Search results

In this chapter, we explore perceptions of exclusion and inclusion among students registered with the office of disability services at a large urban university in the United States. Our goal is to extend the current discourse on inclusion in higher education settings by drawing attention to social and cultural participation as an underemphasized aspect of educational inclusion and by bringing the perspectives of university students themselves into the discourse. While the general consensus among our interviewees seemed to be that schools and universities do a reasonably good job of developing classroom accommodations to meet their individual academic needs, stigma and social exclusion persist in damaging ways, in and outside of the classroom. A number of participants found solace and empowerment in interactions with other students with disabilities and suggested that until the forces of exclusion and stigmatization can be entirely eradicated, disability-friendly social and cultural activities and spaces designed by and for students with disabilities might provide an oasis of relief in a disabling world. Thus, we conclude that in addition to working towards the ultimate goal of making all aspects of university life disability-friendly, universities might better serve needs of current students by providing social spaces in which students with disabilities can socialize with each other and through which they might co-create and promote their own agendas for future institutional change.

Purpose: Artists with disabilities use their bodies and minds to create art. Yet, the prevailing cultural narrative that art is “therapeutic” for people with disabilities shifts attention from their creative accomplishments to their disabilities. Some ally organizations attempt to challenge the narrative that art is merely therapy for people with disabilities. However, drawing on narratives of “helping” people with disabilities attracts funding. This chapter examines how organizations navigate empowering allies while still maintaining funding.

Methods/Approach: This chapter uses narrative analysis of material accessed through a nonprofit arts-based disability ally organization's website to address two research questions: 1. How do ally organizations both draw on and resist cultural narratives of disability in order to garner public support?; and 2. How do personal narratives of disabled artists associated with ally organizations support and/or resist organizational and cultural narratives about the connection between disability and art?

Findings: The organization uses narratives to address important and sometimes conflicting goals. Personal narratives from artists with disabilities that are available through the website tell a range of stories about art and disability. The organization draws on these heterogeneous stories to position itself as an ally. By including such personal narratives on its website, the organization challenges the cultural narrative that the art produced by disabled artists is merely therapeutic.

Implication/Value: Much of the work on allyship focuses on how individuals can be allies. Examining ways in which organizations frame themselves as allies can help us to more fully understand allyship on multiple levels of social life.

Despite the legacies of many talented artists with disabilities, art programs for people with disabilities are consistently framed as important because of their “therapeutic” value. Such framing is a well-established way for organizations to garner support from publics drawn to images of disabled people as tragic victims and such programs as heroic in offering help. Some non-profit art programs, however, resist this narrative.

Data come from the organizational web-site of a community-based non-profit disability centered arts education organization that takes active steps to challenge traditional tragedy narratives. Data show how the organizational narrative does this by affirming the value of disabled artists and by casting as villains the stigma, discrimination, and misinformation surrounding people with disabilities.

While this organization constructs a narrative that portrays society and art spaces as victims in that they miss out on the contributions to art that people with disabilities can produce, the organization nonetheless must also offer to community stakeholders and potential donors reasons for its existence.

This examination highlights the ways in which this organization navigates the competing demands of fund raising and disability advocacy by constructing organizational narratives that affirm people with disabilities while still articulating the value of the organization to the wider community. This suggests the complex work narratives do and the tensions that can arise when narratives serve multiple purposes for multiple audiences.