Ableism and Creativity #02

Part II – Learning

This is the second part of the “something is missing” series on creativity and ableism. If you haven’t read the first part, we recommend doing so. You can find it here. Please note that we put the entire series behind the paywall because it is one of our research-heavy pieces.

For this week's issue, I collected learnings, experiences, and knowledge related to inclusion concepts. It's a compilation of sources, links, and fragments. Furthermore, I asked friends, friends of friends, and professionals working in creative fields for their experiences and knowledge on disability, inclusion, and ableism.

 This newsletter is structured into seven parts, each introduced by a banner image. The first one features a detail of the print “The Passion for Love” by Claude Gillot (1673–1722) and Jean Audran (1667–1756). At the center is a winged putto holding a bow, surrounded by approximately 30 to 40 nude figures. The scene is set against a forest backdrop. I chose this image because it symbolizes community and love, both essential for empathy, and empathy is crucial for inclusion. The banner reads “Personal Learning,” which is the headline for this section.

Personal Learning

I am a curious person. I love to learn new things (at least most of the time). Many of these things I have learned directly or indirectly from other people. Because meeting someone with a different perception of the world isn’t rare – we are constantly confronted with different opinions because we all have different experiences and perceive the world differently.

Sometimes, learning can also mean unlearning things you initially thought were true. This process can be painful since parts of our world (view) fall apart. But behind this pain usually lies an even greater sphere, just waiting to be experienced.

Understanding the dimensions behind concepts of disability was an epiphany for me. Yes, it hurt to admit that things I learned and believed were ableist. However, instead of ignoring this hurt, I preferred to transform it into empathy so that I could feel and better understand other people and their perspectives. To me, this is the most rewarding creative freedom I know.

This banner reads “Practical Learning,” which is the headline for this paragraph. The text is placed on a detail of a black-and-white image depicting historical tools.

Practical Learning

Several concepts connect disability with creative processes. Although designers have historically claimed to put functionality at the core of their discipline, this functionality has been mainly suitable for a particular group: white, fully-abled, cisgender men.

Djamal Elangui Okoko, a designer and a friend of a friend, wrote his bachelor’s thesis on “Design and Disability: A Reflection on Inclusion-Related Design Approaches from the Perspective of Disability Studies.” By reading it, I learned that several concepts of inclusiveness exist: Design for All, Universal Design, and Accessibility. (So far, the thesis is only available in German. However, if you are interested in reading it, feel free to contact me, and I will connect you with Djamal.)

From another friend, I learned about the concept of the Aesthetics of Access. This term describes a process where access is not just added at the end but becomes part of the artistic process. This concept is mostly established in the theater scene. However, I believe it is also applicable to other spheres of creative output. The concept of Aesthetics of Access doesn’t assume that something is “already functional” or has a “normal way of perception” that needs to be translated for, let's say, blind people. Instead, the experiences and expertise of people with disabilities are used to create entirely new forms of creative output. This approach can lead to inclusive art and design experiences and new methods of thinking and creation.