This article experiments with multimedia storytelling to re-vision difference outside biomedical and humanistic frames by generating new understandings of living dis/artfully with illness. We present and analyze seven short videos created by women and trans people living with illness as part of an arts-based research project that aimed to speak back to hegemonic concepts of disability that create barriers to healthcare.1 We call for a welcoming in of disability studies’ disruptive and re-imaginative orientations to bodily difference to unsettle medicine’s humanistic (...) accounts. In turn, we advance medical post-humanistic approaches that call on disability studies to re-embody its theories and approaches. (shrink)

There is an increasing movement toward accessibility in arts spaces, including recent legislative changes and commitments at individual, organizational, and systemic levels to integrating access into the arts across Canada. In this article, we explore Relaxed Performance in the context of this movement. We present the results of a reflexive thematic analysis of interviews conducted with participants who completed RP training offered by the British Council to. understand the training’s effectiveness and impact. We explore the significance of the training, and (...) of RP in general, and in relation to disability studies and cultural and political activism. We undertake this exploration against a backdrop of interrogating who RP is for and by. The themes we describe are: Committed to Access, Training is Critical, Inviting Bodies to be Bodies, and Imagining Audiences. These themes tell a story of how RP relates to broader access work, the importance of training grounded in and led by disability/difference, the need to consider the relationships between bodies and spaces, and the tensions inherent to billing RP as “for all.” We conclude with an exploration of possible modifications, enhancements, or theoretical imaginings that could help RP to become more radically open to difference as it emerges, shifts, and changes. (shrink)

This paper revisits the dynamic discussion about journalism’s role in representing and amplifying disability arts at the 2019 Cripping the Arts Symposium. Chronicling the dialogue of the “Representation” panel which included artists, arts and culture critics, journalists, and scholars, it reveals how arts and culture coverage contributes to the cultivation of disability, D/deaf, and mad art. Given that the relationship between journalism and disability communities continues to be fractured in Canada, speakers were invited to reflect on journalism and disability arts (...) in relation to their own engagement with media as subjects, authors, and critics of disability arts reviews. The methods for presentation were cripped in multiple ways to provide the fullest access possible. The panel concluded with examples of ableist fault lines in representation practices where the disabled figure is an absent “ghost” in journalistic representation, warnings against journalistic reliance on traditional and objective narratives, and a call for artists to claim and write their own stories. Ultimately, disabled, D/deaf, and mad artists need both control over artistic endeavours and output and influence over representation. This article reconnects journalism and disability communities, ultimately demonstrating that representation is a critical, co-constitutive process that can become more aesthetically and politically oriented toward social justice in its focus on disability, D/deaf, and mad arts. (shrink)