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Powerpoint on Disability, ableism and education

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this is tomorrow

Contemporary Art Magazine

LADA Screens: Katherine Araniello

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We are screening a compilation of work by Katherine Araniello, who died in February 2019. The compilation was edited by Oriana Fox.

Katherine was an extraordinary human being, a beloved friend of LADA, a long-standing LADA Board member, a fearless activist, and an artist who was central to so many of our publications, projects, events and professional developments programmes over many years. We will be bereft without her. As Katherine's fellow LADA Board member Dominic Johnson said on hearing of her passing, "Live Art feels that bit less interesting and wild without her."

Works featured in this compilation include:

'The Araniello Show Intro Film' (2018), 'A Message from the Queen' (2016), 'Follow Me on My Journey to Die' (2009), 'Nice Song' (2017), 'A Fistful of Froth' (2013), 'Have Yourself a Merry Little Christmas' (2013), 'Pity Party' - Re-Edit (2018), Plastic Anorexic 'Take me to your party' (2008), 'Chandelier Sia, Lip Sync - a collaboration by the artists Katherine Araniello and Jenna Finch' (2015), The Dinner Party - Original Performance Documentation at Arts Admin (2011), The Disabled Avant-Garde 'Amazing Art' (2009), 'We're the Superhumans' - Rio Olympic Trailer (2016), 'Inspirational Vlog', 'If only I was normal' (2016), 'Sick Bitch Crip - Le Crip Curl' (2013), 'Sick' (2008), 'Sick Bitch Blues' (2012), 'Sick Bitch Crip 'Dance'' (2013), 'I like that' (2004), 'Telekinesis' (2013), 'I Can't Dance' - LADA DIY Workshop (2015), 'Holy Bibles Batman! The DAG are gonna take on the Arkestra!' (2015), 'Inspirational', 'A Miracle of Life' (2016), 'Underwater Sick Bitch Crip' (2014).

Biography

Katherine Araniello was a London-based performance artist, who uses performance, video and subversive humour in response to the mundane, social awkwardness and the negative representation of disability. She twisted taboos and the everyday into works which were never quite as they seem and were constantly challenging notions of ability. No-one was exempt and everyone was under scrutiny. Araniello used improvisation, interaction and the use of technology to create unpredictable scenarios that ranged from large scale productions to DIY and workshop activities. She worked with artists including Teresa Albor, Kim Noble, Ursula Martinez, Daniel Oliver, Aaron Williamson and Marcia Farquhar; and organisations including Live Art Development Agency, Southbank Centre, Battersea Arts Centre, The Yard Theatre, China Plate, Tempting Failure, The Wellcome Trust and Guest Projects. Her recent collaborative work used fun aesthetics which create quick unplanned performances.

Araniello also worked under a number of guises, including as SickBitchCrips (SBC), a persona that allowed her to present disability in outrageous and politically incorrect ways, provoking audiences to reassess their own notions of disability in contemporary society. She also worked with Aaron Williamson as The Disabled Avant-Garde (DAG), a satirical arts organisation, creating pitch-black and self-knowing performances, videos and interventions.

Her work has been shown internationally at galleries and festivals including; Tate Modern, Tate Britain, The Nunnery, the Canadian Arts and Disability Festival, ICA, Purcell Room at Southbank Centre, Hitparaden - an international festival for performance at the Pumpehuset in Copenhagen and at the Urban Institute for Contemporary Arts (UICA), Michigan.

Katherine Araniello was an Artsadmin Associate Artist and is on the board of the Live Art Development Agency. She held a First Class Honours Degree in Fine Art from London Guildhall University and a Master's Degree in Fine Art from Goldsmiths, University of London.

www.araniello-art.com

About LADA Screens

LADA Screens is a series of free, online screenings of seminal performance documentation, works to camera, short films/video and archival footage. It is part of Live Online, LADA's dedicated space where you can watch short videos and films drawn from LADA's Study Room or generated through our programmes and initiatives.

Each screening will be available to view for a limited time only, and will be launched with a live event at our space in Bethnal Green, London. Online art magazine, thisistomorrow will also feature the films on their website for the duration of the screenings.

LADA Screens is curated by the Live Art Development Agency (LADA). LADA is a 'Centre for Live Art': a knowledge centre, a production centre for programmes and publications, a research centre setting artists and ideas in motion, and an online centre for digital experimentation, representation and dissemination.

For more information about LADA Screens please contact Alex Eisenberg.

www.thisisliveart.co.uk

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A compilation of greatest hits by the extraordinary artist Katherine Araniello who died in February 2019. Katherine's work used performance, video and subversive humour in response to the mundane, social awkwardness and the negative representation of disability.

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Soft care is a socially engaged art about personhood and technology. Taeyoon Choi, in collaboration with minority and disability communities, builds social sculpture, workshops, software, research, participatory performances, installations and paintings. Soft care focuses on implicit, nuanced and intricate forms of care between people and within oneself. Soft care investigates narratives around technological innovation and explicit solutions, problematizes the focus on cure versus care, challenges the concept of normalcy, disability, and impairment. Soft care supports transformative experiences of learning, making, and taking care of mental and physical health.

Can we code to care and code carefully? The Distributed Web of Care is a research initiative on communication infrastructure that explores the Distributed Web as a peer-to-peer, alternative web prioritizing collective agency and individual ownership of data and code. - Data and Society, School for Poetic Computation, Ace Hotel

Unlearning is not "not-learning," it's the process of disengagement from conventional methods found in most schools and learning environments. It's questioning of the way certain knowledge is produced, distributed and obtained. It's a deliberate dismissal of the power structure inert in the knowledge In Unlearning Disability, we transform the notion of normalcy, by investigating experiences of conflict that we all inhabit in our bodies. - Pioneerworks, University of Seoul.

