out rules for engagement with each other.
Practicing Interdependency
Kristina Knoll, a women’s studies researcher, writes about her feminist disability pedagogy:
0
To escape some of the ableistic restrictions on learning, I teach and practice what I call
‘interdependency’ in the class room (Doe 11). I model interdependency from the onset of a course
by acknowledging to the students that I, the instructor, am dependent on them in order to have
a positive learning community together.
I have someone read the syllabus aloud, and I explain to the students that I will need to depend
upon them from time to time to read visual material aloud. This can really impact a student, as
the university instructor is sometimes considered a pinnacle of able- and mindedness. Instructors
can come up with additional ways to demonstrate their relation to interdependency, like having
one or two students help with monitoring class time, or writing things on an overhead as the
instructor dictates a mathematical equation. (Knoll, 2009: 129)
Safer Space
0
Experiential and multimodal classrooms are works in progress, and they continue to provide many
challenges. We still operate within the constraints of the university as an institution, and within the
contours of a largely inaccessible world that has denigrated disabled people and many others for a
very long time. Given these histories and realities, it is important to be clear about limits, too:
The term safer (rather than safe) refers to the idea that no space is ever truly safe for all
possible users/participants, and as such it emphasizes flexibility and adaptability for a variety
of users and participants. The term safer also encourages an attitude of improvement and
the idea that creating accessible spaces is a process of evolving attitudes and practices, rather
than an unattainable end goal in which a space is fully welcome and accessible to all people
at all times. (Yergeau et al., 2013; see also Price, 2011, for discussions of safety and mental
disability in university settings)
Having loosened parts of our ideas of classrooms a bit, can you go further?
• Who is not in the room with you? Why?
• What ideas of education, access, communication practices, and definitions
of knowledge have created the particular classroom communities we find
ourselves in today?
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• How do racism, sexism, ableism, homophobia, classism, and other ways
of defining “the norm” shape what we learn, and how we are shaped as
learners?
• Who would not have been in this space with you 20 years ago? 50 years
ago? 100 years ago?
• How have our cultural ideas of who is human, and who is educable,
changed over time, and how do they continue to change?
• What alternatives to a university classroom exist? How else do people
educate themselves? How does disability fit in there?
In the chapters that follow, intersectional perspectives on disability will give
you more insights into how different kinds of oppression work together and
through concepts of disability.
Disability Disclosure and Privilege
0
In a blog post about an academic conference on Disability Disclosure in/and Higher Education,
US-based rhetoricians Stephanie Kerschbaum and Margaret Price speak about how privilege and
disclosure inform one another.
As you read through this excerpt and reflect on the topic, think about who is economically enabled
to claim disability accommodation – testing for learning differences might be expenses carried by
parents, and much educational advocacy work can only be engaged in by people with the time and
educational means to do so.
Think about other ways in which power, privilege, and histories of oppression might shape who can
feel comfortable claiming disability.
We … confronted the ways that disability literacy deeply engages intersections between
disability and other identity categories. Whiteness provides both of us enormous privilege, and
affords us, in many cases, the energy and inclination to call out our disabilities and to engage
in work that will expand access – for ourselves and for others – across myriad institutional
spaces. Both of us make choices every day regarding the degree to which we will call attention
to – or keep under wraps – our experiences of disability, and we also make choices about how
much to invite others to think about their own experience of disability through interactions
with us. (Kerschbaum and Price, 2014)
Case Study An Ethic of Accommodation
r
One more challenge. What kind of classroom do you want to be in? How open
can you be, given where you are, and what you want to do with your life?
Here are the words of three US-based theatre practitioners, Terry Galloway,
Donna Marie Nudd, and Carrie Sandahl, and their manifesto for an ethic of
accommodation. You can find links to their work online, videos created in the
community theatre workshops of the Mickee Faust Club. They write:
this ethic is not abstract to us, but integral to our work and lives. We have
all been affected by traditional practices of theatre that still ensure that
disabled, queer, female, non-white bodies remain a rarity on stage, except in
Setting Up
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roles that reinforce the most demeaning stereotypes. We feel the exclusion
personally because of our own bodies (Terry is deaf and Carrie has an
orthopedic disability), because of our queer and radical politics (Donna and
Terry are lesbians), and because of our families (Carrie has a transracial
family formed through adoption). We three share a commitment to social
justice and in the spheres we can influence, we attempt to make structural
changes toward flexibility and openness. (Galloway et al., 2007: 228)
Below is the manifesto the three put forward. As you read through this,
think about theatre practices you are familiar with, and about working
methods, ways in which a play is created and performed. What opportunities
for difference can emerge from this manifesto? Think about the implications
for adopting a similar stance for yourself, in a school, a university, or in a
creative production setting.
