Disney and Inclusivity: Targeting Nontraditional Clientele

Abstract

Identifying that curriculum is possible in spaces beyond that of traditional educational institutions is a key tenet in understanding how society influences both children and adults. One large stakeholder in the arena of children's unofficial curriculum is the Disney company. Disney's far-reaching impact along with large-scale production of goods and media positions the company and its theme parks as an ideological powerhouse. Disney's nostalgic views of history, however, and its erasure of problematic historical and current representations of marginalized populations, as well as its perpetuation of being both magical and inherently happy, have idealized the company and its theme parks as a monolithic utopia for all patrons regardless of identity. This nostalgia, however, comes at a cost to many consumers. As a company that originated almost a century ago, many of its foundational norms reify ideals which are problematic for a multitude of clientele.This paper outlines oppressive and marginalizing representations visible and experienced through research of Disney media and Walt Disney World (WDW), Orlando, Florida. By utilizing queer theory (Butler, 1990;Hall, 2003; Sedgwick, 1985) to highlight the ways persons, ideas, and experiences might be flipped, interrogated, or queered in unintended ways by Disney, Disney guests, and scholars (Greenhill, 2015, Griffin, 2000, Hall, 2003, Helmsing 2017. As both a member of the LGBTQIA+ community and a curriculum scholar, my navigation of WDW as is explored autoethnographically through a synopsis of a five-day visit to the park(s). Utilizing existing critical examinations of Disney, personal observations and interactions with(in) the park and cast members, as well as a small data set of diverse guests facilitated a first-hand experience of Disney's relationship with queer and underrepresented individuals, how Disney represents their ideals (read as curriculum), and how its clientele might interpret the corporate branding and messages.Disney provides a vast array of ideas, merchandise, and storylines to appeal to a large following. Disney's patrons interact with and create their own perceptions and adaptations while participating with the park(s) and merchandise, thus scaling unique experiences, and buy-in. By adapting Disney merchandise and storylines to meet their unique needs as historically underrepresented populations, unintended clienteles have redefined how Disney (re)presents hegemonic ideals (Helmsing, 2017).This paper concludes that, while the Disney company does expand its reach for clientele through marketing, little is done to target marginalized populations specifically. Furthermore. Those not represented by or represented through Disney are unintentional Disney fans and are therefore Disney-queer or different, opposite, and peculiar in terms of Disney branding. Because Disney mass produces media and goods on such a large scale and spectrum, these Disney-queer clientele have the onus to make of Disney what they choose. Thus, Disney-queer clientele queers Disney...