Signing Coders is a series of workshops on creative expression with computer programming, art and poetry thatfocuses reaching out to youth who are Deaf or hard of hearing. As an educational initiative for accessibility and diversity, the workshops are free and open to people of all age and ability. To ensure inclusive learning experience, real-time transcription will be provided along with ASL interpretation. - BRIC

Teaching as Art is a class for artists and creative technologists who want to teach. A good teacher is also a great student themselves. They transform their curiosity into knowledge and share their learning processes with others. Teachers can invent new forms of learning spaces, new kinds of collaboration and new senses of community. - NYU ITP, EYEO festival

Uncertainty School is a school to explore potential that cannot be described in a language of the world of certainty. The school's curriculum focuses on art, technology, disability, and their correlation with one another, and aims at unlearning of exclusive or discriminatory viewpoints we have unconsciously accepted. The school provides sign language interpretation, translation, stenography, taking participants' various types of disability into consideration, and offers education in a space easily accessible by the people with varying types of physical disabilities. - Mediacity Seoul 2016, Seoul Museum of Art

Coding 0 to 1 is an introductory coding workshop for North Korean students at NKgo Daum School in Seoul, South Korea. Coding 0 to 1 was a one day workshop for students between age of 17~27. Most of the students relocated to Seoul recently, and identified as defectors, migrants or refugees from North Korean diaspora. The workshop was three hours long, for 12 students using Windows computers. Almost all of the students did not have any experience with code. - US Embassy in Seoul

Access Breach is a collaboration with Rebirth Garments, CHAT (Centre for Heritage, Arts and Textile), and Eaton HK on a Fashion extravaganza inspired by Rebirth Garment's framework of Radical Visibility. This fashion show is to center queer, trans, disabled people of color in a beautiful ball room in Eaton HK.

More than 6,000 languages are spoken around the world today. As people speak different languages, people from different cultures have difficulty communicating with each other. Even within the same culture, non-disabled and disabled people need more efforts to communicate. Most hearing people don't learn sign language, and they think deaf people can read their lips. This Creative Coding workshop was held in the Uncertainty School, 2016 for disabled communities.

For information about the projects, contact studio@taeyoonchoi.com

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Soft care is a socially engaged art about personhood and technology. Taeyoon Choi, in collaboration with minority and disability communities, builds social sculpture, workshops, software, research, participatory performances, installations and paintings. Soft care focuses on implicit, nuanced and intricate forms of care between people and within oneself.

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Signing Coders is a series of workshops on creative expression with computer programming, art and poetry thatfocuses reaching out to youth who are deaf or hard of hearing. As an educational initiative for accessibility and diversity, the workshops are free and open to people of all age and ability. To ensure inclusive learning experience, real-time transcription will be provided along with ASL interpretation.

The first session took place on April 10, 17, 24 between 1~4pm at BRIC in Brooklyn, New York. Signing Coders workshops are taught by Taeyoon Choi, with help from an ASL interpreter and collaborators. The sessions introduce the basic concepts of computation and help students to play with basic electronics and p5.js. Class materials are available in following pages.

Invitation video by Christopher Tester and the script is available.

Code drawing example.

Coding environment in p5.js.

The next Signing Coders will be announced for Spring 2017. Feel free to contact Taeyoon by emailing taeyoon@sfpc.io

Watch the classes in video!

Taeyoon Choi is an artist and educator based in New York City. He's the co-founder of School for Poetic Computation and a faculty researcher at NYU ITP. He has an extensive experience of teaching art and technology to youth and community, including Making Lab and Poetic Science Fair. His recent project Errantic Poetry focuses on the translation between sign language and computer code. His collaboration with Christine Sun Kim was presented at the Whitney Museum of American Art. He was an artist in residence at Eyebeam Art and Technology Center, Lower Manhattan Cultural Council, The Frank-Ratchye Studio for Creative Inquiry at Carnegie Mellon University, Art + Technology Lab, Los Angeles County Museum of Art.

Special thanks to Christine Sun Kim, Sara Hendren, Elizabeth Ferrer ( BRIC), and Kevin Egbert.

The first series of workshop at BRIC is presented as part of Whisper or Shout: Artists in the Social Sphere (March 16 - May 1, 2016), an exhibition curated by Elizabeth Ferrer, that explores the varied forms of communication and language that artists devise as strategies of protest, education, or information sharing. The exhibition recently garnered press from the New York Times.

The Signing Coders was made possible with support from NYU ITP. I'm grateful for financial and creative support from ITP community.

More pictures!

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Signing Coders is a series of workshops on creative expression with computer programming, art and poetry thatfocuses reaching out to youth who are deaf or hard of hearing. As an educational initiative for accessibility and diversity, the workshops are free and open to people of all age and ability.

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Access Breach: Radical Visibility Fashion show poster by Eaton HK

Access Breach: Interweaving Poetic Futures & Intersectional Dreams with Rebirth Garments, CHAT (Centre for Heritage, Arts and Textile), and Eaton HK

3/6, 7/2 2021

Eaton HK, Hong Kong, SAR, People's Republic of China

Participants wearing tailor-made outfits by Rebirth Garments at "WERQ: Embodying Queer Spirit" Chances Dances Fashion Show at Gallery 400, Chicago.
Image courtesy: Kiam Marcelo Junio.

Introduction Session

Photo from the Intro Session with Chantal Wong (Eaton HK) and Eugenia Law (CHAT).
Image Courtesy: CHAT (Centre for Heritage, Arts and Textile)

The introduction session hosted over 50 participants in total (23 on-site, 29 via zoom). During the planning of the event, Rebirth Garments, Taeyoon Studios, CHAT team, and Eaton Team had several meetings talking about not only the logistical details, but what that means for queer disabled people, and how we must properly hold space for things to be accessible logistically and emotionally. In the introduction session, Chantal from the Eaton team mentioned how she desires to revolutionize hospitality, redefining what that means. This really resonated with the ethos of the event, where we want to radically envision and embody a way of space making that centers disabled, queer, trans, BIPOC, and otherwise marginalized bodies.

Photo from the Intro Session. Powerpoint slides of Disability Justice activists from North America. Image Courtesy: CHAT (Centre for Heritage, Arts and Textile)

From choosing the casting director, the photographer, venue, planning out the schedule, all the details and moving parts, there was a lot of intention behind each decision. With the venue choice, we wished to pay homage to ballroom culture that was started by Black and Brown disabled, sex working, low-income trans women from New York city that started Pride as an uprising at Stonewall Inn, notably Marsha P. Johnson and Sylvia Rivera, thus having it in the ballroom space. The ballroom space was also perfect because of how spacious and accessible it is for wheelchair users. The casting director Anne Marie Ilunga, recommended by Chantal, is a Congolese refugee who is a professional model and founder of Harmony HK. Harmony HK is a refugee-curated social enterprise which aims to promote and encourage diversity and inclusion through art and fashion. The model call form was based off of Sky's previous model call form, that specifically asks for the access needs of each model. Sky also mentioned that they will create masks with clear windows and different attachment styles made for each model for accessibility purposes and COVID-19. Chantal and Taeyoon also noted how we must make sure that everybody feels enriched throughout the process, even if they are not chosen, which is why we felt the need to invite anyone who has filled out the form to the show so that we may celebrate together. For choosing the photographer, Suhyun spoke about the importance of having someone who is experienced with working with dark skinned, disabled, fat, femme, queer and trans people, and that they know how to make people feel safe and sexy when they're being documented. Taeyoon also mentioned how Sky's previous shows moved in ' crip time ', where the schedule of the event moves at the pace of everybody involved, and no one gets left behind. Since our audience was mostly in Hong Kong, we needed the support of CHAT and Eaton team to localize these efforts by the process of translation, which includes an understanding of the different cultural and historical nuances. This is the first time Rebirth Garments is having a fashion show in Asia, so it's been exciting and challenging to contextualize Sky Cubacub's work for local Hong Kong queer and disabled people.