Is this ethic a good thing to work toward, always, or is it complicated? Why?
Would this be challenging to you, and how can you think about these challenges?
1 At its core, an Ethic of Accommodation means that the majority does
not rule. Instead, accommodation means including everyone wanting
to participate, often necessitating that the majority make difficult
changes in its practices and environment. These changes are not made
begrudgingly, but with goodwill, creativity, and a strong dose of humor,
elements that often find expression in the performances themselves.
2 The ethic includes the politics of listening as well as the politics of
speaking. Whereas most minority groups maintain that they have been
‘silenced’ by the majority and thus place speaking at a premium, disability
communities often place listening on the same plane. People with
disabilities often feel they have not been listened to or even addressed. In
this context, listening does not have to happen with the ears. Listening,
here, means being taking into consideration, being attended to.
3 The Ethic of Accommodation means making room for difference
possible, letting go of preconceived notions of perfectability, and
negotiating complex sets of needs. Often these ‘needs’ compete with one
another. Accommodating disability or other forms of difference often
does not seem practical or marketable, since doing so often raises costs
or necessitates work that seemingly benefits only a few. Marketability is
not our concern.
4 The Ethic of Accommodation inspires creative aesthetic choices from
casting, choreography and costuming, and also the use of space for
the creation of new material. Practicing the ethic enhances theatrical
practice. (Galloway et al., 2007: 229)
Can an ethic of accommodation inform a classroom environment? Would
you want to modify this manifesto? Why and how? You might wish to come
back to this statement as you move through this study guide.
In the pages that follow, we can search for provisional answers to issues of
access as an action, an ethic, and a co-created interdependent agenda, rather
than a fixed state.
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Index
Bold page nos refer to exercises
ableism, 24, 36
access technologies, 3, 4
accommodation, 3–4, 7, 27
ethic of, 7–8
activism, 27–8, 29–30, 67, 68–70, 91–2,
121–3
classroom exercises, 165–9
see also ADA; ADAPT; arts practice
ADAPT, 93
A Different Light Theatre Company, 109
aesthetic nervousness, 136–7
aesthetics
ballet, 115–16, 117
and the body, 53, 54, 141
boundaries, 98
disability culture, 112, 130, 141, 162
Graeae, 102
nonlinear, 72–3
public, 53–4
see also dancetheatre; signifyin’
affirmative model of disability, 32
Americans with Disabilities Act (ADA), 12,
67, 165
Anzaldúa, Gloria, 139
AOW: Remix, 124–5
Arnieville, 68–9
art, 10, 25, 142, 150–1
consumption, 57
installations, 89–90
multimedia, 94
online visual arts resource, 148
portraiture, 30, 99
sound, 50–1
Artaud, Antonin, 135
arts practice, 10, 25–6, 32–3; see also
metaphor
assistance devices, 131–2
asylum porn, 82
asylums, see Bedlam; Baglione image
audience, 97–8, 101–2, 106, 120, 123
audio description, 79, 112, 145
autism, 152, 154–7
autistic perspectives, 155–7
blog resources, 162–3
and metaphors, 153–5, 159, 160–1
and neurodiversity, 13
and performance, 159–63
“quiet hands,” 161
representations of, 152–5
sensory differences, 44
see also classroom exercises
Autism Speaks, 168
Autistic Self Advocacy Network, 60
