The description of artistic production as a ‘contact sport’ resonated with me- it highlights the punishing nature of creativity within the current neoliberal context of the arts and funding structures. For disabled artists, participating in these structures require them to tolerate ‘deep searing series of pain memories.”
“There is a rich complexity to the experience of pained women, belying the homogenised way human bodies are assumed to fit into capitalist infrastructure, including the neo-liberal structure of arts organisations and funding.”
Any artistic endeavour is belied by a compulsion to sacrifice resources and wellbeing in order to achieve the creative output. This framework is something that defined my understanding of artistic production and is one I see perpetuated in arts education.
In order to integrate this knowledge into my teaching, I would need to have more agency over my working conditions. Currently, my teaching role is limited to the delivery of pre written material (designed to meet the exigencies of assessment criteria), and to ensuring my students meet these criteria to deadline. The system I am working in is structured to output graduates, it is bent towards this goal- this is not conducive to the establishing of an inclusive educational environment which requires time, resources and a more holistic understanding of creativity.
As a personal tutor, my conversations with students are dominated by the exigencies of assessment and how they can meet them. This belies all our interactions and dictates their experience of artistic education. While I do not have any students that I am aware of who are suffering from chronic pain, the number of tutees suffering from mental health issues grows year on year. With each assessment deadline there is a pile up of extenuating circumstances applications.
One response to “On ‘Deaf Accessibility for Spoonies: Lessons from Touring Eve and Mary Are HavingCoffee’ by Khairani Barokka”
“Any artistic endeavour is belied by a compulsion to sacrifice resources and wellbeing in order to achieve the creative output. This framework is something that defined my understanding of artistic production and is one I see perpetuated in arts education.”
Thanks for pointing this out. It made me examine some of the neoliberal narratives that are perpetuated around creativity – in films, adverts, fiction, and biographies – the starving/tortured artist who must suffer for their art. Suffering becomes a compelling backstory to add value, and creativity is seen as more authentic if it exacts a mental and physical price. Maybe artists/creatives expect to suffer and not seek help when most needed – which is what happened to Barokka. Ironically, she gave more thought to the care of her audience than she was given as a performer. This is an obviously intersectional issue, exacerbated by cultural and societal expectations of her as a Brown woman. I will do further reading into the ethics of care, particularly how it can be applied in creative and pedagogical environments. And encouraging students to seek help – reassuring them that they won’t be judged and that suffering is not inevitable. To *recognise* their suffering.