After watching the reference videos about Adepitan, Sun-Kin and Brown’s individual experiences on how societal structures create the real obstacles for true inclusivity, I decided to bring to my first post two artists for discussion: Amelia Cavallo, an American born blind dancer based in the UK; and Robert McCruer, American Theorist in the studies of transnational queer and disability studies. In both Cavallo’s ‘The Art of Passing’ and McRuer’s ‘Crip Theory’ there is a shared exploration of disability as a multifaceted and socially constructed phenomenon. Both authors challenge traditional notions of ability and normalcy, advocating for a more inclusive and equitable society for people with disabilities. However, while Cavallo’s memoir focuses on personal experiences and strategies for navigating the world as a visually impaired person, McRuer’s ‘Crip Theory’ offers a broader theoretical framework that examines disability as it intersects with a plethora of identity categories such as gender, race, sexuality, and class.

One point of convergence between Cavallo’s reflections and McRuer’s theory is the critique of the medical model of disability. Both reject the notion that disability is solely an individual medical condition and instead emphasise the social and cultural dimensions of disability. They argue that disability is shaped by power dynamics, societal norms, and structural barriers that marginalise people with disabilities.

Moreover, Cavallo and McRuer highlight the importance of representation and cultural narratives in shaping perceptions of disability. Cavallo’s memoir explores the ways in which disabled bodies are often portrayed in literature, film, and media; while McRuer’s theory critiques these representations for perpetuating stereotypes and reinforcing ableist attitudes. However, there are also points of disagreement between Cavallo’s and McRuer’s approaches: while Cavallo’s focuses on personal experiences and individual strategies for navigating disability, McRuer’s offers a more systemic analysis of disability as a social, political, and cultural phenomenon. Cavallo’s emphasis on personal agency and empowerment achieved through — and at times, in spite of — the concept of “passing” (not looking disabled, according to the aforementioned societal stereotypes) contrasts with McRuer’s critique of “passing” as a form of assimilation that reinforces ableist norms and excludes those who cannot pass. In conclusion, despite their different approaches, both of their works challenge readers to interrogate their own assumptions and attitudes towards disability and to work towards creating a more inclusive and equitable society for all. 

Incorporating the insights of Cavallo and McRuer into an Art School teaching context can enhance inclusivity and foster a more supportive learning environment for students with disabilities. Tutors can encourage an open dialogue about disability, challenging stereotypes and promoting empathy and understanding among students. Implementing flexible teaching methods and accommodations, such as providing alternative formats for materials and allowing extra time for assignments, can ensure that all students can fully participate. Additionally, incorporating diverse representations of disability (in performance, theatre and film, as well as theorists in my case on Performance Studies) can broaden students’ perspectives and challenge ableist assumptions. By embracing the principles proposed here, tutors can create a more inclusive and empowering learning experience for all students at UAL and beyond. Quoting Cavallo’s reflection, “I may seem like you, but I’m not the same as you, nor should I be expected to be.”

References:

CAVALLO, Amelia. The Art of Passing. Exeunt Magazine – May 2014 https://exeuntmagazine.com/features/the-art-of-passing/

MCCRUER, Robert. Crip Theory: Cultural Signs of Queerness and Disability. NYU Press 2006