In Professor Imada's lecture "Freaks," she discusses the spectacularized display of "extraordinary and ambiguous bodies" on the stage of 19th century freak shows. These freak shows primarily showcased people with disabilities or perceived abnormalities. The perception of performers as "freaks" often lended itself to demeaning comparisons to animals and animal-like qualities.
P.T. Barnum, who was one of the most renown American impresarios, marketed people with physical and intellectual disabilities as "extraordinary bodies" in his many freak show attractions. This act of showcasing disabled people for profit and capitalizing on their perceived abnormalities to create a spectacle on stage, is ultimately disparaging. Labeling people as "camel girl" or "elephant man" (shown below) not only equates them to animals, but also objectifies them and diminishes their humanity. These people are not perceived as "normal" humans possessing thought or emotions. Instead, they are recognized solely for their "animal-like" qualities.
Ella Harper, also known as Camel Girl. She was born with a rare orthopedic condition that caused her knees to bend backwards, called congenital genu recurvatum.
Joseph Merrick, also known as Elephant Man. He was born with a rare condition characterized by the overgrowth of the bones, skin, and other tissues, called Proteus syndrome.
When introduced to the the history of freak shows, the first thing that came to my mind was the movie, The Greatest Showman. I really enjoyed this movie when I watched it for the first time, mainly because of the fun choreography and catchy songs. I honestly did not pay too much attention to its historical background or deeper meaning.
In this movie, P.T. Barnum, played by Hugh Jackman, creates his own venture named "Barnum's Circus" upon losing his job as a shipping clerk. Taking his children's suggestion to incorporate something "live" into his attraction, he hires a number of "freaks" or what he bills as "unique persons," including Charles Stratton (a dwarf performer) and Lettie Lutz (a bearded lady).
Similar to the actual events of the 19th century, in The Greatest Showman, P.T. Barnum profits off the display of people with disabilities or people seen as abnormal. These performers are often likened to animals as well. For example, when a prospective performer jumps on the table and barks in his interview, Barnum immediately bills him as "Dog Boy" [3:30].
While the concept of showcasing "freaks" as a form of popular entertainment underlies both the actual events that occurred in the 19th century as well as the portrayed events in The Greatest Showman, I would argue that that is the extent of their similarities. In P.T. Barnum's freak show attractions, the general public had a mostly negative perception of these "freaks." People saw them as strange and distinct from audience members. They were simply spectacles to observe, associated with their animal-like qualities and therefore, often thought to be entirely non-human. Freak shows of the time emphasized the distance between viewers in the audience and showpieces, framing the "freaks" as sights to be stared at.
In contrast, The Greatest Showman offers a much more empathetic portrayal of freak shows. In the movie, P.T. Barnum acknowledges the "freaks" not just as objects to peer at from a distance, but as performers and human beings with feelings and reason. While he does play off of some of their animal-like qualities, he focuses more on displaying their talents and capabilities as performers. For example, Lettie Lutz, initially recognized as a bearded woman, is celebrated for her exceptional singing and dancing abilities. One of the powerful messages portrayed in the movie is how we can embrace unique qualities and be proud of individual differences. While inspiring, this is not an accurate representation of the actual message of 19th century freak shows. The reality of it, is that freak shows served to separate people with disabilities and abnormalities from viewers, labelling them as non-normative and unfit in society.
Today, although freak shows are no longer in action, the associations of disabled people with animals and animal-like qualities persist. While there isn't a stage to display these people with disabilities, the long-held perceptions of people with disabilities as deviant or incompetent are still very much on display.
Sanaura Taylor is an American painter, writer, and activist for disability and animal rights. She was born with arthrogryposis, a condition characterized by congenital joint contracture in two or more areas of the body, which can be found in both humans and animals. In her book Beasts of Burden: Animal and Disability Liberation, she recounts how children would tell her that she "walked like a monkey and ate like a dog" (Rothman). These common phrases liken humans' undesirable qualities to animal representations—something that has not changed since the characterization of "freaks" through their animal qualities in 19th century freak shows.
Throughout her book, Taylor provides anecdotes of various animals in order to emphasize how "the widespread prejudice against disability lies at the root of humanity’s relationship to other animals" (Vettese). Humans' complicated relationship with animals have allowed for empathy and understanding, but also for judgement and separation throughout history. When it comes to people with disabilities, more than often, they are compared to animals in an attempt for people to create distance from what they may not be accustomed to or may perceive as non-normative.