Photo from the Intro Session. Image Courtesy: CHAT (Centre for Heritage, Arts and Textile)

Taeyoon Choi, the Artistic Director, spoke about how moved he was after seeing Rebirth Garment's show at NYU Center for Disability Studies, experiencing an environment that's welcoming for everyone. He believes Rebirth's approach to radically adaptive and inclusiveness of all bodies is the future of textiles: Sky's approach of customization, celebrating the individual needs of a person's body and beauty. This modeling of celebrating disabled, queer, BIPOC bodies was an inspiration in envisioning Taeyoon's exhibition for CHAT, Interweaving Poetic Code.

Photo from the Intro Session. Image Courtesy: CHAT (Centre for Heritage, Arts and Textile)

Taeyoon Studios' producer, Suhyun Choi, was able to invite their younger sister to participate in this session through zoom, as they wished to expose her to queer disabled Asian brilliance from a young age. Throughout this event including its conception, we were inspired and attempted to practice Sky's model of care that is informed by Disability Justice activism in the U.S. Care is different from Cure (which is modeled by the medical industrial complex). The medical industrial complex goes against life, love, interdependence, and makes these things impossible to exist. In contrast, Care is an ecosystem of support created through loving communication, contemplation, understanding, action, and accountability. This modeling of care is not limited to a political understanding, but rather, has been a tool whether it is named or not for the affirmation and celebration of life.

Photo from the Intro Session. Image Courtesy: CHAT (Centre for Heritage, Arts and Textile)

Suhyun invited everyone to call upon ourselves, our loved ones, ones who came before us that paved the way not only for survival but for life to be affirmed, and remember the moments where we felt the most seen, most loved, most cared for. The moments where we witnessed this in action or as truths that people have shared, that gave us the desire and strength to exponentially expand our love. The moments that helped us break free from the isolation and myth of independence, that called upon the legacies of resilience of life. They asked: What created the conditions for that love and care to be possible? How can we nourish that in ourselves and each other? Our hope was that we can invoke and model this for each other throughout this session and beyond, and be accountable to each other. Our everyday interactions and practices of care is what builds the way for a caring world.

Sky Cubacub (founder of Rebirth Garments) asked participants what their dream fit was. They spoke about how important it is for models to feel safe and enjoy themselves, so they are able to dance however they want to, not look at the audience, be as silly, goofy, sexy, cute as they want, and not do anything that makes them feel uncomfortable. Sky also spoke about how if you feel uncomfortable, you can give someone a look so that they can come dance with you. The quality of this gaze is meant for reassurance, where visibility is informed by safety, love, care, and a feeling of connectedness to community, in contrast to the gaze of surveillance and policing modeled by the state.

Sky also talks about Radical Visibility which is articulated through their zine as well as collective. It is a Queer Crip dress reform movement that is about, "feeling confident in one's outward appearance [to] revolutionize one's emotional and political reality." Rebirth Garments and the Radical Visibility Zine is "to nurture a community of people who have often been excluded from mainstream fashion and provide a platform for people to confidently express pride in the intersections of their identities."

We hope to embody this sense of visibility and act of seeing each other, to hold, to love, to care for, to nourish, to queer, to understand, and to envision and embody ways of existing and being together that is joyful, expansive, and radical. Please make sure to fill out this form on or before 25 March 2021, 11:59pm to join as a model or come through to our fashion extravaganza celebration on July 2nd 💕
Artistic Director
Taeyoon Choi
Producer
Suhyun Choi
Designer
Rebirth Garments
Sky Cubacub
Organizers
CHAT (Centre for Heritage, Arts and Textile)
Bruce Li, Eugenia Law, Carmen Cheung
Mizuki Takahashi, Antony Chan, Paola Sinisterra

Eaton HK
Chantal Wong
James Acey
Mildred Cheng
Partners
Harmony HK
Anne Marie Ilunga
Introduction Session
Date: 6 March 2021 Saturday

Time: 11:00am-12:30pm HKT

Venue: Kino 1/F Eaton House, 380 Nathan Road, Jordan, Hong Kong

Language: Cantonese and English

Access Breach: Interweaving Poetic Futures & Intersectional Dreams
Party at Maggie, 2/F Eaton HK (380 Nathan Road, Jordan, Hong Kong)

Date: 2 July 2021

Time: 7:00pm

Application deadline as party models: 25 March 2021, 11:59pm

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Access Breach: Interweaving Poetic Futures & Intersectional Dreams with Rebirth Garments, CHAT (Centre for Heritage, Arts and Textile), and Eaton HK 3/6, 7/2 2021 Eaton HK, Hong Kong, SAR, People's Republic of China Introduction Session The introduction session hosted over 50 participants in total (23 on-site, 29 via zoom).

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a text about infertility and disability through feminist theology

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This special issue brings together explorations of crip temporality: the ways in which bodily and mental disabilities shape the experience of time. These include needing to use time-consuming adaptive technologies like screen readers, working slowly during a pain flare-up, or only being able to look at a screen for short periods.

Through accessibly written essays, art, and poems, contributors explore both the confines of crip temporality and the freedoms it provides. They offer strategies and narratives for navigating the academy as a disabled person; reclaim self-care as a tool for personal survival instead of productivity; and illustrate how crip time is mobilized in service of biopolitical projects. More than just a space of loss and frustration, they argue, crip time also offers liberatory potential: the contributors imagine how justice, connection, and pleasure might emerge from temporalities that center compassion rather than productivity.

Contributors: Moya Bailey, Amanda Cachia, María Elena Cepeda, Eli Clare, Finn Enke, Elizabeth Freeman, Matt Huynh, Alison Kafer, Mimi Khúc, Christine Sun Kim, Jina B. Kim, Leah Lakshmi Piepzna-Samarasinha, Margaret Price, Jasbir Puar, Jake Pyne, Ellen Samuels, Sami Schalk, Michael Snediker

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This special issue brings together explorations of crip temporality: the ways in which bodily and mental disabilities shape the experience of time. These include needing to use time-consuming adaptive technologies like screen readers, working slowly during a pain flare-up, or only being able to look at a screen for short periods.

