DOI:
https://doi.org/10.14483/25909398.22644Publicado:
2024-12-23Número:
Vol. 12 Núm. 12 (2025): Enero-diciembre 2025Sección:
Sección CentralSelective Cultural Memory and the Disabled Body: Uncovering Narratives in Circus Performance
Memoria Cultural Selectiva y el Cuerpo Discapacitado: Descubriendo Narrativas en el Performance de Circo
Memória Cultural Seletiva e o Corpo Deficiente: Descobrindo narrativas na performance por Circo
Palabras clave:
Disability Representation, Circus History, Visual Activism (en).Palabras clave:
representación de la Discapacidad, Historia del Circo, Activismo Visual (es).Palabras clave:
Representação da Deficiência, História do Circo, Ativismo Visual (pt).Descargas
Resumen (en)
This article explores the intricate narratives surrounding disabled bodies in circus performance, emphasizing the interplay between historical representations and contemporary practices. By examining fictive narratives and their impact on the contemporary circus scene, the article reveals how these stories influence societal perceptions and power dynamics between able-bodied and disabled individuals. It discusses the selective nature of cultural memory in remembering and forgetting historical events and figures, which can maintain or challenge normative assumptions about disability. The article delves into the history of freak shows, highlighting their role in perpetuating stereotypes and marginalizing disabled bodies for entertainment. A critical analysis of the film The Greatest Showman illustrates how popular culture often sanitizes exploitative aspects of historical freak shows, thereby shaping contemporary understandings of disability and normality through selective memory. This film serves as a case study for examining how cultural remembering and forgetting reinforce ableist ideologies. The article further investigates the concept of the gaze and its implications for visual activism. Drawing on the work of disability studies theorists including Rosemarie Garland-Thomson and David Bolt, it examines how the act of looking at disabled bodies is imbued with power dynamics that sustain social hierarchies. Visual activism, as practiced by artists like Erin Ball and Vanessa Furlong in their performance World at Our Feet, seeks to reclaim visibility and challenge stigmatizing narratives by celebrating difference and demanding a shift in perception. Ultimately, this article calls for a reassessment of how disability is remembered and represented in both historical and contemporary contexts. By deconstructing ableist narratives and embracing the diverse contributions of disabled artists, the article advocates for a more inclusive and equitable understanding of circus arts and the broader cultural landscape.
Resumen (es)
Este artículo explora las complejas narrativas que rodean los cuerpos discapacitados en el contexto de las actuaciones de circo, enfatizando la interacción entre las representaciones históricas y las prácticas contemporáneas. Al examinar narrativas ficticias y su impacto en la escena circense actual, el artículo revela cómo estas historias influyen en las percepciones sociales y en las dinámicas de poder entre personas con y sin discapacidad. Se discute la naturaleza selectiva de la memoria cultural al recordar y olvidar eventos y figuras históricas, lo que puede mantener o desafiar supuestos normativos sobre la discapacidad. Se profundiza en la historia de los espectáculos de fenómenos, destacando su papel en la perpetuación de estereotipos y en la marginación de los cuerpos discapacitados con fines de entretenimiento. Un análisis crítico de la película The Greatest Showman ilustra cómo la cultura popular a menudo sanitiza los aspectos explotadores de los espectáculos de fenómenos históricos, moldeando así las comprensiones contemporáneas de la discapacidad y la normalidad a través de la memoria selectiva. Esta película sirve como un estudio de caso para examinar cómo el recordar y olvidar culturalmente refuerza las ideologías capacitistas.
Se investiga además el concepto de la mirada y sus implicaciones para el activismo visual. Basándose en el trabajo de teóricos de los estudios de discapacidad, incluidos Rosemarie Garland-Thomson y David Bolt, se examina cómo el acto de mirar a los cuerpos discapacitados está impregnado de dinámicas de poder que sostienen jerarquías sociales. El activismo visual, practicado por artistas como Erin Ball y Vanessa Furlong en su actuación World at Our Feet, busca recuperar visibilidad y desafiar narrativas estigmatizantes al celebrar la diferencia y exigir un cambio en la percepción. En última instancia, este artículo llama a una reevaluación de cómo se recuerda y representa la discapacidad en contextos históricos y contemporáneos. Al deconstruir narrativas capacitistas y abrazar las diversas contribuciones de los artistas discapacitados, el artículo aboga por una comprensión más inclusiva y equitativa de las artes circenses y del panorama cultural más amplio
Resumen (pt)
Este artigo explora as narrativas complexas que cercamcorpos deficientes no contexto de performancescirco, enfatizando a interação entre as apresentações práticas históricas e contemporâneas.
Ao examinar narrativas ficcionais e seu impacto na cena circo atual, o artigo revela como essas histórias influenciam nas percepções sociais e na dinâmica de poder entre pessoas com e sem deficiência. É discutido a natureza seletiva da memória cultural ao lembrar e esquecer eventos e figuras históricas, que podem manter ou desafiar suposições normativas sobre deficiência.
Ele investiga a história dos shows fenômenos, destacando seu papel na perpetuação de estereótipos e a marginalização dos corpos com deficiênciapara fins de entretenimento. Uma análise crítica de O filme The Greatest Showman ilustra como a cultura popular muitas vezes higieniza os aspectos exploradores de os espetáculos dos fenômenos históricos, moldando assim compreensão contemporânea da deficiência e normalidade através da memória seletiva. este filme serve como um estudo de caso para examinar como lembrar e esquecer culturalmente reforça ideologias capacitistas.
O conceito de olhar e suas implicações também são investigados. para o ativismo visual. Baseado no trabalhode teóricos dos estudos da deficiência, incluindo Rosemarie Garland-Thomson e David Bolt são examinadoscomo é o ato de olhar para corpos com deficiênciaimpregnado de dinâmicas de poder que sustentam hierarquiassocial. Ativismo visual, praticado por artistascomo Erin Ball e Vanessa Furlong em sua apresentação mundialat Our Feet, busca recuperar visibilidade e desafiar narrativasestigmatizante ao celebrar a diferença e exigir uma mudança na percepção. Em última análise, este artigo exige uma reavaliação de como é lembrado e representadodeficiência em contextos históricos e contemporâneos.
Ao desconstruir narrativas capacitistas e abraçar as diversas contribuições de artistas com deficiência, O artigo defende uma compreensão mais inclusiva erepresentação equitativa das artes circenses e do panorama cultural mais amplo.
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Films and Video Recordings:
CBC Arts. (2017). Double Amputee Circus Artist Learns to Fly Again. Retrieved from https://www.youtube.com/watch?v=3xZhGAhFzD8
Ball, E. (2019). Legacy Circus - World at Our Feet Excerpt. Retrieved from https://www.youtube.com/watch?v=-12FsOTvf5A&t=5s
Ball, E. (2019). September 13, 2019. Retrieved from https://www.youtube.com/watch?v=rxq5oPzDA0w
Gracey, M. (Director). (2017). The Greatest Showman [Film]. USA: 20th Century Fox.
Interview:
Ball, E. (2022, August 26). Interview by Author. Reykjavik and Ontario.
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Derechos de autor 2024 Kaamos Metsikkö
Esta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial-SinDerivadas 4.0.
