Cripistemological Approaches to Disability Arts Culture (Forthcoming)
A Special Issue of ‘Studies in Social Justice', Chandler, E., K. Aubrecht, C. Rice, & E. Ignagni.
Relaxed Performance: Exploring Accessibility in the Canadian Theatre Landscape
Interest in curating accessible experiences is growing among many in the Canadian arts scene. The question of what this means has begun to drive conversations about how this might be accomplished, concretely: What is an accessible arts experience? How does it look different in different segments of the arts landscape? What are the policy implications of accessibility? How does accessibility in the arts relate to larger debates about accessibility in disability studies? What is access, and what is inclusion?
Canadian Journal of Disability Studies
Cripping the Arts in Canada by Eliza Chandler
Disability arts are political. Disability arts are vital to the disabled people’s movement for how they imagine and perpetuate both new understandings of disability, Deafhood, and madness/Mad-identity and create new worldly arrangements that can hold, centre, and even desire such understandings. Critically led by disabled, mad, and Deaf people, disability art is a burgeoning artistic practice in Canada that takes the experience of disability as a creative entry point.
On the Complexity of Cripping the Arts
Published in Canadian Art Magazine by Christiana Myers
In the wake of Bill C-81, “an act to ensure a barrier free Canada,” and the Canada Council’s accessibility and equity research initiatives, the attention to deaf, disability and mad arts is growing. The aim, now, is for organizations to realize commitments to accessibility by developing methods of inclusion that are as creative as their programming. Rather than simply accommodating these artists and audiences, organizations have the opportunity to “crip”–that is to disrupt–the way they think about language, time, representation and even budgeting. What are the futures of these bodies and what can we learn from them?