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Crip Empathography: Co-creating a Graphic Novel about Parkinson’s Dance Experiences

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Crip Empathography: Co-creating a Graphic Novel about Parkinson’s Dance Experiences

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Abstract

The article combines the concept of empathography with aspects of crip methodology and theoretical reflections on the gaze in critical disability studies and, in doing so, creates a strategy for analyzing processes of co-producing a graphic novel about Parkinson's dance. The production of the graphic novel Moving Along: a Co-Produced Graphic Novel About Parkinson's Dance was part of a collaborative research project about dance for people with Parkinson's disease and their relatives. The analysis is based on examples of the participatory, iterative processes of writing and drawing along with texts and images from the final graphic novel through two thematic figurations as analytic fix points, the kaleidoscope and the tree of life. By highlighting embedded spectator positions and multiple ways of looking, gazing, and staring, the analysis stirs up concerns about storytelling, empathy, and disability as a continuum of embodied difference in ways that question traditional binaries of disability/ability and illness/health(iness) related to living with Parkinson's. On this basis, the argument is that the poetic and aesthetic processing of personal experiences of chronic illness and disability in relation to Parkinson's dance holds a valuable critical potential as a form of crip empathography.

Cite this

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title = "Crip Empathography: Co-creating a Graphic Novel about Parkinson{\textquoteright}s Dance Experiences",

abstract = "The article combines the concept of empathography with aspects of crip methodology and theoretical reflections on the gaze in critical disability studies and, in doing so, creates a strategy for analyzing processes of co-producing a graphic novel about Parkinson{\textquoteright}s dance. The production of the graphic novel Moving Along: a Co-Produced Graphic Novel About Parkinson{\textquoteright}s Dance was part of a collaborative research project about dance for people with Parkinson{\textquoteright}s disease and their relatives. The analysis is based on examples of the participatory, iterative processes of writing and drawing along with texts and images from the final graphic novel through two thematic figurations as analytic fix points, the kaleidoscope and the tree of life. By highlighting embedded spectator positions and multiple ways of looking, gazing, and staring, the analysis stirs up concerns about storytelling, empathy, and disability as a continuum of embodied difference in ways that question traditional binaries of disability/ability and illness/health(iness) related to living with Parkinson{\textquoteright}s. On this basis, the argument is that the poetic and aesthetic processing of personal experiences of chronic illness and disability in relation to Parkinson{\textquoteright}s dance holds a valuable critical potential as a form of crip empathography.",

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author = "Christensen-Stryn{\o}, {Maria Bee} and Lisbeth Fr{\o}lunde and Phillips, {Louise Jane}",

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N2 - The article combines the concept of empathography with aspects of crip methodology and theoretical reflections on the gaze in critical disability studies and, in doing so, creates a strategy for analyzing processes of co-producing a graphic novel about Parkinson's dance. The production of the graphic novel Moving Along: a Co-Produced Graphic Novel About Parkinson's Dance was part of a collaborative research project about dance for people with Parkinson's disease and their relatives. The analysis is based on examples of the participatory, iterative processes of writing and drawing along with texts and images from the final graphic novel through two thematic figurations as analytic fix points, the kaleidoscope and the tree of life. By highlighting embedded spectator positions and multiple ways of looking, gazing, and staring, the analysis stirs up concerns about storytelling, empathy, and disability as a continuum of embodied difference in ways that question traditional binaries of disability/ability and illness/health(iness) related to living with Parkinson's. On this basis, the argument is that the poetic and aesthetic processing of personal experiences of chronic illness and disability in relation to Parkinson's dance holds a valuable critical potential as a form of crip empathography.

AB - The article combines the concept of empathography with aspects of crip methodology and theoretical reflections on the gaze in critical disability studies and, in doing so, creates a strategy for analyzing processes of co-producing a graphic novel about Parkinson's dance. The production of the graphic novel Moving Along: a Co-Produced Graphic Novel About Parkinson's Dance was part of a collaborative research project about dance for people with Parkinson's disease and their relatives. The analysis is based on examples of the participatory, iterative processes of writing and drawing along with texts and images from the final graphic novel through two thematic figurations as analytic fix points, the kaleidoscope and the tree of life. By highlighting embedded spectator positions and multiple ways of looking, gazing, and staring, the analysis stirs up concerns about storytelling, empathy, and disability as a continuum of embodied difference in ways that question traditional binaries of disability/ability and illness/health(iness) related to living with Parkinson's. On this basis, the argument is that the poetic and aesthetic processing of personal experiences of chronic illness and disability in relation to Parkinson's dance holds a valuable critical potential as a form of crip empathography.

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Crip Empathography: Co-creating a Graphic Novel about Parkinson's Dance Experiences

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The article combines the concept of empathography with aspects of crip methodology and theoretical reflections on the gaze in critical disability studies and, in doing so, creates a strategy for analyzing processes of co-producing a graphic novel about Parkinson's dance.

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Disabled Archival Users & the Affects of Representation

Disabled people are difficult to find in history, often relegated to asylum documentation, criminal records, and medical files. As such, the history of disability is often considered separate from that of other discourses, institutions, and, therefore, public conceptions of how disabled people have played a part in history. And the way disability has been historicized, in turn, informs how disabled people are seen and treated today: despite the rise of disability justice and activism, disability continues to be predominantly conceptualized in medical terms, which perpetuates stereotypical understandings of disabled people. Considering the abundance of such types of records that tell one side of disability history, this research considers how disabled people use archives and imagine themselves in history through interviews with disabled scholars, artists, activists, and other researchers. Part of this research focuses on the materials themselves and the affective impacts of archival representation: as disabled people witness disabled people-or even their absence-in history, I investigate how they relate to disabled people across time. And part of this research focuses on the affective impacts of archival spaces: the ways in which archival policies, procedures, and spaces are configured as well as the ways materials are treated and processed all impact the ways in which disabled people feel a sense of belonging.

The Labor of Belonging for Disabled Archivists

As a sibling project to "Disabled Archival Users & the Affects of Representation" and in collaboration with Veronica Denison, this research investigates the ways in which disabled archivists navigate the archival field and archival labor. In a field where being required to lift 50 lbs is standard in job descriptions, we investigate the affective impacts of archives on disabled archivists. This research utilizes semi-structured interviews with disabled people to tease out the affective impacts of archives on the disabled people who work within them. We conducted interviews in Summer and Fall of 2021.

Project updates: We are currently working on a number of publications and presentations.