AXIS Dance Company, 114, 121
Back to Back Theatre Company, 103–4
Baggs, Amanda, 156–7
Baglione image, 78, 79–80
Baglione, Herbert, 79
Bahan, Ben, 18
Baizley, Doris, 106–7
Bakhtin, Mikhail, 102
ballet, 115–6, 117, 118, 119
Bascom, Julia, 161
Bauman, H-Dirksen, 17–18
Bausch, Pina, 120
Bedlam, 160–2
Bell, Chris, 47
Berent, Stanley, 97–8, 100, 101
Berne, Patricia, 16
bioethics, 18, 24
Blair Witch Project, 144
blindness, 27, 48, 71, 73, 146–7
representations of, 143–4
blogs, 7, 88, 162, 166
autism blog resource, 163
Boal, Augusto, 37–8
bodily differences, 35–6, 44, 63, 97–101,
106, 132, 151–2
see also social model of disability
Index
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Body and Soul, 77
body, the,
carnivalesque, 102
dancerly, 115–16
“healthy,” 53–4
as metaphor, 54
normate, 115
social identity and, 22
see also bodily differences; bodymind;
dancetheatre
bodymind, 37, 41–2, 43, 44, 72
Braille, 36, 146
Brueggemann, Brenda, 64
Burke, Theresa, 18
Butoh, i, 129
Butler, Judith, 22
Call Me Ahab, 74
carnivalesque, 102
CART (Computer Assisted Real-time
Translation), 3–4
Carter-Long, Lawrence, 17
casting, 108–9
cerebral palsy (CP), 17, 34–6, 51, 144
Chemers, Michael, 141
Chen, Eric, 155–6
Cheu, Johnson, 62–3
Clare, Eli, 34–6, 37
classroom exercises (selected),
activism, 165–9
composing narratives, 142–3
defamiliarizing, 53–4
defining terms, 60, 65, 75, 79
embodied, 4–5, 19, 37, 42–3, 45–7, 68,
72, 127–8, 161
field notes, 66–7, 69
sensory access, 54, 79, 112, 117, 128,
145–50, 163–4
study circle, 75–6
theatre, 105, 108–9, 112
web, 57–8, 64, 148, 153, 166–7
code-switching, 27
cognitive differences, 90, 109
see also Back to Back; A Different Light;
Magpie
communication, 57, 64, 112, 157, 162–3
deep, 156–7
and design, 14
differences, 44, 51–2, 63
gaps, 4
concept mapping, 10, 52, 57, 58
Conquest of Mexico, 135
Cordova, Peter, 25–6
counteridentification, 39
182
Crenshaw, Kimberlé, 47
“crip,” 16–17, 29, 39
theorizing, 30, 32
crip culture, 17, 31, 91–3
Crip Couture, 132
performance, 126
supercrip, 35, 144
crip/krip, 16–17, 20
crip time, 51–2, 127
Cripple Poetics, 15
critical race theory/feminism (CRT/F), 47,
49
Crow, Liz, 64
Crutchmaster, see Shannon, Bill
cultural identity, 10
culture, 65
crip, 17, 31, 91–3, 132
dance, 114
Deaf, 13–14, 17–18
material, 147
minority arts, 33
Native American, 25, 172, 65
queer, 31
zine, 73
Curious Incident of the Dog in the Night-time,
The, 153–6
Curtiss, Charlene, 118
“Cyborg Manifesto,” 139–40
dance, i, 114–16, 117, 118–19, 124–6, 129,
160–1
Internet resources, 128–9
and racial representation, 117
and wheelchair users, 115, 118, 119
Dance>Detour, 118–19
dance literacy, 115, 128
dancetheatre, 120
Dancing Wheels, 119
Dandelion Dancetheatre, 121
Daredevil, 144–6
Davidson, Michael, 73
Davies, Rhian, 27–8
Davis, Lennard, 25
Day of Mourning, 60
Deaf culture, 13–14, 17–18
deaf/Deaf, 13–14
Deaf Gain, 17–18, 20
deafness, 13, 18, 50–1
DeafSpace, 49–50
Death to the Puzzle Piece, 168
design, 27
apartheid, 53–4
and communication, 14
DeafSpace, 49–50
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disability, 9, 10–11, 15, 35–6, 39, 80
fantasies, 133–4
hierarchies, 59, 60
and identity, 10, 26
and indigeneity, 26, 65, 166, 172
and public space, 54, 67, 68, 69
and race, 16–17, 22, 49
and sexuality, 30, 31, 45, 63, 80, 100–1
visual rhetorics of, 30
compare to impairment, 27, 35–6
disability arts ghetto, 33
disability culture, 57–9, 65–6, 69, 70, 72–4
aesthetics, 112
music, 16–17, 159
resources, 57–9
