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How My Disability Justice Practice Had to Align with Fat Liberation for Representation

The 2026 NAAFA Fat Liberation Month poster is seen. It features illustrations of fat folx of various sizes, skin colours, and abilities. Text states: FAT LIBERATION MONTH naafa

In that role, I often had Black, Indigenous, and racialized students doubt if they were eligible for registration with Accessibility Services, despite regularly seeing medical professionals for health issues that clearly limited their ability to pursue their learning. Over time, with each discussion with these students whose skin tones resembled mine, I came to realize that they too had implicitly come to perceive disabilities as "a white thing," likely because it was rare to see disabled representation of Black, Indigenous, and racialized folx, which posed a barrier to our self-identification as disabled. Personally, despite first navigating the debilitating impacts of Migraine Disorder since my teens, I did not begin to call myself disabled until multiple decades later.

By the time a global pandemic resulted in employers shifting to remote work in an attempt to flatten the curve in March 2020, I had begun to consider how I might be considered disabled, but had not yet come to claim that identity.

When unable to see my beloved chiropractor weekly for months, I struggled more with back pain, sleep issues, and migraines, which limited functioning, and made it abundantly clear that I had every reason to call myself disabled."

- Krystal Kavita Jagoo, MSW.

I would then write about being disabled in this essay for The Disability Visibility Project in 2021, as unpacking internalized ableism entails a far from linear journey, as you know if you have read this newsletter post from February.

Given my realizations about how limited representation of Black, Indigenous, or racialized disabled folx may hamper communities of colour from identifying as disabled, I was happy to write about my experiences.

Later that year, I was writing my first magazine feature that came with a budget for my disabled Canadian sources across multiple provinces to be photographed, but could not find a single Black, Indigenous, or racialized source willing to speak with me if being referenced by their real names, so I had both a Black source and a brown source who required aliases, therefore neither was comfortable with having their photos taken out of fear of it limiting their employment prospects.

Since my personal essay introduced the vignettes, my editor suggested that I could be photographed if I was open to that. I was my fattest I had been until then, and my most gray, with no salon visits while struggling to survive institutional violence at the hands of Accessibility Services at Canada's largest university, but I knew that despite my discomfort, this was an opportunity to embody Maya Angelou's practice of doing better when we know better, as my photograph could tangibly show that brown folx are also disabled, which would diversify disabled representation, and hopefully help more communities of colour to unpack their internalized ableism towards the final Disability Justice principle of Collective Liberation."

- Krystal Kavita Jagoo, MSW.

As you may already know, I did the photo shoot, and it was as uncomfortable as feared, as the photographer turned out to be a skinny white woman, which only reinforced why I needed to take up that space for better representation

I wish I could tell you that I now love that photo much more than before, but I would be lying, so instead I will carry on the necessary work of learning, unlearning, and relearning for my Fat Liberation, which must accompany our Collective Liberation."

- Krystal Kavita Jagoo, MSW.

3 of the author's rumpled crop tops are seen. The black one from the top states this in white text: TORN BETWEEN LOOKING LIKE A SNACK & EATING ONE. The black one in the middle states this in green, pink, orange, and red text: THICK THIGHS THIN PATIENCE. The yellowish green one below states this in red, orange and blue text: UNLESS I'M SITTING ON YOUR FACE, MY WEIGHT IS NONE OF YOUR BUSINESS.
3 of the author's rumpled crop tops are seen. The black one from the top states this in white text: TORN BETWEEN LOOKING LIKE A SNACK & EATING ONE. The black one in the middle states this in green, pink, orange, and red text: THICK THIGHS THIN PATIENCE. The yellowish green one below states this in red, orange and blue text: UNLESS I'M SITTING ON YOUR FACE, MY WEIGHT IS NONE OF YOUR BUSINESS.

If you could benefit from some relevant book recommendations, here are a few titles in various genres that helped me to think more critically about the need for a month entirely dedicated to the Fat Liberation we all deserve: 

A book cover is seen. Against a white background, the tines of a silver fork are seen, under which, text states: Hunger A Memoir of (My) Body Roxane Gay Author of the New York Times bestseller Bad Feminist
A book cover is seen. Against a colourful background, Sonya Renee Taylor, a Black woman is seen, on her back. Text, as follows: NEW YORK TIMES BEST SELLER REVISED AND EXPANDED SECOND EDITION THE BODY IS NOT AN APOLOGY THE POWER OF RADICAL SELF-LOVE This book took my breath away. It's an unexpected and urgent embrace of truth." - BRENE BROWN, PHD AUTHOR OF THE NEW YORK TIMES #1 BEST SELLER Dare to Lead SONYA RENEE TAYLOR FOREWORD BY IJEOMA OLUO
A book cover is seen. Against a salmon background, an illustration of a Black woman with locs and gold hoops is seen. Text, as follows: Weightless MAKING SPACE FOR MY RESILIENT BODY AND SOUL "Vulnerable richly detailed....Incisive and gratifying." - New York Times Book Review Evette Dionne AUTHOR OF LIFTING AS WE CLIMB

I am embarrassed to admit that I have yet to finish Professor Sabrina Strings' Fearing the Black Body: The Racial Origins of Fat Phobia or Da'Shaun Harrison's Belly of the Beast: The Politics of Anti-Fatness as Anti-Blackness, but it has been a rough couple of years since interviewing both of those authors for my 1st longform story for Prism, however I feel extremely confident about recommending their books based on those discussions: 

A book cover is seen. From the top, a 19th century illustration, titled The Hottentot Venus in the Salon of the Duchess of Berry, by Sebastien Coeure, is seen. It features Sara Baartman, an enslaved Black woman whose voluptuous physique was displayed in exhibitions in England and France. Underneath, text states: FEARING THE BLACK BODY The Racial Origins of Fat Phobia SABRINA STRINGS
A book cover is seen. Against a white background, 9 black and white photographs of the author are seen. Above, against a black background, white text states: "Belly of the Beast pushed us to think past the pablum of telling fat folx all they gotta do is love themselves to enacting a movement that addresses the source and ramifications of societal anti-fatness as anti-Blackness." - Sabrina Strings, author of Fearing the Black Body. On the bottom, against a black background, text states: BELLY OF THE BEAST THE POLITICS OF ANTI-FATNESS AS ANTI-BLACKNESS Da'Shaun L. Harrison FOREWORD BY KIESE LAYMON

If able to contribute to my survival following my ex's financial abuse of at least $183,364, which further disabled me, alongside white supremacist workplace trauma, e-transfers within "Canada" may be sent to krystaljagoo@gmail.com and funds may be sent via PayPal below, so please consider supporting me!🙏🏾

BTW, on the off chance that you are looking for a gifted equity practitioner and educator for virtual services like writing, facilitation, and consulting, you are welcome to peruse my CV below, and explore paid services here.

Please consider sharing this newsletter to amplify the reach of my work!🙏🏾