Coming together to talk about activism, inclusivity and accessibility in an article published in the December issue of Vogue Greece, writer Elina Dimitriadi met with Jeremy O. Harris and Sinéad Burke. Both recently joined the Board of Directors for Chime for Change, the non-profit organization that promotes gender equality, founded by Gucci.

The new restrictions aimed at containing the pandemic have just begun to be implemented around Europe, everyone’s focus is on the U.S. elections and I am talking with two people who are striving for a world in which everyone is equal. Sinéad Burke is a teacher, activist and writer and through her company, Tilting Lens, she fights for fashion and a world that will be accessible to all. Jeremy O. Harris is an actor and playwriter whose work, Slave Play, was nominated for 12 Tony awards, the most Tony-nominated play in history. Recently, they both joined the Advisory Board of Chime for Change, a non-profit organization that promotes gender equality, founded by Gucci.

My first question is where and how they quarantined and what followed was a flowing dialogue with two charismatic minds that have spotted the cracks in an antiquated system and are looking for solutions that involve tearing everything down and building something new, more encompassing and therefore more resilient, rather than fixing those cracks.

Jeremy is answering from Rome where his is writing his new play and also participated in the video directed by Gus Van Sant, presenting the new Gucci Collection by visionary Alessandro Michele. “I was glued to the TV for 20 hours a day, watching the US elections. My mind must have been more active over the last few months. From the first lockdown eight months ago, I had decided that I would spend my time taking care of myself, because the psychological shifts came in rapid succession. So, I made pleasure my sole guide. If I wanted to watch anime for six consecutive hours or eat burgers, that’s what I did. If I wanted to read a James Baldwin book, I read it. I did not pressure myself to create. It takes effort to get rid of this pressure. Also artists have to heed this constant, fretful pull to create something in difficult times, with Shakespeare almost always being the example, since he wrote King Lear while quarantined due to the plague. Well, I think that young artists who are anxious to write the masterpiece about Trump or Covid-19 might be relieved to hear that Shakespeare’s masterpiece after the plague was a family complot with elements of a soap opera which, in our day, would be aired on Sunday night TV. Something like the series Succession, but a tad sexier,” he says and we burst out laughing. Being black and queer in America, I need to keep reminding myself that I do nave to keep on writing about the oppression I went through to feel that my work is valuable,” he says.

Sinéad says she had a somewhat different lockdown experience. “I returned to my family home in Ireland and when I realized that I would have so much time on my hands for the first time, I decided to do things I had been wanting to do for some time. One of them was to write a children’s book. I made good use of my experience as a woman with a disability and an elementary school teacher, I wrote for the kids who don’t get to hear “you’re valuable just as you are” often enough. I do not feel disabled due to my medical condition, but because of the way the world is designed. We should not have to be the ones to change so that we fit in or feel that we have worth. And children need to feel that they have the tools and the skills to make the world a safe place for all.”

“I am obsessed with the idea of finding new frameworks in which to discuss issues like disability or what’s important at this given time. One of my favorite teachers is in a wheelchair. She has taught at Yale, Harvard and MIT, but none allowed her to teach remotely, when her body required her not to move. Now though, we are all working from home and it’s as if we are all disabled. And, just like that, universities saw that remote learning works,” Jeremy adds.

“But it was never impossible, there was just no inclination to facilitate the lives of those who experienced difficulty. So, as we move into the next phase, it’s important not to rush to rebuild our economies and societies while still treating disabled people as a vulnerable group. We should not say to them “you go on and stay at home, where you are more comfortable, while we go out and rebuild the world.” We have done this in the past, we dealt with them as problems and we institutionalized them. When we redesign life and the spaces we live in, based on social distancing for example, we can work with disabled people so that they can give us their input on how they can best be served as well. So that we design a world that is accessible to all, with equal opportunities, that will endure longer and be more viable,” Sinéad continues in a peaceful but forceful tone.

“I think we need to take advantage of this pause to change our conscience,” Jeremy believes. “Contemplate contexts designed to include everyone. For example, no fashion house staged a large show with the public present, as is usual. So this is a great opportunity for imagining how the environment can be expanded, how the front row can be configured, who can be invited or see the clothes worn by him or her.”

“The solution is not to place the under-represented communities on a temporary pedestal, but to have available all the platforms through which to be heard,” says Sinéad. “It’s nice to be able to see diversity more, but what is the next step? Profit by selling the aesthetics of these people or develop relationships with these communities and design educational and professional opportunities and venues so that they can participate at all levels? I was the first little person to be on the cover of Vogue. The first one to be invited to the Met Gala. I am grateful that a 12-year-old child with my disability can see that something like this is possible. But for progress to happen, I cannot be the exception. As Kamal Harris said, I may be the first but I do not want to be the last. We are trying to transform established systems which is a big challenge that takes time, but it is time for it to be done.”

MILAN, ITALY – FEBRUARY 19: Sinead Burke is seen backstage at the Gucci Backstage during Milan Fashion Week Fall/Winter 2020/21 on February 19, 2020 in Milan, Italy. (Photo by Vittorio Zunino Celotto/Getty Images for Gucci)
ARLES, FRANCE – MAY 30: Jeremy O. Harris attends the Gucci Cruise 2019 show at Alyscamps on May 30, 2018 in Arles, France. (Photo by Vittorio Zunino Celotto/Getty Images for Gucci ) *** Local Caption *** Jeremy O. Harris

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