Cultural representations of people with dwarfism and the social consequences

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Cultural Representations of dwarfs and their disabling affects on dwarfs in society
Erin Pritchard
Liverpool Hope University
Hope Park,
Liverpool
L16 9JD
Publication Date: 28 July 2017
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Dr Erin Pritchard
Historically, they [dwarfs] have borne the labels “freaks” and “oddities”; they have been
collected as pets, displayed as spectacles, and treated as comic relief (Adelson, 2005a: Front
cover, inside).
Introduction
Dwarfism is a visible disability with strong connections to various forms of
entertainment, including folklore and lowbrow entertainment. Throughout history, as
within the current media, dwarfs
1
have often been a popular form of entertainment, not
so much for any talents they might have, but due to their distinctive appearance, in
particular their small stature (Adelson, 2005a). How disability is culturally represented
can affect how it is understood and, subsequently, how those with the disability are
treated within society. Media narratives that misrepresent disability produce dominant
societal beliefs about disability (Haller, 2010). How these beliefs affect dwarfs in society
has largely been ignored. Kennedy (2003) argues that dwarfism is a social disability, as
dwarfs receive a lot of unwanted attention due to their appearance, including staring and
verbal abuse. In their report about the medical and social experiences of dwarfs,
Shakespeare et al. (2010) found that over 90% of their participants had been stared at or
pointed at, whilst 77% had received verbal abuse. This paper questions, first, whether the
social prejudice dwarfs encounter is influenced by cultural representations of them and,
second, what strategies they may use to deal with these encounters. Whilst it is not
1
The correct term to use to refer to someone with dwarfism is often contested. Terms
include “dwarf”, “person with restricted growth”, “person of short stature”, “person with dwarfism”
and “little person” (Little People of America, 2015). The term “dwarf” is the most common term used
both medically and socially, particularly within the UK.

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uncommon for people who look different to be stared at within society (Garland-
Thomson, 2002) or for disabled people to receive verbal abuse, it is important to
recognise what causes these reactions. Gerber (1993) suggests that the exhibition of
people with bodily differences is a form of social oppression and exploitation that
contributes to the reproduction of the prejudices and discrimination that they face.
Recognising whether cultural representations of dwarfs play a part in the unwanted
attention that dwarfs receive can help to challenge how they are treated within society.
The first part of this paper provides an overview of some of the cultural representations
of dwarfs, both past and present. It shows how dwarfism is still popular within the
entertainment industry, in particular within lowbrow entertainment that exploits their
height. The second part of the paper engages with the experiences of dwarfs living in the
UK and the way in which cultural representations can affect them in society. Barnes and
Mercer (2010) suggest that the effects the media have on how disabled people are
treated within society is limited. Engaging with the way in which cultural representations
affect dwarfs in society should aid in building new knowledges. The last section explores
how dwarfs think perceptions of dwarfism can be altered in order to challenge
perceptions of dwarfs and, subsequently, the way they are treated within society. The
data used in this paper are derived from a doctoral study concerning the social and
spatial experiences of dwarfs living in the UK.
Cultural Representations of Dwarfs
Shakespeare et al. (2010) point out that dwarfs are very prominent within popular
culture, including mass media, and suggest that there is a cultural fascination with them.
Their appearance is often associated with humour or mythology. The dominant cultural

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image of the dwarf is that of a happy, outgoing, and entertaining person, usually male
(Shakespeare et al., 2010: 20). It is the perception of the dwarf as an entertaining person
that is of particular relevance to this paper.
Dwarfism is one of the few impairments that has been used as a form of entertainment
for others throughout history, including within royal courts, freaks shows, and circuses
(Adelson, 2005a). The Victorian Freak is a classic example that demonstrates how people
with visible and often rare impairments, including dwarfs, were used for entertainment
purposes. Dwarfs’ height was their only reason for being on display. The purpose of the
freak show was to expose those whose bodies deviated from the norm in such a way
that their physical traits dominated the entirety of the persons exhibited (Garland-
Thomson, 1996).
Whilst freak shows have practically vanished, there still remain forms of entertainment
that use dwarfism as a form of amusement. Heider et al. (2013) point out that dwarfs
often pursue careers in the entertainment business that exploit their physical
appearance. An example is the “Kingdom of Little People”, a theme park in China where
the staff all have dwarfism and are the park’s only attraction. People pay to go to see
dwarfs in small houses, take photographs of them, and, later on, watch them dance in
various costumes. This theme park is reminiscent of the “Midget Cities” that were part of
the freak shows across the USA and parts of Europe during the latter half of the 19th
century and throughout the 20th century (Howells, 2005). Whilst it is argued that the
dwarfs in the Kingdom of Little People are escaping discrimination that they experience,
other disabled people who face similar discrimination do not do this. Kennedy (2003)
points out that other disabled people, including wheelchair users, do not rent themselves
out.