“Disability Culture Rap,” 16
disability history, 21–2, 64, 106–7, 147, 165
resources, 56
shared, 29–30
of theatre, 107
disability justice, 48
disability labels, 11, 19, 22, 30
and disabled students of color, 49
and indigeneity, 26
disability literature, 25, 52, 71–4, 153–6
resources, 72
disability narratives, 23, 35–6, 44, 83, 152,
155–7
and African-American writers, 134
see also narrative prosthesis
disability politics, 27, 32, 67–9, 86, 121
of listening, 8
see also arts practice
DisAbility Project, 105
disability representations, 13, 15, 16, 23, 25,
143–6
in literature, 153–6
in the media, 19–20
non-disabled performers, 132–3
non-fiction resources, 23
photographs, 30
see also Sins Invalid
disability rights movement, 27–8, 30
disability studies, 29, 46
and intersectionality, 47, 49
and postcolonialism, 134
and queer studies, 29–30, 32, 41
white, 47
disability studies classroom
activism, 165–9
environment and dynamics, 3–5
interdependency, 6
marking discomfort, 11
multimodality, 4–6
research and design in the, 148–9, 150,
169
see also classroom exercises; safer space
Disability Theory, 10
“Disabled Country,” 15
disclosure, 7, 46
“coming out,” 12
discourses of disability, 21–4, 25, 27–9
disidentification, 39–40
Dislocation Express, The, 122–3
diversity
dynamics, 13
of learning styles, 4
see also Deaf Gain; neurodiversity
Dolmage, Jay, 54
ekphrasis, 79, 95
Electricwig, 14
Elephant Man, The, 104–5
Elman, Julie Passanante, 54
embodiment, 39, 43–4, 46, 68, 124–5, 126,
128
complex, 34–6
see also classroom exercises;
phenomenology
enmindment, 44, 46, 72
epilepsy, 106
Erevelles, Nirmala, 49
ethic of accommodation, 7–8
eugenics and euthanasia, 64
fantasy
embodiments, 127
fanaticizing disability, 133, 134, 135–6
identities, 46
and race, 132–4, 135–6, 138
feminism, 47
and critical race theory, 49
and queer crip theory, 32
see also Anzaldúa; Haraway; Sedgwick
Feminist Queer Crip, 32
Ferris, Jim, 84, 85, 86
films, 77, 135, 137–8, 141, 143–6
disability culture film resources, 78
documentary, 130
film festivals, 147
Finger, Anne, 74
Finkelstein, Vic, 27–8
Fittings: The Last Freak Show, 97–8
Flanagan, Bob, 30
Fletcher, Mary Verdi, 119
Foster, Susan Leigh, 115, 116–17
framing, 120–1, 123–6
Fraser, Mat, 96–101
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freak shows, 96–101, 104–5
French, Rebekah, 160
FrenetiCore, 160
Gallaudet University, 14, 49–50
Galloway, Terry, 7–8
Ganesh Versus the Third Reich, 103–4
Garland-Thomson, Rosemarie, 11–12, 30,
98, 121, 134
Gates, Henry Louis, 39
gender, 22, 34, 39–40, 53
performance, 46
Giebink, Tom, 118
Gill, Carol, 61, 62
Goffman, Erving, 82–3, 133
Goggin, Gerard, 26
Gómez-Peña, Guillermo, 132–6, 138
Good Kings Bad Kings, 52
Gosling, Ju, 33–4
Graeae Theatre Company, 97, 102, 103,
108–9
Great Escape Bed Push, 69–70
Griffis, Damien, 26
Grigely, Joseph, 89–90
Guthrie, Kimiko, 122
Haddon, Mark, 153–5
Hall, Stuart, 10
“handicap,” 126
Haraway, Donna, 22, 139–40
hate crimes, 60
Hershey, Laura, 95
Heumann image, 30
HEW Sit-in, 106–7
Hill Collins, Patricia, 47
“history from below,” 21–2
HIV/AIDS+, 45
Horn, Ashley, 160–1
Hospital Poems, 84–6, 90, 92, 93
hospitalization, see institutionalization
human/animal distinction, 26, 97, 92, 98, 99
Hunt, Paul, 28
hybridity, 133, 134, 138, 139–40, 142
see also X-Men
identity, 22, 33, 34, 39
cultural, 10
constructed, 12
and disability, 10, 26
instability of, 10
as performance, 22, 40
see also performativity
ideology, 39–40
impairment, 27, 28, 35, 36
