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After my first Zoom meeting of the pandemic, I found myself lying on the bathroom floor with my noise-cancelling headphones on, on the verge of a full-blown meltdown, writes Sonya Freeman Loftis, Director of English and Professor of English at Morehouse College.
As an autistic person, I’ve always been
hypersensitive to noise and to visual stimuli—but I hadn’t realized that
a Zoom meeting with my colleagues could cause sensory overload. The
number of images on the computer screen, the amount of movement in those
tiny thumb-nail images, and the speed with which the images had moved,
flashed, and changed—not to mention the obtrusive noise of
malfunctioning microphones and noisy, socially-distanced households—had
been enough to make me physically sick. Although many people tend to
assume that an online event is automatically more accessible than an
in-person event (after all, people can attend without leaving their
homes), this isn’t always the case. Even when online events are more
accessible, one of the lessons the pandemic has reminded me of is that
the act of creating disability access can fundamentally change the
nature of the thing that is accessed.
Photo: ThisIsEngineering from Pexels
In writing my new book, Shakespeare and Disability Studies, I was interested in exploring disability access as art and in exploring disability access as a complicated (and complicating) multifaceted phenomenon. Disability access is rarely just a question of “Can someone with X impairment use Y?” but rather more often a question of “If we modify Y so that someone with X impairment can use it, how does it change the meaning, the experience, and the effect of Y?” Creating access for people with disabilities sometimes means fundamentally changing the nature of the thing that is made accessible, whether the thing made accessible is a Shakespeare play (“the play’s the thing”) or a Zoom meeting. When we change the nature of the thing made accessible, we don’t just create access and inclusion for people with disabilities—we often create a new kind of experience altogether. I continue to be delighted and inspired by the innovative works, events, and objects we create (whether knowingly or inadvertently) when we create access for people with disabilities. Sometimes those new works, events, and objects bear a resemblance to the inaccessible version from which they grew. At other times, they do not...
Disability, in our culture, is stereotyped as loss. Accessibility, in our culture, is deemed as always good, always a gain. It is also often misunderstood as simple and one-dimensional, as easy to understand and to explain. This year, for the first time ever, I will attend the Shakespeare Association of America without a support person. I will be independent. It is important, however, to think about the enormous cost of making the conference fully accessible to me. This act of access will fundamentally change the nature of what the conference is.
Additional resources
Shakespeare and Disability Studies
Shakespeare and Disability Studies by Shakespeare and Disability Studies (Oxford Shakespeare Topics by Sonya Freeman Loftis, Professor of English, Morehouse College.
Source: OUPblog