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Humour has been derived from dwarfism throughout history, and that historical link
remains unbroken to this day, with dwarfs still evident in contemporary humour in a way
that other minority groups are not (Martin, 2010). This includes humour within films and
television shows as well as in lowbrow entertainment and stand-up comedy. Haller and
Ralph (2004:4) argue that “cultural codes of conduct tell many societies not to laugh at
people who are physically different”. Yet, in relation to dwarfs, representations of them
often encourage people to laugh at them. This is not to suggest that other impairments
have not been used for humorous purposes, or are not laughed at, but they are not
promoted as humorous in the same way dwarfs that in the entertainment industry are
(such as by being rented out or thrown across a bar for amusement purposes).
In the UK’s entertainment industry, there are various agencies that “hire out” dwarfs for
entertainment purposes, such as “The Mini-Men” and “Cheeky Events”. The Cheeky
Events web page advertises dwarfs as a form of amusement:
Cheeky Events are one of the very few agencies that can provide you male or female dwarfs for
rent. What you need them for, or would like [sic] them to do, is entirely up to you (within
reason of course!), but our clients often use them for promotions, singograms or as waiters or
even for wind-ups (Cheeky Events, 2016).
Adelson (2005b) points out that, due to online publicity, the demand for dwarfs in
lowbrow entertainment has increased. There exist numerous online agencies that can
provide a dwarf for hire, including Cheeky Events, The Mini-Men, and Little Yet Large.
These agencies promote dwarfism as a form of entertainment and can be considered
modern-day freak shows. In the same way that the freak show allowed audiences to gaze

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at an extraordinary body, firms such as Cheeky Events allow their clients the chance to
be entertained by dwarfs whose main form of entertainment is their height.
“Dwarf throwing” is another form of lowbrow entertainment that is unique to this
minority group. Adelson (2005b) suggests that dwarf throwing is a form of entertainment
that continues to class dwarfs as “freaks” or “spectacles”. Dwarf throwing, as the name
suggests, involves an average-sized person, who is usually inebriated, throwing a dwarf
across a bar and onto a mattress for entertainment purposes. Through replacing a
common object, such as a ball, dwarfs are dehumanized and used for humorous
purposes. Due to the popularity of dwarf throwing, it is not uncommon for dwarfs in
society to be picked up by other people (Adelson, 2005b). Thus, the sport can affect how
they are perceived and subsequently treated within society.
In relation to mass media, dwarfs are rarely depicted as ordinary human beings, or
shown as disabled people, but are instead depicted in a voyeuristic manner that is
mostly related to humour or mythology. Gerber (1996) points out that, whilst there have
been few film or television roles available to dwarfs, those that have mostly dwell on
their dwarfism and fail to present them as ordinary human beings. Dwarfs are prominent
in films such as Freaks (1932), Snow White and the Seven Dwarfs (1937), The Wizard of Oz
(1939), Austin Powers (1999, 2002), Time Bandits (1981), and Charlie and the Chocolate
Factory (1971, 2005), where their dwarfism is their main feature and played upon in a
comedic or fantasy way. A dwarf is rarely an ordinary human being, but rather a
mischievous being, happy to be ridiculed and always to be laughed at rather than with. In
mythology, dwarfs play a prominent role along with elves, leprechauns, imps, dragons,
and unicorns. Dwarfs in mythology are understood to be men with long beards, wearing

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Vikings’ helmets, and often carrying axes; female dwarfs seldom make an appearance
(see, for example, Tolkien’s Lord of the Rings trilogy).
There are numerous reality shows featuring dwarfs, such as Little People Big World, The
Little Couple, and Little Women LA. Whilst Backstrom (2012) suggests that some reality
shows that feature dwarfs help to show them as everyday people, and thus may
counteract some of the more voyeuristic representations, Askcharity (2006) found that
documentaries focusing on disabled people often had a negative effect, due to the way
they were represented. Therefore, it is important to engage with the purpose of the
documentary and its content in order to see whether or not it presents dwarfism in a
realistic way.
Adelson (2005b) points out that there is an emerging shift in the way dwarfs choose to be
represented; they are working towards being “defreaked” in order to provide a more
positive representation of dwarfism. With increased employment opportunities, effected
through disability legislation, more dwarfs are accessing forms of employment other
than in lowbrow entertainment. There is decreasing acceptance of dwarfs being
employed within certain entertainment industries because of the way those industries
socially construct dwarfs.
Methodology and Methods
Methodology
Research concerning disability considers the importance of research in contributing to
the elimination of socio-spatial barriers restricting disabled people (Chouinard, 2000).
Using finding from an ethnographic study, the aim of this paper is to bring about new
knowledges concerning the possible factors contributing to the social experiences of