184
indigeneity, 26
see also survivance
institutionalization, 77, 83–4, 87, 92–3
as event, 88–90
and postcolonialism, 135
see also Good Kings Bad Kings; Hospital
Poems; sites of separation
intellectual disabilities, see cognitive
differences
interdependency, 6, 61, 68
object, 131–2
Johnston, Kristy, 60–1
Kafer, Alison, 32
Kahlo, Frida, 150–1
Kempe, Andy, 108–9
Kerschbaum, Stephanie, 7
Kleege, Georgina, 146–7
Knoll, Kristina, 6
knowledge, 21–2, 23
organizing, 29, 27, 32, 41, 166
see also intersectionality
Knowles, Christoper, 159
Krip-Hop Nation, 16–17
Kupers, Eric, 122–3
Kuppers, Petra, 15, 69, 168
Kuusisto, Stephen, 146–7
La Pocha Nostra, 132–3
language
African-American vernacular poetics, 39
crip/krip, 16–17
deaf/Deaf, 18
of disability, 9, 11, 13, 16, 17, 19, 20, 22
embodied, 19
and self-determination, 83
see also performativity
Latimer case, 60–1
learning disabilities, see cognitive differences
legends, 9
Lehrer, Riva, 99
Lewis, Victoria Ann, 106–7, 108
Light Motion Dance Company, 118
Linton, Simi, 22
Living Museums of Fetishized Identities,
132–3, 134, 136, 138
McDonald, Anne, 51–2
McRuer, Robert, 30–1
mad activism, 69, 82
resources, 83
madness, 20, 109, 135
Magpie, 120
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Manning, Lynn, 48, 113
Marcalo, Rita, 106
Marcus, Neil, 15, 28–9, 72, 73, 168
marketing, 127, 168
media, 19–20, 59–60
medical-industrial complex, 24, 52, 59, 62–3
medical labels, 13, 24, 82
medical model of disability, 23–4, 27, 34, 38
Mee, Charles (Chuck), 109, 113
memory and PTSD, 94
mental health differences, 69, 82, 83, 86, 109
see also asylums; institutionalization
Mercy Killing or Murder: The Tracy Latimer
Story, 60–1
mercy killings, 59–61
Merleau-Ponty, Maurice, 71
mestiza consciousness, 139
metaphors, 74, 110–11, 112, 136, 139
and autism, 153–5, 159, 160–1
body as metaphor, 54
racialized, 134
resources, 74
Mickee Faust Club, 7, 74
middleness, 25
Minear, Andrea, 49
minority cultural experiences, 97
minority identity groups, 33, 34
minority reading strategies, 141, 142
Mitchell, David, 73
models of disability, 23–4, 27–9, 32–6, 38
see also narrative prosthesis
Moore, Frank, 63
Moore, Leroy, 16–17
Mourning Dove, 61
multimodality, 71, 73, 112
and the disability studies classroom, 4, 6
Muñoz, José Esteban, 39
Murderball, 130
Murray, Joseph, 17–18
music
and disability culture, 16–17, 159
see also sound art
narrative prosthesis, 73–4
narrative function of disability, 23
narratives
autism, 153, 162
superhero, 137–8, 143–5
wheelchairs as narrative props, 132,
137–8
see also classroom exercises
Nazis, 64, 103, 104
neurodiversity, 13, 160, 162
Newell, Christopher, 26
Noodin, Margaret, iii
normalcy/normalization, 23–5, 27, 28–31,
73–4, 79, 98
normate, 11–12, 115
Not Dead Yet, 91
Nudd, Donna Marie, 7–8
Nussbaum, Susan, 52, 113
“Oats and May,” 62–3
Observation Wheel, 171–2
Oliver, Michael, 35–36
oppression, 17, 29, 36, 47, 61
O’Reilly, Kaite, 108, 113
pain, 32, 36, 43–4, 85, 90, 91–2
painting, 80, 142, 147, 150
Papalia, Carmen, 149
paraphernalia, 131–2
see also wheelchairs
Park, Suzan-Lori, 104
passing, 12
peeling, 108–9
“people first” language, 11, 13
performance
dialogic model of, 37, 38
ethics of, 104–6
expanded 163–4
gender, 45
identity as, 22, 133
race and fantasy, 132–3, 135–6, 138
and wheelchair users, 135–6, 138
see also freak shows; Murderball; Sins
Invalid
performance art, 31, 63–5, 106–7, 121–3,
149, 168
see also freak shows
performativity, 45, 46, 124
performing madness, 109
P.H.*reaks, 106–7