Crip Futures Archive

We are in the beginning phases of planing and building a community-based digital archive (tentatively) entitled, Disabled Pasts, Crip Futures Archive. Informed by conversations with disabled people, this digital archive will build connections with existing repositories and aggregate materials on and about 'disability' in existing archives-that may not be labeled or described as such. Additionally, it will also actively collect and digitize materials from disabled activists, scholars, artists, and community members, as to digitally capture history in the making. In thinking about the history of disabled people, this project also points towards our futures-how a community-driven archive can shape how we want to be remembered and understood through records in the future-while also embodying the disability rights slogan, "Nothing About Us Without Us." The digital platform will eventually provide disabled people opportunities to submit materials for digitization as well as to re-describe or add context to existing records, so that records on and about disability can have complex and multifaceted representation.

Before building the archive, we are beginning with a series of focus groups with disabled people to discuss crip futurity and archiving.

This research, Anti-Ableist Archival Futures: Disabled Desires for Archival Representation / Les avenirs des archives anti-validiste : Les désirs des personnes handicapées pour la représentation archivistique, is supported by the Research Support for New Academics Program grant from the Fonds de recherche du Québec - Société et culture (FRQSC).

Preserving Disability: Disability and the Archival Profession

Gracen Brilmyer and Lydia Tang are in the process of co-editing this forthcoming book under contract with Litwin Books!

About the Book: This book aims to address disability, ableism, and accessibility as they intersect with the archival profession-through collection development, archival labor, and accessing historical records. Chapters address a wide range of topics at this intersection including:

Historical overviews of disability and/or accessibility in the archival field and profession

Overviews of accessibility, legal regulations, standards, and best practices across different types of archives-community, university, government, corporate, etc.

Critiques of standards and policies that emphasize legal compliance over actual users

Disability collection appraisal, acquisition, description, and preservation that explicitly addresses the nuances of archival theory and practice

Surfacing disabled narratives in community-based archives that focus on other identities

Disabled users' experiences of accessibility or inaccessibility of digital and/or physical spaces, archival content, and services

Calls to action for archives to better support disabled archivists, users, and disability-related collections

And many more!

Interested in getting involved?

Calls for Participation:

All project-related calls for participation will be posted here. Check back for updates!

Other ways to get involved:

If you're interested in another possible collaboration with the Lab, please contact us.

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Disabled people are difficult to find in history, often relegated to asylum documentation, criminal records, and medical files. As such, the history of disability is often considered separate from that of other discourses, institutions, and, therefore, public conceptions of how disabled people have played a part in history.

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out of sorts - a queer crip in the archive

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Call for Abstracts for Edited Volume - Cripping the Archive: Disability, Power, and History | H-Net

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Cripping the Archive: Disability, Power, and History
(Edited by Jenifer Barclay and Stefanie Hunt-Kennedy)

"The archive" writes Cameroonian scholar Achilles Mbembe, "is fundamentally a matter of discrimination and of selection, which, in the end, results in the granting of a privileged status to certain written documents, and the refusal of that same status to others, thereby judged 'unarchivable'. The archive is, therefore, not a piece of data, but a status." In recent years, historians have paid increasing attention to the archives not simply as sites of knowledge but as sites of power and inequality. Their work has brought renewed visibility to the fact that not all pasts are deemed worthy of being documented, archived, retrieved, and written about in the present. This is perhaps especially true for people with disabilities who are paradoxically hypervisible and invisible in the archive. Although disabled people appear in the archive in a variety of familiar sources - from curiosity cabinets to medical records - their voices are often marginalized or silenced. Even in historical scholarship, disabled individuals remain under-explored in spite of the expansion of disability history.

This collection will explore the relationship between disability and the archive. We envision essays that collectively challenge "compulsory able-bodiedness"/able-mindedness (McRuer, 2006) - the ubiquitous beliefs and practices that center able-bodiedness in service of normativity. We invite contributors to 'crip' the archive, to adopt a critical orientation that illuminates and disrupts ableist power structures and dynamics and analyze how ableness informs the politics of the archive as a physical space, a sacred place, a discriminatory record, and a collection of silences. We seek work that uses a wide range of methods from authors who foreground the lived experiences and representations of disability in their work. We also strongly encourage submissions that use intersectional, interdisciplinary, and transnational approaches to the question of disability and the archive. We welcome submissions from scholars, writers, and artists and will accept 300-500-word abstracts for this collection through May 15, 2021.

Topics include, but are not limited to:
● Objects, museums, curiosities; disability on display
● The absence of disability in archival finding aids and indexes
● The paradox of disability as both hypervisible and invisible in the historical record and archival imagination
● Centering disability in the archives of medicine, science, and technology
● The accessibility of archival spaces and materials
● The impact of charged and negative disability terminology in changing historical contexts (i.e. monstrous, mad, deaf and dumb, crippled, superannuated, invalid, retardation)
● Uncovering forgotten histories of disability in the archive and revisiting familiar archival sources through a disability lens
● Identifying and confronting archival erasures rooted in intersectionality
● Disability approaches to digital archives
● The archive as a space of resistance (i.e. the reclamation of knowledge systems, ontologies, and identities structured by disability)
● Decolonizing the archive of disability, Eurocentric understandings of the body and disability
● Disability and the archive in transnational perspective
● Myths of overcoming and inspirational narratives in the archives
● The challenges of locating disability in already contested archives (e.g. slavery, colonialism, etc.)

Please submit abstracts (300-500 words), an abbreviated CV, and a short bio to editors Jenifer Barclay (barclay7@buffalo.edu) and Stefanie Hunt-Kennedy (hunt.kennedy@unb.ca) by May 15 2021

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Call for Abstracts for Edited Volume - Cripping the Archive: Disability, Power, and History | H-Net

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Cripping the Archive: Disability, Power, and History(Edited by Jenifer Barclay and Stefanie Hunt-Kennedy)

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Crippling the Archives: Negotiating Notions of Disability in Appraisal and Arrangement and Description on JSTOR

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Crippling the Archives: Negotiating Notions of Disability in Appraisal and Arrangement and Description on JSTOR

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Sara White, Crippling the Archives: Negotiating Notions of Disability in Appraisal and Arrangement and Description, The American Archivist, Vol. 75, No. 1 (Spring/Summer 2012), pp. 109-124

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Disabled Archival Users & the Affects of Representation

Disabled people are difficult to find in history, often relegated to asylum documentation, criminal records, and medical files. As such, the history of disability is often considered separate from that of other discourses, institutions, and, therefore, public conceptions of how disabled people have played a part in history. And the way disability has been historicized, in turn, informs how disabled people are seen and treated today: despite the rise of disability justice and activism, disability continues to be predominantly conceptualized in medical terms, which perpetuates stereotypical understandings of disabled people. Considering the abundance of such types of records that tell one side of disability history, this research considers how disabled people use archives and imagine themselves in history through interviews with disabled scholars, artists, activists, and other researchers. Part of this research focuses on the materials themselves and the affective impacts of archival representation: as disabled people witness disabled people-or even their absence-in history, I investigate how they relate to disabled people across time. And part of this research focuses on the affective impacts of archival spaces: the ways in which archival policies, procedures, and spaces are configured as well as the ways materials are treated and processed all impact the ways in which disabled people feel a sense of belonging.