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dwarfs and how they can be challenged. It should also help to bring about new
knowledges concerning dwarfism, which is relevant, given that social research in relation
to dwarfism is limited. As Shakespeare et al. (2010: 20) point out, dwarfs are subject to
cultural fascination, but academic neglect.
The project adopted a feminist methodology, which is relatable to disability research
because it seeks to advance knowledge and the interests of a minority group and
because it rejects positivist research. Those who are not in a privileged position in
society, including women and disabled people, will, according to feminist epistemology,
have a different way of constructing knowledge and will interpret it differently. The
positionality of the researcher and the impact the research could have on dwarfs were
taken into account.
Positionality / Reflexivity
Research concerning disability is often characterised by an interest in the personal
(Worth, 2008). I am a dwarf and the project was very personal to me, as I wanted to know
whether or not the experiences I have had due to my dwarfism were also common
amongst others with dwarfism. From personal experience, I became aware that cultural
representations of dwarfs could affect how people perceived dwarfs. Berger (2013)
suggests that being an insider gives the researcher an advantage in knowing about the
topic. Being aware of many of the socio-spatial barriers and social restraints that I, as a
dwarf, have encountered meant that I had an understanding of what issues to explore. I
have grown up and seen dwarfs in various forms of media and noticed that, because of
their dwarfism, the way they are represented is often inaccurate, as they are never
shown as fully human or as people experiencing the realities of dwarfism. The intention

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in carrying out disability research with a personal connection is not to evoke pity, but to
show and to give an insight into disabling environments (Chouinard and Grant, 1995).
The research would gather together the views and experiences of other dwarfs. Their
views and experiences might be similar or they might differ markedly; whichever the
case, their accumulated testimonies would add validity to the account of the lives of
dwarfs that the research would generate.
Drawing on feminist understandings of research, Chouinard (2000) argues that
researchers must take into account their academic position and understand that, even if
they themselves are disabled, they must not claim to speak for all disabled people.
Although I have dwarfism, which makes me an “insider”, I am also an outsider due to
other identities, such as my age and nationality, and even the type of dwarfism that I
have. Even if the researcher has the same disability as the research participants (in this
case dwarfism), their views and experiences may differ (Chouinard, 2000). Worth (2008)
points out that other differences, including age, class, and ethnicity, can affect
experiences of disability. In one instance, a participant from Southeast Asia spoke of
some of her experiences as a dwarf living in the country of her birth. She then went on to
tell me that part of the reason she had moved to the UK was due to the way in which her
disability was seen and treated in her home country, something which I could not relate
to. Moreover, having a different form of dwarfism from some of the participants gave me
new insights into experiences of which I was previously unaware, and in which I, as a
researcher, became interested. My positionality helped in the creation of new
knowledge, but could also affect how the data was gathered and interpreted; by
recognising my positionality, I was able to take steps to reduce any such adverse effects.

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The Participants
The data used within this paper are derived from doctoral research that focused on the
social and spatial experiences of 22 dwarfs living in the UK. As dwarfism is a rare
disability, the geographical location of the participants was not limited to any specific
area of the UK. The majority of participants were female; their ages ranged from 19 to 68
years of age. Shakespeare et al. (2010) suggest that there is a greater willingness
amongst females to participate in research concerning dwarfism. The majority of
participants had achondroplasia, the most common form of dwarfism.
Category
Number
Gender
Female
20
Male
2
Age
16–25
3
26–35
10
36–45
3
46–55
2
56–65
3
66 +
1
Type of Dwarfism
Achondroplasia
16
Acromesomelic dysplasia
1
Hypochondroplasia
1
Spondyloepiphyseal
dysplasia congenita
2
Russell–Silver syndrome
1
Undiagnosed
1

