The performative aspect of
disability is often seen as a means to assert a disabled identity, which in
turn posits a counter discursive corporeality. When it comes to disability
theatre, playing out one’s disabled body on stage, before an audience whose assumption
on normative bodily aesthetics is questioned in the process, becomes an act of
empowerment. A conscious act of expressing one’s physical condition invites
debate on whether the experiential and the demonstrative are mutually
compatible. Taking this conversation forward, I would like to focus my article
on a disabled performers group from China, named China’s Disabled People’s
Performing Art Troupe, which has 110 disabled performers and was established in
1987. The troupe has so far performed in around 60 countries and received the
title of UNESCO Artist for Peace in 2007. Their idea of performing disabled
bodies inches towards what may be perceived as a “normalising” experience,
rather than an overt manifestation of their physical condition. In one of their
famous shows, called ‘My Dream’, the dancers are seen performing a visually
captivating movement on stage, with a thousand hands gesticulating behind their
lead dancer in what is known as the 'Thousand-hand Avalokitesvara Bodhisattva'
( see image below).
In a review for the book Bodies in Commotion: Disability and
Performance, Michael M. Chemers says, “[the book]…is remarkably reflective
of [a commotion that blurs conventional borderlines]; indeed, it is a
characteristic of [the authors’] inquiries into both performance and disability
that do not seek to deny the intrinsic messiness of both sites” (92). In the
case of China’s Disabled People’s Performing Art Troupe, does presenting
disability through an embellished visual aesthetics deny the “intrinsic
messiness” that Chemers talks about? Where do such performances by disabled
artists stand in the context of inclusiveness and integration? Is the idea of
an alternative narrative problematised through such representations?
On the other hand, in Sri Lanka,
an organisation called Sunera Foundation runs the Butterflies Theatre which
includes “disabled soldiers in its cast and [use] their disablement for a
critique of the war”(Shaun and Soldatic 105). Jehan Aloysius, who choreographed
the show ‘An Inspired Swan Lake’ with the disabled soldiers, is quoted saying,
“‘I wanted the disabled cast including the disabled soldiers to feel sensuous
and sexy [in the show]. That was a new experience for them because disability
is seen as asexual. That was the kind of change I sought”(107). The idea, in
this case, is to see these soldiers explicitly as political and historical
subjects, who subvert conventional ideas on disability through the aesthetics
of art. Reading the representational
politics actualised by the Sunera Foundation in tandem with China’s Disabled People’s Performing Art
Troupe, a reductive analysis would suggest that the latter fails to exert its
agency. A close reading of the troupe’s performance though suggests that it is
not indeed a simply binary, despite the apparent commercialisation involved in
their global presence.
In the Bodhisattva dance, the
disabled artists appropriate a popular cultural icon of Guanyin or Kwanyin, the
Goddess of love and mercy. The troupe claims that through their performance
they intend to spread unity and peace in the world. For a viewer, their
disability is only incidental to the performance. It can be argued that they do
not challenge their socio-cultural othering by almost conforming to the norms
of ableism, but a contrarian view can also be put forth. The dancers, in an
interview, summed up their bonding by saying that one acts as an eye for the
other, while the other acts as the ear for another. The objective of their
performance, as elucidated by the troupe members, can easily be dismissed on
grounds that it simplifies the social ontology of a disabled body. At the same
time, the troupe’s attempt to convey a symbolic meaning to its audience through
dance can be read as appropriating the normative to subvert the audience’s
expectations of a disabled body. Also, if one watches closely the movement of
the thousand hands behind the lead dancer, it resembles what is popularly
termed as “freak show”, displaying dismembered hands behind a single body.
Within the boundaries of what may be perceived as a normative narrative, these
dancers perform the fantastical on stage and the “able gaze” of the audience is
in turn displaced into precarity.
The medical model of disability
views the disabled body as different and lacking and works towards fixing that
difference, while the social model sees agency in that difference and puts the
onus on society which otherwise thrives
on a monolithic structure. In an interview to ‘China Daily’, Tai Lihua, the
lead dancer of the troupe, said, “I hope people can still look at me with
ordinary eyes... I hope instead that more attention can be given to disabled
people who need help.” The article goes on to mention how with enough practice,
the performance of the troupe is nearly flawless. If we are to consider the
idea of disability propounded in the interview, it hinges towards the medical
model, which somewhat encompasses the idea of charity towards the disabled. In
another interview to ‘LA Times’, the troupe’s manager, Liu Xiao Cheng, says, “It
wasn't enough for this troupe to arouse people's mercies," he said.
"We wanted their respect." The dancers then go on to talk about the
hardships they faced as disabled people and how they eventually overcame it all
by joining the troupe.
Disability rights has emerged out of the shadow of the
charity model of disability, following the United Nations legislation on the
subject in 2006 and the rise of disability studies as a critical discipline. In
this context, I would like to say that the approach of accommodating divergent
voices like Lihua and Cheng, besides the likes of Sunera Foundation’s Jehan
Aloysius, on their ideas of a disabled body and its representation can be a
step forward towards greater inclusiveness than regression. For all these
voices, the space of engagement and dialogue can perhaps be carved only through
acknowledging individual experiences and offering multitudinous ways in which
societal discrimination can be challenged.
References
Chemers, Michael . M.
"Bodies in Commotion: Disability and Performance." Book and
Performance Reviews (2005): 92. Web.
"A face for one thousand
hands." China daily. N.p., n.d. Web. 20 Apr. 2017.<http://www.chinadaily.com.cn/english/doc/2005-03/06/content_422197.htm>.
Grech, Shaun, and Karen
Soldatic. Disability in the global South: the critical handbook. Cham,
Switzerland: Springer, 2016. Print.
"Their 'Dream' realized." Los Angeles Times. Los
Angeles Times, n.d. Web. 20 Apr. 2017.
<http://www.latimes.com/entertainment/la-et-dream27nov27-story.html>.
Rupsha Mukherjee has completed Bachelors and Masters in English Literature from Presidency University, Kolkata. Currently, she is working as a Deputy Editor with a publishing company.