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A thesis submitted in partial fulfilment of - Etheses - Queen Margaret ...

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152<br />

more <strong>of</strong>ten than not they are met with patronis<strong>in</strong>g tolerance rather than with<br />

respectful acknowledgement as equals (Cameron, 2009:391).<br />

While it cannot be denied that many access improvements to public environments have been<br />

made dur<strong>in</strong>g the first decade <strong>of</strong> the 21 st Century, my suggestion is that the role played by<br />

disabled people with<strong>in</strong> society rema<strong>in</strong>s relatively unchanged. Greater visibility <strong>of</strong> people<br />

with impairments does not necessarily signify greater equality so much as the ref<strong>in</strong>ement <strong>of</strong><br />

discipl<strong>in</strong>ary techniques with<strong>in</strong> disabl<strong>in</strong>g society. This will be the central argument <strong>of</strong> my<br />

next chapter, on media representation <strong>of</strong> disability.<br />

As I was near<strong>in</strong>g the conclusion <strong>of</strong> my first draft <strong>of</strong> this chapter <strong>in</strong> autumn 2009, the<br />

Disability Arts s<strong>in</strong>ger Karen Sheader emailed me record<strong>in</strong>gs <strong>of</strong> two <strong>of</strong> her recent songs. In<br />

„That‟s the way‟ (Sheader, 2008). Sheader s<strong>in</strong>gs frankly <strong>of</strong> a number <strong>of</strong> disabled characters<br />

who, no matter how hard they have tried to be or do what other people require <strong>of</strong> them, keep<br />

f<strong>in</strong>d<strong>in</strong>g doors shut <strong>in</strong> their faces. Embarrassed apologies are made about why they are<br />

considered not good enough. In her chorus she s<strong>in</strong>gs:<br />

That‟s the way it is for some people<br />

Some <strong>of</strong> us were fashioned that way<br />

That‟s the way it is for some people<br />

Some people keep turn<strong>in</strong>g away<br />

Sheader‟s song „Oblivion‟ (Sheader, 2008) echoes Oliver and Barnes above. The language <strong>of</strong><br />

the disabled people‟s movement has been <strong>in</strong>corporated with<strong>in</strong> contemporary social discourse<br />

but <strong>in</strong> a way that <strong>of</strong>fers little prospect for real change:<br />

People say we have lost our language<br />

Stolen from us by a greater force<br />

How could we have made it turn out different<br />

How could we have steered a different course<br />

Sheader expresses frustration at the fact that dom<strong>in</strong>ant culture always dom<strong>in</strong>ates. While the<br />

language <strong>of</strong> rights for disabled people which orig<strong>in</strong>ated <strong>in</strong> the disabled people‟s movement<br />

has been taken up by the charities and pr<strong>of</strong>essions, repackaged services for people with<br />

impairments rema<strong>in</strong> rooted with<strong>in</strong> the same assumptions. This is brilliantly illustrated <strong>in</strong> a<br />

recent story <strong>in</strong> The Scotsman newspaper:

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