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Table 1 – Demographic breakdown of participants
Participants were recruited through various dwarf organisations, the social networking
site “Facebook”, and through the method of snowballing. All initial contact with these
organisations was made through the gatekeepers. When recruiting through dwarf
organisations, business cards and leaflets were distributed at events held by the
organisations and through advertising the project in various newsletters. To recruit
participants via Facebook, an advert was placed in various forums for dwarfs. Due to
Facebook’s widespread use (over 1.65 billion users worldwide) and various forums, the
site offers an easy way to reach participants (Brickman Bhutta, 2012). Using Facebook
provided the opportunity to recruit dwarfs who were not part of any dwarf organisations,
thereby diversifying the research group and strengthening the research’s validity. Nine
participants were recruited through dwarf organisations, nine through Facebook, and the
rest through snowballing. The group of participants can be considered diverse and
provide a range of views, opinions, and experiences. After completion, participants were
sent the key findings, which findings were also sent to several dwarf organisations based
in the UK.
Research methods
The methods used to gather the data were semi-structured interviews and photo-
elicitation exercises. Semi-structured interviews provide unique access to the lived world
of participants and an insight into their experiences (Kvale, 2007). Interviews are an
appropriate method for gathering the lived experiences of dwarfs because they allow
interviewees to share their experiences and opinions. Interviews were conducted either
as face-to-face interviews or as telephone interviews. Telephone interviews were
incorporated for logistical reasons: due to the rarity of dwarfism, participants tended to

11
be sparsely located across the UK. Trier-Bieniek (2012) argues that people have become
more accustomed to using virtual forms of communication, including the telephone. All
the interviews were recorded with the consent of the participants and were later
transcribed. Participants were offered their transcripts in order to review them and to
ensure that they were content with the end product. Reviewing transcripts to ensure
their accuracy aids the provision of valid data sets (Thomson, 2011).
For photo-elicitation exercises, both photographs and maps were shown to further
understanding of the way in which participants experience public spaces. Photo-
elicitation uses photographs to evoke comments, memory, and discussion in the course
of a semi-structured interview (Banks, 2007: 65). Six photographs were chosen, all of
different spaces, including a shopping centre and a high street. The aim was for the
photographs to prompt participants to point out what social or spatial barriers they were
likely to encounter and how they would respond to those barriers.
The manual method of coding was used in order to draw out patterns and themes within
the data (Basit, 2003). All themes were colour coded, using different coloured
highlighters, and themes were grouped together. A thematic-analysis approach –
drawing out relevant themes through reading and re-reading each transcript – was
applied (Fereday and Muir-Cochrane, 2006). Thematic analysis is the search for themes
that emerge as being important to the research being conducted (Fereday and Muir-
Cochrane, 2006). The main themes were: spatial barriers, social restraints, disability
perceptions, and cultural representations. These themes would be used to construct the
data chapters, whilst the sub-themes would be used to construct the sub-headings
within each data chapter. Each transcript was read carefully in order to generate themes
that would then help to answer each research question.

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Ethics
Prior to conducting the fieldwork, numerous ethical issues were taken into consideration
in order to minimise any physical or emotional harm to the participants or the
researcher. The ethical guidelines set out by Newcastle University were followed and
Newcastle University’s ethics committee approved the research before any fieldwork was
carried out. Prior to carrying out the field work, a risk assessment was completed which
covered any potential risks involved and how they could be avoided.
Before conducting the interviews, an information sheet and a consent form were given to
each participant, which each of them was asked to read through and sign. The consent
form indicated their rights as participants, such as the right to withdraw from the
research at any time. The participants were given time both to read through the forms
and then to ask questions for clarification. The contact details of the researcher were on
both forms, so as to enable participants to contact the researcher with any issues they
might have regarding the research. After the interviews had taken place, personal
information, such as participants’ home addresses, was destroyed to protect the
participants’ confidentiality.
Cloke et al. (2000) suggest that ethical considerations are especially important when
carrying out qualitative research because qualitative methods provide more detailed
information about participants than quantitative methods, thus according less privacy.
For the purpose of confidentiality, all participants were given pseudonyms and any
demographic information has been made vague. As Shakespeare et al. (2010) point out,
anonymity is important when conducting research with dwarfs due to the rarity of their
conditions and the fact that a lot of dwarfs know each other through being members of

