McFarland Jami, Rice Carla, Changfoot Nadine, La Rose Tara, Alfaro-Laganse Carmela, Badri Suad, Smith Kathy, Katz Becky
The Re•Vision Centre for Art and Social Justice, University of Guelph, Guelph, ON, Canada.
School of Occupational Therapy, Western University, London, ON, Canada.
Front Sociol. 2024 Dec 4;9:1454143. doi: 10.3389/fsoc.2024.1454143. eCollection 2024.
Declared a global pandemic by the World Health Organization (WHO) in March 2020, the COVID-19 virus and attendant patchwork of local, regional, and national government-initiated public health responses to it unexpectedly opened possibilities for greater access to culture for disabled and chronically ill people in ways that were unimagined in pre-pandemic times. During the "emergency" period of the pandemic, the fields of critical disability studies and aging studies independently demonstrated the importance and value of shifting to digital technologies for disabled people and older adults respectively; however, to date, little scholarship has considered the value of digital technologies for older adults aging with and into disabilities beyond pandemic time.
Informed by the theoretical insights of scholarship exploring critical access and the aging-disability nexus, this paper draws from empirical data collected during Phase 2 of Direct[Message]: Digital Access to Artistic Engagement, a collaborative, community-based, arts-informed research project based in Southwestern Ontario (Canada). Drawing from 50 qualitative interviews with aging adults from un/under/represented communities, findings explore the intersections of older age and disability, including dynamics related to gender, sexuality, migration, size, race/ethnicity, and other differences, as these relate to access to and enjoyment of creative spaces before, during, and "after" the COVID-19 pandemic.
Results show that older adults aging with/into disabilities in Southwestern Ontario express an overwhelming desire and even urgent need to access interactive arts programming from the relatively safe spaces of their homes both within and outside pandemic time.
As the normative world pushed for a return to ableist normative life in 2022, a year marked by "severe" rates of the highly infectious Omicron variant and the loss of effective public measures, such as community masking and widely available testing, participants described the need for continued access to creative and social participation via remote options that sidestepped socially exclusive and physically inaccessible spaces. Findings indicate a need for increased investment in digital arts programming for older adults aging with/into disabilities.
2020年3月,世界卫生组织(WHO)宣布新型冠状病毒肺炎疫情为全球大流行,新型冠状病毒肺炎病毒以及地方、区域和国家政府针对此疫情采取的一系列拼凑式公共卫生应对措施,意外地为残疾人和慢性病患者提供了更多接触文化的机会,这是疫情前时代无法想象的。在疫情的“紧急”时期,批判性残疾研究和老龄化研究领域分别独立证明了对残疾人和老年人转向数字技术的重要性和价值;然而,迄今为止,很少有学术研究考虑到疫情之后数字技术对于伴有残疾或步入残疾的老年人的价值。
本文借鉴了探索批判性接触和老龄化与残疾关系的学术理论见解,这些数据来自于“直接[信息]:数字艺术参与”项目第二阶段收集的实证数据,该项目是一个位于加拿大安大略省西南部的基于社区的合作性艺术研究项目。通过对来自未被充分代表/代表性不足社区的老年人进行50次定性访谈,研究结果探讨了老年与残疾的交叉点,包括与性别、性取向、移民、体型、种族/民族及其他差异相关的动态,这些都与在新型冠状病毒肺炎疫情之前、期间和“之后”接触和享受创意空间有关。
结果表明,安大略省西南部伴有残疾或步入残疾的老年人表示,无论是在疫情期间还是疫情之外,他们都迫切希望甚至急需从相对安全的家中空间获得互动艺术节目。
在2022年这个以高传染性奥密克戎变种的“严重”感染率以及社区口罩佩戴和广泛可用检测等有效公共措施的缺失为标志的年份,当规范世界推动回归健全人规范生活时,参与者描述了需要通过远程选项继续获得创造性和社会参与的机会,这些选项避开了社会排斥和身体无法进入的空间。研究结果表明,需要增加对伴有残疾或步入残疾的老年人数字艺术节目的投资。