Rock Music, The Disabled and What you Might Not Know

So i had been wanting to find something really interesting for my last couple of blog posts, as up until now i have been mostly analysing differing works of artists', movements within the sub-culture and social issues as they related to the genre. However for all the praise and critique loaded upon Rock 'n' Roll, I've yet to come across an issue which both exposes the inherent biases in performativity of Rock Music whilst concurrently challenging such essentialist notions of the rock band and the musician themselves.

"Fight for the Right to Party" documents the musical profile of British heavy metal band, Heavy Load, some of whose members have learning disabilities and their fight to gain greater freedoms and rights for disabled fans attending their concerts. Their "Stay Up Late" campaign illuminates the capacity for Rock groups and Rock culture to be both truly inclusive and catalyse change for those it hopes to capture as fans. The efforts of this band therefore showcase the ability of rock to be socially subversive and alternative in a manner which does not tokenise, but rather values and revels in difference and the triumph over adversity:

"The campaign, which is supported by learning disability charity Mencap, aims to make managers and support workers aware that people with a learning disability want more control over their lives and should be consulted when staff draw up rotas which affect things such as how late they can stay out"

Conversely, whilst this particular case highlights the positive role that Rock 'n' Roll music can take in affecting changes in attitudes towards and the cultural behaviours of previously excluded social minorities, it arguably raises the question, is Rock Music inclusive of those not able to (easily) access it as a medium for expression and artistic endeavour.

Whilst the members of Heavy Load possessing learning disabilities would have no doubt faced serious problems and issues in mastering instruments as technically complex as required to play in a rock group, they are only a part of the heterogeneous lotting of categories constitutive of "the disabled". In fact it may be this very categorisation itself which harms and limits the ability of those with learning and mobility impediments, as without a consideration of this difference and the unique challenges presented to differing disabilities, one cannot adequately gauge how best to innovate and cater for these groups.

Granted, some inroads are being made. 'Music Making for the Disabled' in Futurist magazine recently reported on the emergence of new technology for music composition in digital production, centered around a keyboard/piano program using facial tracking to aid those with mobility difficulties (particularly those who are quadriplegic or have Cerebral Palsy): "With the Keyboard Interface, the user sits in front of a camera and chooses a point to track, such as the tip of the nose; when the user "points" at the keyboard image, the software tracks the correct note to play"



Certainly, this is a great example of Rock and music in general being made accessible through human ingenuity. However the article the only one i was able to come across exemplifying this sort of inclusiveness in music production and creativity. Not only this but the article itself occupies about 3 paragraphs on a single page.

With a degree of certainty then could we assume that this issue is far from being adequately addressed and will continue to remain so as long as Rock music's performers are primarily able bodied and able minded musicians. Perhaps more tragically, this problem cannot be trusted to resolve itself, as disabled populations are both socially and culturally marginal and thus are often less able to have their opinions and quandaries considered. Furthermore, whilst they remain out of public awareness of Rock Music and are absent visually and culturally from the scene's acknowledged demographic audiences, they will be continually ignored. The issue itself presents a Catch 22 to disabled communities.

Therefore it is the duty of Rock pioneers, audiences, composers and disabled performers already involved in the scene to promote this cause; until then Rock cannot be truly said to be inclusive and absent of discrimination in its performance and participation.



References

1. Lucy, H. (2009, 'Fight for the Right to Party', Learning Disability Practice, Vol. 12, No. 3, pp. 18-19
2. Martin. P. L, (2007), 'Music-Making for the Disabled', Futurist, Vol. 41, No. 5, p. 2