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various dwarf organisations. As dwarf organisations and the method of snowballing were
used to recruit participants, it was evident that participants would be easily recognisable;
it was therefore important to provide them strict anonymity.
Cultural constructions of dwarfism
Cultural representations are a contributing factor to discrimination against disabled
people within society (Barnes, 1991). The way that dwarfs are presented may shape
people’s perceptions of them and, subsequently, the way those people interact with
dwarfs. Focusing on cultural stereotypes and personal beliefs, Heider et al. (2013) show
that people perceive dwarfs as weird, incapable, and childlike, and that they are objects
of entertainment. Building upon this notion, Jade claims that representations affect the
way people expect her to respond to those who perceive her as funny on account of her
dwarfism:
They [Dwarfs in entertainment] were either funny or scary and that’s how
people reacted towards me constantly: I was either funny or scary. Still, some of
that happens today: people expect you to be up laughing and joking all the
time, and if you’re not, it’s because you are not a nice person or because you
have a problem accepting your own shortness (Jade, 47 years of age, face-to-
face interview).
Representations that construct dwarfs as humorous or mythical are likely to create a
distorted perception of them. Barnes (1992) suggests that stereotypes of the disabled,
perpetuated in the media, including on television and in films, create assumptions about
disabled people and thus affect attitudes towards them in society. Jade makes a link
between the way dwarfs are portrayed and the way that, consequently, she is expected

14
to behave in society. Shakespeare et al. (2007) suggest that dwarfs are assumed to have
a particular personality trait by other members of the public. In this case, the trait is
humorousness, so if Jade is not laughing, it is presumed that Jade is not pleasant and
that she cannot accept her own shortness, which people connect with humour. It is not
to presume that Jade is miserable or that she does not have a sense of humour, but
rather that she does not want to use her height as a source of amusement for others.
“Other members of the public tend to see dwarfs as figures of fun” (Shakespeare et al.,
2010: 30). Jade further points out that name-calling in society is encouraged by the use of
certain names in the media:
I used to be called Bridget the midget. When I was growing up a song came out
called Bridget the midget and, of course, everyone at school would call me
Bridget for ages. It wasn’t really bullying, it was just them associating, because
that was the first time on television that they had seen somebody tiny… It was
on Top of the Pops
2
and really popular. From then on, it became acceptable to
use that term from then onwards, because it had been seen on the television
and that (Jade, face-to-face interview).
Jade was automatically associated with “Bridget the midget” because they had a
distinctive bodily characteristic in common. The fact that the name contains the word
midget can be seen as offensive, given that every participant interviewed recalled finding
that name very offensive and that it is a term that they would never use to refer to those
with dwarfism. The term midget derived from the freak show and is considered offensive
by the vast majority of dwarfs (Kruse, 2002). The term is still used within the media, and
2
Top of the Pops was a music show on British television at the time.

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in comedy venues (Martin, 2010) which gives it an acceptability to use within society.
Other names that they have been called have also originated from the media, including
films.
Everywhere I go they just say, “that’s a midget” or “that is a Mini-me”. It is all
those characters and they are all quite funny characters (Myraar, telephone
interview).
The Character to which Myraar refers to is played by the actor Verne Troyer, who has
appeared as the character ‘Mini-me’ in two of the three Austin Powers films.
3
For Myraar,
saying “that is a Mini-me” shows that her dwarfism is connected to a film character.
Referring to her as “a Mini-me” shows that Myraar is not a dwarf in a conventional sense,
but a “Mini-me” who is, as Myraar points out, portrayed as “funny”, which again connects
dwarfs with being funny. Haberer (2010) argues that Mini-me’s role in the film builds on
existing stereotypes of dwarfism: He does not speak and is often infantilised by his father
(loosely speaking), Dr Evil. Amanda also mentions names she’s been called which relate
to film and television characters:
I have been called “Mini-me” and been asked where Snow White is. It happens
quite often. I think people are just trying to show off to their friends. They think
because a dwarf in film or on TV is OK with it we must all be OK with it and
enjoy people making fun out of our height (Amanda, face-to-face interview).
3
Austin Powers is a popular series of films which came out in the 1990s.