The Labor of Belonging for Disabled Archivists

As a sibling project to "Disabled Archival Users & the Affects of Representation" and in collaboration with Veronica Denison, this research investigates the ways in which disabled archivists navigate the archival field and archival labor. In a field where being required to lift 50 lbs is standard in job descriptions, we investigate the affective impacts of archives on disabled archivists. This research utilizes semi-structured interviews with disabled people to tease out the affective impacts of archives on the disabled people who work within them. We conducted interviews in Summer and Fall of 2021.

Project updates: We are currently working on a number of publications and presentations.

Crip Futures Archive

We are in the beginning phases of planing and building a community-based digital archive (tentatively) entitled, Disabled Pasts, Crip Futures Archive. Informed by conversations with disabled people, this digital archive will build connections with existing repositories and aggregate materials on and about 'disability' in existing archives-that may not be labeled or described as such. Additionally, it will also actively collect and digitize materials from disabled activists, scholars, artists, and community members, as to digitally capture history in the making. In thinking about the history of disabled people, this project also points towards our futures-how a community-driven archive can shape how we want to be remembered and understood through records in the future-while also embodying the disability rights slogan, "Nothing About Us Without Us." The digital platform will eventually provide disabled people opportunities to submit materials for digitization as well as to re-describe or add context to existing records, so that records on and about disability can have complex and multifaceted representation.

Before building the archive, we are beginning with a series of focus groups with disabled people to discuss crip futurity and archiving.

This research, Anti-Ableist Archival Futures: Disabled Desires for Archival Representation / Les avenirs des archives anti-validiste : Les désirs des personnes handicapées pour la représentation archivistique, is supported by the Research Support for New Academics Program grant from the Fonds de recherche du Québec - Société et culture (FRQSC).

Preserving Disability: Disability and the Archival Profession

Gracen Brilmyer and Lydia Tang are in the process of co-editing this forthcoming book under contract with Litwin Books!

About the Book: This book aims to address disability, ableism, and accessibility as they intersect with the archival profession-through collection development, archival labor, and accessing historical records. Chapters address a wide range of topics at this intersection including:

Historical overviews of disability and/or accessibility in the archival field and profession

Overviews of accessibility, legal regulations, standards, and best practices across different types of archives-community, university, government, corporate, etc.

Critiques of standards and policies that emphasize legal compliance over actual users

Disability collection appraisal, acquisition, description, and preservation that explicitly addresses the nuances of archival theory and practice

Surfacing disabled narratives in community-based archives that focus on other identities

Disabled users' experiences of accessibility or inaccessibility of digital and/or physical spaces, archival content, and services

Calls to action for archives to better support disabled archivists, users, and disability-related collections

And many more!

Interested in getting involved?

Calls for Participation:

All project-related calls for participation will be posted here. Check back for updates!

Other ways to get involved:

If you're interested in another possible collaboration with the Lab, please contact us.

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Disabled people are difficult to find in history, often relegated to asylum documentation, criminal records, and medical files. As such, the history of disability is often considered separate from that of other discourses, institutions, and, therefore, public conceptions of how disabled people have played a part in history.

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Out of Sorts: a queer crip in the archive

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Out of Sorts: a queer crip in the archive

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Citation:
RYAN, L.C., 2020. Out of Sorts: A Queer Crip in the Archive. Feminist Review, 125(1), pp. 62-69.

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KUPPERS, Petra. 2022. ‘Crip/Mad Archive Dances: Arts-Based Methods in and Out of the Archive’. Theater (New Haven, Conn.) 52(2), 67–.

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Towards Sickness: Developing a Critical Disability Archival Methodology

Gracen Brilmyer, McGill University

Brilmyer, Gracen. 2020. "Towards Sickness: Developing a Critical Disability Archival Methodology." Journal of Feminist Scholarship 17 (Fall): 26-45. 10.23860/jfs.2020.17.03.

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As a queer, crip, genderfluid, and diasporic Pilipinx scholar-activist-educator, my ancestors, communities, and I live at the intersections of multiple sites of oppression and resistance. As someone who is sick, disabled, and neurodivergent, I experienced anxiety, depression, and chronic bodymind pain before the pandemic and even more during the pandemic. Nintendo Switch's Animal Crossing New Horizons (ACNH) video game kept me afloat during uncertain times. ACNH opened up a whole new alternative universe for me to live in. I meditated more when escaping to my scenic and calming virtual island. I relaxed more when fishing, catching butterflies, and hearing the tranquil ocean waves crash within the game. Building my dream world within my ACNH virtual game contributed to me surviving and fostering deeper friendships with fellow sick, disabled, neurodivergent, queer, transgender, Black, Indigenous, and/or people of color (BIPOC) friends. ACNH became a safe way for us to socialize and it continues to be a source of joy for many of us. I highlight how my experiences with ACNH allowed me to cultivate queer, crip, and decolonial Pilipinx Kapwa dream worlds where all beings including people, animals, land, water, and air thrive together.

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With Grief and Joy - Crip Pandemic Life: A Tapestry, Part II

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Special sections published within or across issues.

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This page is about #CripLit, the Twitter chat. If you're looking for a list of disability fiction, please see Fiction that passes the Fries Test.

#CripLit is a 60-75 min Twitter chat for and about disabled writers. It is co-hosted by me (@nicolaz) and Alice Wong (@DisVisibility) with different guest hosts. Immediately after the chat Alice archives the chats on Wakelet. Alice and I formulate the questions and post them 7-10 days in advance on various social media, including our blogs. One way to stay informed is to sign up for my posts to be delivered to your email inbox.