phenomenology, 71
physical disabilities, see bodily differences
Plath, Sylvia, 86–7
poetry, 15, 48, 62–3, 74, 92–3
writing activities, 84–8, 90, 92–3, 95
Post Traumatic Stress Disorder (PTSD), 94
postcolonialism, 134–7
see also hybridity
Price, Margaret, 7
privilege, 7, 22, 40, 134
protests, 67–70, 91–2, 166, 168
psychiatric institutions and forced
treatment, 69–70
psychosocial disabilities, see mental health
differences
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public/private, 54, 67–70, 127–8
sites of separation, 78, 84, 88–90, 91–2
see also total institution; Hospital Poems
Pullin, Graham, 14
Quayson, Ato, 136–7
queer crip theorizing, 29–30, 31, 32
“coming out,” 12
race, 117, 119
and casting, 109
and dance, 117
and disability, 16–17, 22, 49
and disability studies, 47
and embodiment, 46
and performing fantasy, 132–4, 135–6,
138
and privilege, 7, 22
“Reframing: From Hearing Loss to Deaf
Gain,” 18
“relaxed theatre,” 163
resistant reading strategies, 80–1
Retina Dance Company, 120
Roberts case, 59–60
Rose, Sheree, 30
safer space, 6
Samuels, Ellen, 12
Sandahl, Carrie, 7–8, 29–30
Savarese, D.J., 44
Schwarzenegger, Arnold, 68
Schweik, Susan, 67
sculpting, 37–8
Sealboy: Freak, 96–101
Sedgwick, Eve Kosofsky, 141
self-advocacy, 90
self-determination resources, 83
Senier, Siobhan, 166–7
sensory access, 3, 44, 50–1, 145–7
see also classroom exercises
sexuality
and disability, 30, 31, 45, 63, 80, 100–1
“freak,” 97, 100–1
and space, 54
Shabban, Somiya, 14
Shannon, Bill, 124–7
Shannon, Jeff, 140
Shapiro, Laura, 124–5
Sher, Emil, 61
Shrafer, Tam, see Sealboy: Freak
Siebers, Tobin, 10, 53–4
Sign Language, 12, 13, 19, 24, 95
signifyin’, 39
simulation exercises, 53, 121
186
Sinclair, Jim, 152–3
Sins Invalid, 16, 31, 57
Snyder, Sharon, 73
So You Think You Can Dance, 114, 115, 128
social inequality and justice, 83
social model of disability, 27–8, 32, 34,
35–6, 38
sound art, 50–1
Soyinka, Wole, 136–7
Special Effects: Advances in Neurology, 73
speech differences, 15, 24, 36, 51–2, 73
spirit murder, 49
Stage Left, 60–1
Star Wars, 28–9
staring, 121
Step Fenz, 125
stereotypes, 53, 119, 133, 136, 152, 160
Still Lives, 110–11
Stinson, Liz, 49–50
Sun Kim, Christine, 50–1
survivance, 65
see also indigeneity
Svetvilas, Chanika, 89–90
Swan, Rachel, 122–3
Taylor, Sunaura, 142
Téllez, Javier, 135
That Uppity Theatre Company, 105
theatre, 60–1, 103–4, 109–11, 124–6
aesthetic of access, 102–3
and disability history, 107
experimental, 159–60
see also classroom exercises; ethic of
accommodation; freak shows
Theatre of the Oppressed (TOTO), 37
total institution, 82–3
“Tulips,” 8
ugly laws, 67
Union of the Physically impaired Against
Segregation (UPIAS), 28, 35
universal design, see DeafSpace
Van Daalen, Johanna, 14
Venus, 104, 105
Verrent, Jo, 106
visceral affect, 145–6
visual rhetorics of disability, 30
Vizenor, Gerald, 65
Wade, Cheryl Marie, 16
Walker, Nick, 13
Wallace, Alana, 118–19
wellness, 55
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wheelchair users, 63, 123
and dance, 115, 118, 119
and performance, 135–6, 138
see also Murderball
wheelchairs, 78, 79–80, 130, 132, 134, 135–6,
138, 141, 142
Wikipedia activism, 166–7
Wilcox, Sadie, 94
Williams, Patricia, 49
Williams, Raymond, 21, 49, 65
Williamson, Aaron, 17–18, 33
Wilson, Junius, 83
Wobbly Dance Company, i, 129
X-Men, 137–8, 140, 141
Yergeau, Melanie, 6, 88–9, 168
Yi, Chun-Shan (Sandie), 131–2
zine culture, 73
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