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Through certain dwarfs’ allowing themselves to be ridiculed on television or in film,
Amanda thinks that it gives permission to other members of the public to make fun of all
dwarfs. This is because their identity is connected to the representations, so however the
dwarf within the media responds to treatment is an indication of how it is acceptable to
treat dwarfs in general. Heider et al. (2013) suggest that the high number of dwarfs who
capitalize on their height in the entertainment industry creates a cultural perception of
dwarfs as objects of amusement and entertainment.
One of the representations mentioned most often in the interviews was Snow White and
The Seven Dwarfs, which is not only a popular fairy tale, but also an animated film created
by Disney. Disney is one of the most popular film-producing companies, whose films are
aimed predominately at children. Disney’s animated version of Snow White was Disney’s
first film, made in 1937, and remains one of its most popular, attracting a wide audience.
Adelson (2005a) points out that, if asked to recall a film which features dwarfs, Snow
White and the Seven Dwarfs is the most popular answer. As well as the Disney version,
there are also regular theatre productions of the story, making the dwarfs a very well-
known set of characters. Elkin (2015) argues that unlike other characters in the
Pantomime, dwarfs cannot leave behind their height after the show in the way that other
actors can leave their costume. This also means that other dwarfs may be perceived and
treated in a similar manner. Lydia points out how Snow White is used by other members
of the public to mock her and a friend:
…The Snow White and the Seven Dwarfs stereotype. When I was in Blackpool a
few years ago to see a friend who was in Snow White and the Seven Dwarfs, we
went out for a meal and people started singing behind us “Hi-Ho” (Lydia, face-
to-face interview).

17
The song Lydia is referring to is a well-known song, sung by the seven dwarfs, in Disney’s
animated version of the classic fairy tale. Disney is famous for creating animated
musicals and many of the songs are very well known within society. Their experiences
demonstrate that some other members of the public associated Lydia and her friend
with the popular fairy tale, thus affecting how they were treated. Ivy further mentions
how it can affect the way children interact with dwarfs:
Snow White and the Seven Dwarfs: they always play a comic part, really, and it’s
a thing that makes people laugh. I mean, it’s difficult for parents to take their
children to see Snow White and the Seven Dwarfs and encourage them to laugh,
and then, when they come out the theatre, somebody like me walks along and
they tell them not to laugh. It must be very confusing for that to happen to a
child (Ivy, telephone interview).
Ivy believes that the representation of dwarfs in Snow White influences the way people,
especially children, react to dwarfs in society. Shakespeare (2000: 2) points out that “as
children grow up, they learn about disabled people through books, films, and legends
which they encounter”, and so, real disabled people are understood in terms of fictional
stereotypes. A dwarf’s bodily difference is easily recognisable and, thus, it is easy to make
the connection between a dwarf on stage and a dwarf in the street. If a child has no
other point of reference to a dwarf, then their perception is likely to be shaped by the
one on stage. This can lead to avoiding spaces that perpetuate these stereotypes:

18
I never want to be next to a poster advertising Snow White; I never want to be
beneath the sign saying “Snow White”, because I never want to be that photo
opportunity for someone with a camera phone (Naomi, face-to-face interview).
Participants spoke about being stared at in all the interviews, but seven mentioned also
being photographed, which can be seen as an extreme form of staring (Garland-
Thomson, 2002). What Naomi demonstrates is that she is careful where she goes in
order to try to reduce the number of photo opportunities which are likely to occur in
places where there are media images or representations of dwarfs. Shakespeare et al.
(2010) found that 63% of their participants felt unsafe when out in public and often
avoided particular locations. Naomi is anxious about being in spaces that contain these
representations in case they provoke unwanted attention. This anxiety may arise from
past experiences which, as Naomi pointed out, previously involved references to Snow
White, and thus Naomi employs her own strategy to try to avoid any recurrence of such
experiences.
To minimise any risk of receiving unwanted attention influenced by cultural
constructions of dwarfs, Steve discusses alongside his wife, Joan, the reasons he now
avoids certain areas:
Steve: I was going to a gym. It was in the leisure centre and was right next
door to a comprehensive school and the time that my gym class was finishing
was the school’s lunch time. I was coming out of the gym as they were coming
out of the school and, nothing directly at me, but I could hear the circus tune

19
being whistled as I was walking towards the car and I just took no notice of it
and just carried on.
Joan: “Snow White” sort of tune as well.
Steve: I just didn’t go back there. I don’t need to put myself in that position.
Joan: It spoilt something for Steve.
Steve: Yeah, and it was working as I was losing weight. But I stopped going
and found another gym (face-to-face interview).
Steve and Joan are a married couple whose interview was conducted as a paired
interview. School children, who Steve later pointed out were teenagers, mocked his
height by relating him to popular representations of dwarfs. In circuses, people are
encouraged to derive humour from and to mock performers, including dwarfs (Bogdan,
1996). This encouragement is still evident and demonstrates the way in which a popular
representation of dwarfism is used to mock dwarfs in society. Although Steve has since
found another gym, demonstrating a good alternative, he was nevertheless restricted as
to which gym he can go to. Had the teenagers not mocked his height, which mocking was
encouraged by cultural representations of dwarfs, Steve would not be restricted as to his
choice of gym.
Challenging Cultural Constructions
Although it is still acceptable to use dwarfs for amusement purposes, often in derogatory
roles that construct dwarfism in a negative way, there are a growing number of dwarfs
actors refusing these roles. To further challenge stereotypical representations of dwarfs,
several participants suggested giving dwarfs more of serious and/or true-to-life roles to
play, as opposed to being figures of fun:

20
…I think what we need to do is put out more positive images. I was quite proud
of Eastenders when they cast a dwarf as a teacher and I loved that (Anne,
telephone interview).
It would be nice to see more dwarfs playing characters like the one in
Eastenders instead of always being the fool. I think it would make some people
realise that we are not all stupid and that we have normal lives. A lot of dwarfs
have normal jobs, but that is not shown and, so, people just think we are all
panto actors (Amanda, face-to-face interview).
Eastenders is a well-known UK soap opera and has an international audience. British
soap operas, such as Eastenders, are based on people living in British society, although
they may not truly represent British life due to their often over-dramatised storylines.
Showing a dwarf as a school teacher can be seen as a more varied portrayal of a dwarf,
in comparison with something from mythology or someone to laugh at. Sancho (2003)
suggests that showing disabled people on television with minimal focus on their
disability, but shown in a way which portrays them as being just like anyone else in
society, helps to increase acceptance of them. The role of a teacher can be seen as a
normal everyday portrayal of a person, showing a dwarf in a more positive and realistic
role – a far cry from the mythical and humorous portrayals that encourage people to
treat them differently, such as by laughing at them. Having a dwarf playing the role of an
everyday person helps to challenge misconceptions of dwarfs, especially when that
dwarf appears in a popular soap opera seen by millions of people living in the UK. It
reduces the novelty value that their short statures are accorded. Obviously, not all
dwarfs work as teachers, but still, the role is different from other representations of
dwarfs, such as mythical creatures and comedy props for stag-dos.

21
Other participants also spoke about the potential that documentaries have in challenging
stereotypes:
I think it is more to do with awareness. A lot of people need to watch the
documentaries and not make the programme funny. I think it will give them a
very different picture of us. I think TV programmes, more than anything, need to
change as a lot of people watch TV (Myraar, telephone interview).
The majority of participants mentioned documentaries as being a good way of changing
representations of dwarfs and, therefore, helping to change people’s perceptions of
dwarfs within society. Reality shows featuring dwarfs help to “destigmatise” them by
showing them as ordinary people (Backstrom, 2012). Producing more documentaries on
dwarfism can be seen as a productive way of challenging the representations of dwarfs
that currently exist, supplanting them with more realistic representations of dwarfs.
Heider at al. (2013) point out that a particular television channel, called The Learning
Channel (TLC), has produced reality shows which aim to dispel stereotypes of dwarfs
through showing dwarfs engaged in everyday activities, such as raising a family and
working. Although documentaries may have the potential to change representations of
dwarfs, Kayleigh mentions a particular reality show which, due to its content, she thinks
can have an unwanted affect on how other members of the public perceive dwarfs:
I am very concerned about what Channel Four is bringing out, the reality TV show
based on a panto…as it just feeds into the myth that everybody who has dwarfism
works in panto (Kayleigh, face-to-face interview).

22
The show Kayleigh is referring to, is a reality show that focuses on a group of dwarfs
getting ready for a pantomime in which they play the seven dwarfs from Snow White and
the Seven Dwarfs. This can reinforce the stereotype that all dwarfs take part in
pantomimes. The show reinforces people’s idea of dwarfs as objects of ridicule within
society, instead of showing dwarfs in a more positive and realistic portrayal. Although
some dwarfs may take part in pantomimes, not all of them do. None of the participants
interviewed mentioned taking part in a pantomime, not even Kayleigh, who works as an
actress but rejects roles that stigmatise dwarfs. A reality show that falsely represents
dwarfs and plays on existing stereotypes will reinforce the idea that it is acceptable to
ridicule dwarfs.
Documentaries aim to disseminate information about their subject, in this case dwarfs,
in order to change their viewers’ opinions of and attitudes towards that subject (Garland-
Thomson, 2002). Although documentaries can help to show the real lives of dwarfs,
Askcharity (2006) suggests that particular documentaries, such as “shock docs”, can have
a negative effect upon the people they portray. This is not to suggest that documentaries
cannot help to change attitudes, but rather that caution is needed in order not to present
a documentary which resembles more a modern-day freak show than an educational
programme giving a more everyday representation of dwarfs. Whilst Backstrom (2012)
argues that reality shows can help to “destigmatise” dwarfism, it must be noted that this
depends on the content of the reality show and how it represents dwarfs.
Discussion
It is apparent that, when dwarfs access public spaces, the negative reactions towards
them from other members of the public are often influenced by cultural representations
of dwarfs. Barnes and Mercer (2010) suggest that the lives of disabled people are