Although we say #CripLit is for writers, in practice the community also encompasses academics, editors, librarians and others interested in disability representation in published form (including but not limited to fiction, poetry, graphic novels, scripts, reportage, and creative non-fiction). And of course we're all readers and/or listeners. Those who are looking for reading suggestions might start by combing through recommendations by chat participants:

1. Disabled Writers and Characters

2. Ableism and Publishing

3. Intersectionality

4. Resistance Through Writing

5. Editor Roundtable

6. Accessibility and Online Publishing: Crips in Space

7. Writing Disability: The experience of writing from/about being disabled

8. Writing Workshop Accessibility: Staff and Faculty Roundtable

9. New Fiction by Disabled Writers

10. New Nonfiction by Disabled Writers

11. Resistance and Hope

12. Mental Health and Writing

13. New YA and MG Fiction

#CripLit is constantly evolving. For the future we are planning a chat designed for the wider international community, one about disabled characters in series (book, film and TV), and a focused look at workshops and/or conventions for disabled writers. We would love to hear from you with suggestions for future topics and/or guest hosts. Tweet @nicolaz or @DisVisibility, or email me via this site's contact form.

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This page is about #CripLit, the Twitter chat. If you're looking for a list of disability fiction, please see Fiction that passes the Fries Test. #CripLit is a 60-75 min Twitter chat for and about disabled writers. It is co-hosted by me (@nicolaz) and Alice Wong (@DisVisibility) with different guest hosts.

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Crippling the Archives: Negotiating Notions of Disability in Appraisal and Arrangement and Description on JSTOR

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Sara White, Crippling the Archives: Negotiating Notions of Disability in Appraisal and Arrangement and Description, The American Archivist, Vol. 75, No. 1 (Spring/Summer 2012), pp. 109-124

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CRIP INTERIORS is an annual arts event that brings together disability-identified artists to consider how we understand accessibility and interior space by dissecting what it means to be a "user" in the environments we inhabit. Each year, artists shape the event around life-size interior white structures through a period of creative workshops.

This event is a provocative and enchanting demonstration of disability art and activism that brings together diverse and distinct creative perspectives and mediums into a single form. The work presented in CRIP INTERIORS exposes that which is hidden, revealing every day/night work, labour, collectively, humour, creativity, and love that goes into negotiating interior and exterior spaces that may be built and organized without disabled bodies in mind.
Crip Interiors at Holding Patterns with Art Spin

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CRIP INTERIORS is an annual arts event that brings together disability-identified artists to consider how we understand accessibility and interior space by dissecting what it means to be a "user"...

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English subtitles can be activated with the CC button in the bottom right corner of the player.

Des sous-titres français peuvent être activés grâce au bouton CC en bas à droite du lecteur.

World Premiere at FIDMarseille 2020. The film was awarded two Special Mentions by the jury of the French Competition and the jury of the CNAP Award (Centre National des Arts Plastiques).

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Workshops, writers' salons, 1:1 advice and networking sessions for everyone.

Workshop

Whose words are these?

Led by Jen McGregor
Tuesday 13th February, 6.30-8.30pm / Zoom
Learn the art of turning an ordinary sentence into a zinger! We'll look at how to say things in ways that are sharp and impactful, tongue-twistingly delightful, or just downright silly.
£0 / BSL / Integrated AD / Auto Captions

CRIPtic Chats

with Jamie Hale
22 February 2024, between 2.30-3.30pm / Zoom
15-minute advice sessions with Jamie Hale, Artistic Director of CRIPtic Arts.
£0 / BSL Interpreter pre-booked / Auto Captions

CRIPtic Chats

with Jamie Hale
22 February 2024, between 3.30-4.30pm / Zoom
15-minute advice sessions with Jamie Hale, Artistic Director of CRIPtic Arts.

£0 / Integrated AD / Auto Captions

Workshop

Approaches to Making Your Own Work: Keeping Motivated

Led by Gemma Lees
Wednesday 28 February, 6.30-8.30pm / Zoom
This workshop will cover ways to prevent writer's block and stay on track, artist development programmes, creator's groups and an activity based on the R&D of Gemma's musical 'Mind Your Business!' which she wrote as a part of Graeae's Beyond programme, that featured in BEAM2023 and that she R&D'd with CRIPtic's own Alice Christina-Corrigan!
£0 / BSL / Self Descriptions / Auto Captions

Workshop

Approaches to Making Your Own Work: Where Next?

Led by Gemma Lees
Wednesday 13 March, 6.30-8.30pm / Zoom
This workshop will cover what steps an artist can take once they've written a piece, the basics of building a team, finding funding, networking, creating social media buzz, theatre pitch decks and an activity based around selling yourself and your piece.
£0 / BSL / Self Descriptions / Auto Captions

Artist Development

Development programmes for deaf and disabled creatives.

Funding Application Support

1:1 support for deaf and disabled people applying for funding

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Connect through Creativity, is a year long programme of practical arts workshops, writers' salons, 1:1 advice and networking

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"Like queer, crip(ple) is a slur that has been reclaimed by many physically disabled people, especially those who also identify as queer. There are a lot of reasons that people identify as crip(ple)s, but like queer, one reason is to have a word that is yours. Some identify as crips to escape more pathologized language, or as a way to express an identity that goes beyond a diagnosis. It also subverts the idea that disabled people should hide their disabilities to comfort non-disabled people; it's a way to preemptively address ableist assumptions head-on. It is based in the radical idea that disabled people can be openly disabled and still be deserving of respect."
Learn more about Queer Crip Language at Making Queer History!

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LibGuides: Disability Studies: Disability Justice and Queer Crip Theory

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This guide provides a jumping off point for doing research into the impacts of disability on identity, representation, engineering and built environment, health care, technology, and power. We work to center the voices of people with disabilities. The Disability Justice movement goes beyond disability rights, emphasizing intersectionality, coalitional organizing, collective liberation, and centering the leadership of those most impacted.

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Susan Sontag wrote that "illness is the night-side of life, a more onerous citizenship." Dooming perhaps, but it is only in the dark that we can see the stars. So, what can we make out from here?

Thinking through the everyday objects and materials that make up their lived experiences, the group will challenge the erasure of disabled people from our social vistas and horizons, and think through both the potential and the limits of image-making to hold what it means for us to be.

Inspired by the work of science fiction writer Octavia E. Butler and writers on crip futurity Alison Kafer and Leah Lakshmi Piepzna-Samarasinha, participants will be thinking and making through key questions such as:

What particular knowledge does your lived experiences of illness and/or disability reveal to you about the world?

How can we centre these knowledges in collective future-making?

What enables you to participate in the future?

How to we negotiate having conflicting or contradictory access needs?

What does it look like to construct visual systems that hold difference and multitude?

How do we negotiate conflicting dreams and desires?

