![]() She uses satire presented as fundraising for the ‘normals’ to bring a humorous flair to point out the offensive and hypocritical act of taking pity on disabled people while at the same time denying human rights. Whilst Sen’s film offers a slice of contemporary activism her work in general pays homage to previous campaigns against charity fundraising. Also on display is the work of interdisciplinary artist Dolly Sen, showcasing their Help the Normals charity collecting can and their film Broken Hearts for the DWP. This curatorial device provides visitors with the opportunity to reflect on previous conditions for disabled people along with the current state of Disability Rights. Therefore, the display sees a juxtaposition of historical and contemporary materials. While the disabled community have always self-organised, bringing these historical events to light proves tricky as evidence of this has often been erased through time. ![]() ![]() The display also looks back at the history of workhouses and forms of early self-organisation, for example of patients at the Bethlem Hospital in in 1620 and an early form of Deaf and disabled people’s organisation which saw the formation of the British Deaf and Dumb Association in 1890. Credit: PHM.Įxhibited materials include pamphlets, posters, banners, artworks and t-shirts used in previous and recent disability rights campaigns. Norwich Castle Museum and Art Gallery, Norfolk. The pandemic meant that work had to be reorganised, delaying delivery. While it recognises that disability protest history is sidelined, it has taken some time for the museum to dedicate the required time and resources into the project. The museum wanted to carry out more in-depth work into disability history and protests. Prior to the pandemic The Greater Manchester Coalition of Disabled People started talks with the museum and a small event titled ‘Nothing About Us’ unfolded into today’s bigger Lottery-funded project. The development of Nothing About Us Without Us stemmed initially from conversations following 2017’s Never Going Underground exhibition, commemorating LGBT+ campaigns around Section 28 legislation. I suspect some of the information in the exhibition will be new to some younger people, so it is fantastic to have the history of our struggle for rights presented here.” It was also really good to see the section on Disability Arts alongside other areas such as inclusive education and independent living. I was really impressed with some of the artefacts they have been able to source, including the banner from the National League of the Blind, which must be nearly 100 years old. “It was brilliant to look around the exhibition and see our all-too-often-forgotten history presented in such an engaging and accessible way. BAFTA award-winning Triple C’s chair Laurence Clark spoke during the opening week: The first week was met with a great deal of enthusiasm as the exhibition affirms what we already know: that Britain always had an active disability community which speaks truths to the ableist oppression around us. The project has been ongoing for the past few years and has culminated in ‘Nothing About Us Without Us’. The People’s History Museum in Manchester aims to redress this erasure from their work by showcasing the history of disability protest in the UK. ![]() The lives and histories of disabled people are perceived as hidden due to ableist norms that erase our voices and agency. An installation view of a gallery in the People’s History Museum, Manchester, dedicated to the ‘Nothing About Us Without Us’ exhibition.
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