Principles of Inclusion: Disabled Artists
I was reading about the societal perception of the artist that lives with disability and the categorical response they receive from institutions, individuals, and outside perceptions. This labeling induces a self-image that is often in conflict with authoritative groups that work in parallel with each other. Alex Lubet describes the issues he had with various institutions like the ADA and officials at his University where he teaches on how to appropriately acknowledge and accommodate his needs as a disabled musician. The legalities and identifying confusions aside, it had a profound impact on his own self-image and sense of personhood.
He writes about an interesting situation, where the idiom of a genre expects a level of proficiency that does not accommodate exception, but individual contribution highlights unique capabilities that generic composition cannot account for. For example, professional classical music has a standard of competency and a presumption by the composer of what will be possible for skilled ability to recreate the piece. Individual style is not considered. A person whose talent is renowned but not part of the repertoire is hardly expected, let alone would the work expect the accommodation necessary for the disabled. However, a disabled artist that composes their own music would obviously accommodate their own abilities as part of the performance expectations, and on occasion, write music that is unique to particular competencies that their abilities afford them that alludes “able bodied” musicians. Alex Lubet cites his example of writing music for the guitar that highlights an extraordinary left-hand technique that he built from compensating for his disability affecting his right hand. In his book Music, Disability and Society (Temple University Press, 2011) he articulates the unique challenges and identity conflicts that are associated with being a disabled musician. Lubet is one of the pioneers in bringing the field of musicology to the Society for Disability Studies. This group today publishes and advocates for:
· “Challenging the view of disability as an individual deficit or defect that can be remedied solely through medical intervention or rehabilitation by "experts" and other service providers,”
· “Studying national and international perspectives, policies, literature, culture, and history with an aim of placing current ideas of disability within their broadest possible context.”
· “Encouraging participation by disabled students and faculty and ensuring physical and intellectual access.”
· “Prioritizing leadership positions held by disabled people. At the same time, it is important to create an environment where contributions from anyone who shares the above goals are welcome.”
(From https://disstudies.org/index.php/about-sds/what-is-disability-studies/ )
A quick glance at the SDS 2019 Conference program shows a multitude of topics that advocate for these principles, in addition to fascinating perspectives on modern music practice. “The Double Consciousness of Blind Blues Musicians: African American Protest in early 20th century American Race Records (Jonathan Lower)”, and roundtable discussions like “Teaching on Wheels: Bringing a disability perspective into the classroom (April Couglin)” are just a few of the title heads that pepper this important gathering for helping disabled musicians flourish. Alex Lubet writes, “Disabled Studies (DS) in music should be like DS in every discipline, deeply concerned with exposing the travails of disabled lives in the interest of advancing their betterment.”
While virtuosity and disability are no stranger to each other, the artistic endeavors of all those who seek the comfort, creative release, and joy experienced by musical expression are still far too easily stifled by access barriers. While history has a long line of musical genius that has contended with various disabilities like Beethoven (deaf), Rick Allen of Def Leppard (missing arm), and Michael Jackson (lupus) and stigmas that go with them, the social and logistical challenges that face these artists still persist and need careful devotion to improvement.
Sam Davies of The Guardian interviews disabled female musicians in his article (Jul 2019) and discovers a wide range of creative individuals whose passions led them to create their own instruments where the industry failed to meet accommodations. Collaborating with engineers, these artists were able to find methods the facilitate their creative outlets and allow them to share their art with the world. He writes about Lia Mice, a PhD student at the time, and creator of a one-handed violin. Mice says she was inspired out of frustration with music classes that excluded disabled students by teaching the whole class on the same instrument. These motivated individuals help break down barriers and prejudices not only for the disabled artist, it also helps build the idealisms of acceptance in all walks of life.
My good friend and bandmate Joshua Bergmann deals with physical challenges on a daily basis. Muscular Dystrophy has altered the way he approaches performance and composition. He also seeks to create spaces for disabled artists to flourish and is working extremely hard on an upcoming project to support this vital part of our industry. In my personal experience with Josh, his incredible skill has always set him apart, but his vivid compassion and expressive sensitivity has made any barrier to his performative endeavors hard to recognize. This outward perception is part of the same confluence that Lubet refers to when the views of the outside world are often out of alignment with the circumstances and abilities of the affected. Josh, Lubet, and Mice are all part of an incredible mix of individuals that contribute to creating a better environment for expression through their efforts. I look forward to talking to Josh more about the specifics of his program in the upcoming weeks.
Music is an expressive tool vital to the hearts and minds of all persons, of all ability. Building paths that create accessibility, inclusion, and compassion is an important part opening channels of expression that connect a broader range of people. What affects the individual links to us globally, and those who seek to open doors, help us all. Here is a clip of Josh Bergmann playing “Leaving Home” by Charlie Poole. Follow him on social media and find out more about his upcoming project to support artists with disabilities.