23
affected by the negative reactions they receive from other members of the public. It
seemed that, in most cases, members of the public found it acceptable to mock dwarfs
for fun, often relating them to dwarf characters which they deemed humorous and
mocking them by singing songs sung by the film characters.
A strategy for avoiding unwanted attention is the avoidance of spaces where one is likely
to receive it. Dwarfs tended to avoid spaces where they perceived an increased likelihood
that they would be laughed at or harassed (Shakespeare et al., 2010). It is apparent that
dwarfs’ avoidance of spaces is affected by the way other members of the public react
towards them, often relating them to cultural representations of dwarfs. A space is not
always disabling because of the physicality of the space, but because the attitudinal
environment therein disables people who look different (Hawkesworth, 2001).
Although reality shows may be a good way of challenging and changing people’s
attitudes towards dwarfs, those shows have to challenge stereotypes instead of playing
on them. Backstrom (2012) points out that reality shows act as a replacement for freak
shows, which are no longer as popular as they once were. With the demise of freak
shows, reality shows may provide another way for people to view dwarfs.
The final way in which dwarfs can become more accepted is by placing them in roles that
are more varied and true-to-life, as opposed to mythic or humorous. Although dwarfs’
bodily appearance will still be very visible, their dwarfism has the potential to be read
differently, which may result in less unwanted attention. Whilst there are still actors with
dwarfism who will accept roles that perpetuate negative stereotypes of dwarfism, there
are a growing number who are refusing these roles, such as the Emmy award winning
actor Peter Dinklage. Peter Dinklage, who has achondroplasia, stated in an interview that

24
“[c]ute elves and buffoonish leprechauns were generally off the menu” (Lawrence, 2015).
Peter Dinklage, most famous for his role in Game of Thrones, is well known for refusing
stereotypical roles associated with dwarfism. This demonstrates a possible changing shift
in the way dwarfism is constructed. Showing dwarfism in a more challenging way would
offer dwarfs the chance of normality; as Kayleigh pointed out, dwarfs within films who
are not ridiculed are not used to mock her. Thus, mass media has the potential to change
attitudes towards dwarfs.
Conclusion
This paper has explored the cultural representations of dwarfs, including within mass
media, and how they affect the way that dwarfs are perceived and treated within society.
Dwarfism appears to have a strong cultural representation attached to it and is still
popular within the entertainment industry, where it is often seen as something to laugh
at. The majority of participants think that these representations contribute to the
negative reactions they receive from other members of the public, and this was evident
in the experiences they shared. These representations exist partly because many dwarfs
still consent to using their dwarfism as a form of entertainment. This paper adds to
Adelson (2005b), who suggests that dwarfs are turning against the exploitation of
dwarfism within the entertainment industry, through showing how cultural
representations affect them in society.
It is apparent that these negative reactions affect how dwarfs negotiate public spaces,
such as by avoiding spaces where they have received or think they will receive unwanted
attention that is influenced by cultural representations. For many dwarfs, their avoidance
behaviour had more to do with being apprehensive about a space than it had to do with
adverse past experiences. Avoiding spaces can be seen as a strategy to reduce the

25
amount of unwanted attention one receives in public. Overall, representations of dwarfs
are part of the social barriers that dwarfs encounter and, thus, can be seen as a
contributing factor to dwarfs’ disablement.
Providing a more varied representation of dwarfism can help to change perceptions of
dwarfism and, thus, the way other members of the public perceive and interact with
dwarfs. Depicting dwarfs in everyday situations and playing everyday characters (e.g., as
a teacher) can help to challenge existing stereotypes of dwarfs. With regard to reality
shows, it is important to take into consideration the aim of a given show and whether or
not it challenges existing representations of dwarfs.

26
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