The session will begin with an introduction inviting audiences into the space. The group will then work through a series of image-making exercises, collaging outcomes into a low-fi planetarium dome. The group will be invited to gather for a grounding activity and discussion

This Grounding Practice workshop has been programmed in conjunction with Hyper Functional, Ultra Healthy, a dynamic series that considers individual and collective health and wellbeing through a programme of newly commissioned artworks, films, workshops, and conversations. The 2023 programme focuses on disability justice and artists who engage with the space of health and care.

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Grounding Practice: Making (and Holding) a Crip Planetarium

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Susan Sontag wrote that "illness is the night-side of life, a more onerous citizenship." Dooming perhaps, but it is only in the dark that we can see the stars. So, what can we make out from here?

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A night of poetry and drama by disabled writers and performers. Centring the crip experience, bringing it into conversation with queerness, not seeking to justify or explain. CRIPtic Arts will be running a number of workshops related to this performance

Event Information

Crip-centred creativity in conversation with queerness. A night of poetry and drama by disabled writers and performers, that centres the crip experience, not seeking to justify or explain. Come into a disabled-centred space and experience work by disabled people made without an intention of affecting the non-disabled world. Who are we when we aren't being defined by the non-disabled gaze, and what creative potentials do we hold when we are not being limited by normative barriers of any kind?

This show features the first reading of work from Jamie Hale's new Crip Monologues, as well as poetry and monologues written by disabled UCL students taking part in a creative series of workshops investigating what it means to centre the disabled voice in narrative-making.

About CRIPtic Arts

CRIPtic Arts is a creative development organisation focused on making the arts industry more accessible, and supporting, developing, and championing deaf and disabled people across the industry. It was founded in 2019 by Jamie Hale, and works on:

Artistic excellence: Building opportunities for deaf and disabled creatives at every point in their career including through workshops, 1:1 advice, and funding application support.

Curating showcases and development opportunities, championing work by deaf and disabled people, with a particular focus on those whose access needs aren't met elsewhere.

Delivering access training, advice and consultancy to companies and institutions by embedding disability justice at the heart of their approach. This is informed by research, resources, revolution - the research and policy development arm of CRIPtic Arts' work.

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A night of poetry and drama by disabled writers and performers. Centring the crip experience, bringing it into conversation with queerness, not seeking to justify or explain. CRIPtic Arts will be running a number of workshops related to this performance

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I work as a multi-disciplinary creative, with a range of current projects in my creative portfolio. You can find examples of my work on my publications and poems pages or by buying , read about my performances or learn more about my work on my reviews and features and interviews pages.

Screenwriting

I am currently writing an original series for Channel 4, with Gaumont, about a trans man coming to terms with his past. I also have three other projects in development - an adaption of my solo show, NOT DYING, for television, a romcom about a queer, disabled couple (with Hayleigh Barclay), and a series about genetic inheritance, with an anti-tragic approach to progressive disability.

Poetry

One of the three Jerwood Poetry Fellows in 2021-2022 and a previous London Writers' Awards winner, my first poetry pamphlet, Shield was published in January 2021. With thanks to the Jerwood Fellowship, I am currently working on my first full collection.

'These are arresting, heart-stopping poems lit with a rare intensity. Hale's poems don't pull any punches, they explore what it is to live in a body and on the way touch the centre of the fragility deep inside all of us. Humane poems that will make you ache.' - Mona Arshi

NOT DYING
Also known as 'Quality of Life is not a Measurable Outcome' NOT DYING - solo poetry, narrative storytelling and comedy show WATCH TRAILER
Winning the Evening Standard Future Theatre Fund Award for Directing & Theatremaking, and shortlisted for Best Spoken Word Show in the Saboteur Awards 2021, NOT DYING is my solo poetry and spoken-word show, combining poetry, comedy, narrative storytelling and drama. It has currently been redeveloped, directed by Athena Stevens, and is available for performance from Autumn 2022 onwards.
"an acerbically funny and deeply thought-provoking monologue [...] Hale is a compelling and witty performer who makes you laugh and reflect in equal measure" - Agnes Carrington-Windo, Plays to See
CRIPtic Arts

Founded by myself in 2019, CRIPtic Arts is an Arts Council England-funded support, development, production, and showcasing organisation for work by and for deaf and disabled people in the arts. We offer year-round workshops, mentoring, training, and development, and a biannual showcase.

Previously...

Other work in my creative portfolio has included:

Directing Self & Other at HOME Manchester 2024

Dramaturgy and project creation for Crip Monologues 2023-24

Founder and Director of Disabled Poets Prize (2023 and 2024)

Residency at Mayking Space, Bristol, for Quality of Life is not a Measurable Outcome

Writer and performer, I Want To Live, Theatre Royal Stratford East 2022

Guest Editor, Modern Poetry in Translation, 2022

Curating the CRIPtic 2021 programme, and directing the showcase at the Barbican Centre 2021

Curating and leading the CRIPtic x Spread the Word writing salons for d/Deaf and disabled writers

CRIPtic x Spread the Word online writing retreat for d/Deaf and disabled writers, 2021

When We Got Sick monologue commission for Graeae's Crips Without Constraints

Experimental - an online writing retreat for d/Deaf and disabled writers, 2020

Art, Activism and Access, a series of articles for the Wellcome Trust, 2020

CRIPtic Pit Party 2019 at the Barbican Centre

Writers Room - KAOS by Charlie Covell for Netflix, 2019

Barbican OpenLab residency 2018

Invisible Fest performance, 2018, Rich Mix

Transpose performances in 2017 & 2018 at the Barbican Centre

London Writers' Awards for Poetry, 2018 (including performance at the South Bank Centre)

Shape Arts showcase, Tate Modern, 2018

Saboteur Awards showcase, 2018

More can be found here

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I work as a multi-disciplinary creative, with a range of current projects in my creative portfolio. You can find examples of my work on my publications and poems pages or by buying...

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In partnership with Tangled Art + Disability, Creative Users Projects, the British Council, the Harbourfront Centre, Musagetes, and Re*Vision: The Centre for Art and Social Justice, Bodies in Translation co-hosted Cripping the Arts in Canada Symposium 2019. This three-day symposium, running January 24-26, 2019, took place at the Harbourfront Centre and included a performing arts program curated by Alex Bulmer and presented by the British Council. The symposium animated how Deaf and disability arts and activism changes how we experience art, culture and digital transformation as well as the ways our culture contributes to, if not leads to, the achievements of disability rights and justice movements.
Download program here Download Access Guide here

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In partnership with Tangled Art + Disability, Creative Users Projects, the British Council, the Harbourfront Centre, Musagetes, and Re*Vision: The Centre for Art and Social Justice, Bodies in Translation co-hosted Cripping the Arts in Canada Symposium 2019.