Table of Contents
- What is Relaxed Performance?
- What Does it Mean to “Relax” a Space?
- Disability Justice
- Relaxed Performance Pedagogy
- Leading with Difference
- Understanding the Context
- Online and Social Media
- Vital Practices
- Decolonial Praxis
- Land Acknowledgements in Relaxed Performance
- Funding and Policies
- Acknowledgements
- References
This module draws from Relaxed Performance Pedagogy: An Illustrated Guide. It can be used by anyone, but has been written for students, educators, and administrators in higher education. The resources we offer centre on Turtle Island, but you can adopt and adapt Relaxed Performance (RP) as a vital practice in your geographic area and discipline.
Learning Objectives
- You will understand the theory behind Relaxed Performance and how to integrate into your praxis
- You will become familiar with disability cultural practices and learn how to incorporate them into your practice
- You will understand Relaxed Performance as a vital practice and learn how to move from best practices to vital practice
What is Relaxed Performance?
Relaxed Performance (RP) is a radical arts intervention rooted in disability theatre and performance practices.
Rooted in U.K. based autism activism, RP is a key movement in making theatre accessible in Canada. It has been described as “opening up theatre” (LaMarre et al., 2019) by breaking down physical, attitudinal, sensory, financial and other barriers, transforming the theatre space into an entirely different experience.
RP invites people to be themselves, and “bodies to be bodies” (LaMarre et al., 2021) as people access the arts.
To learn more about RP and its history, British theatre maker and comedienne, Jess Thom, offers some Relaxed Performance: FAQs (Tourettes Hero, 2016).
What Does it Mean to “Relax” a Space?
To “relax” a performance is to infuse a performance with radical potential that centres disability. The work of “relaxing” involves extending a “warm welcome to anyone who might find it difficult to follow the usual conventions of theatre etiquette” (Tourettes Hero, 2015). Though the term “relaxed” is commonly used to increase accessibility in performances for children and young adults, its scope is much wider as RP has been used at festivals, movie theatres, and grocery stores.
RP performances remove the strict expectations of performance etiquette by allowing audience members to stand up, move around, and make noise. Though “relaxed” measures may look and feel different from one space to the next, commonly these measures include quieter-than-usual sound cues, the dimming of bright lights, visual stories and/or access guides and the availability of a “chill-out” space, which is a quiet room or area where people can go to relax and take a break from an event.
Activity
Relax Your Space: Thinking Through Bodymind
Relax Your Space: Thinking through Bodymind
Take a moment to pause and think about your presence in your surroundings.
Are you standing, sitting, or lying down?
Are you moving or are you still?
Where are you?
Indoors?
Outdoors?
At home?
At school or work?
In a public place?
Somewhere else?
What kind of furniture is in the space?
What is the lighting like?
Do you notice any sounds or smells?
What do you like about this space?
What don’t you like about this space?
Do you think another person in this space would feel the same way you feel? Or would they feel differently?
What makes you comfortable?
Are you comfortable?
If not, what could be changed to make you more comfortable?
Can you make a change now, or would it have to happen later?
Can you make those changes yourself, or would you need the cooperation of others? What kind of cooperation would you need?
Disability Justice
Disability justice centres the experiences of the most impacted and expands how we think about accessibility (Hamraie, 2020). RP, as an arts intervention, invites us to think about accessibility broadly and can employ disability justice to consider intersectional barriers to arts spaces (LaMarre, et al., 2021).
Disability justice refers to an intersectional activist movement led by Indigenous and Black people, people of colour and queer and trans disabled people who have experienced marginalization in the broader culture and the mainstream disability rights movement. In centering the lives and interests of impacted communities, disability justice approaches disability and ableism from an intersectional perspective, which takes race, gender, sexuality, class and age into account with a decolonizing lens.
The following list offers resources that support your teaching and learning about disability justice.
BEGINNER
10 Principles of Disability Justice
(Sins Invalid, 2015)
BEGINNER
Disability Justice – Mia Mingus
(Mingus, 2013)
INTERMEDIATE
Disability Justice – A Working Draft by Patty Berne
(Berne, 2015)
INTERMEDIATE
This is Disability Justice
(Lamm, 2015)
ADVANCED
Disability Justice – POC Online Classroom
(POC Online Classroom, n.d.)
ADVANCED
#StaceyTaughtUs Syllabus: Work by Stacey Park Milbern
(Piepzna-Samarasinha & Wong, 2020)
ADVANCED
Implementing a Disability Justice Framework: A Toolkit
(Page, 2016)
Relaxed Performance Pedagogy
Pedagogy refers to the theory and practice of teaching and learning.
A theory is a system of ideas intended to explain something and practice is the application of those systems of ideas. Practice also encodes theory and through developing consciousness of our practices (through considering why and how we do things) we generate new theory. This means that theory and practice are complexly interconnected.
Critical pedagogy, a term coined by Brazilian philosopher and educator Paulo Freire (2005), links learning with social justice.
Critical pedagogy aims to create a ‘critical consciousness’ in learners by inviting learners to question assumptions and challenge oppression. As a pedagogical praxis RP confronts and critiques colonial and ableist legacies of injustice by mobilizing “collective struggles across difference” (Zembylas, 2018) to imagine vital world-building possibilities. In this way, RP pedagogy draws upon critical pedagogical traditions and stretches beyond these to become decolonial.
RP pedagogy is rooted in strategies developed by RP trainers, known as Access Activators (Tangled Art + Disability, n.d.), who design and mobilize disability justice-based curricula. This means developing pedagogy that is context-specific and responds to the local needs of communities.
Activity
Relax the Space: Thinking Through Access
Relax The Space: Thinking through Access
Take a moment to pause and think about your presence in your surroundings.
Who do you think designed this space?
Was the space designed for you? Or was the space designed for someone else?
What policies and practices shape this space?
Who is welcomed into this space, and who is not?
Is this a space where everyone should be welcome?
What could be changed to make the space more inviting?
What might other people in this space need to feel comfortable?
Can you make those changes yourself, or would you need the cooperation of others? What kind of cooperation would you need?
An important part of critical pedagogy and RP pedagogy is paying attention to who we cite. Simply, citation is a way of showing who you are and where you are going (Guzman & Amrute, 2019).
Leading with Difference
RP pedagogy is responsive. It addresses evolving community needs, industry standards and disciplinary conventions. It also responds to the colonial institutional settings such as the histories of arts and performance spaces, university and college classrooms, houses of worship and elsewhere in which many artists develop and deliver performances.
Spaces and practices carry histories and so responding to the colonial sensibility or whiteness of a space means questioning what has happened in that space and who has, and has not been, welcomed in it in the past.
People teaching RP often go “off-script” and draw on their own lived experiences of difference to bring the significance of RP to learners. Disabled, D/deaf and aging people with varied experiences accessing the arts are in the best position to lead and teach RP. Relaxing the classroom challenges ableist expectations of classrooms and of performance spaces.
Ableism refers to the intentional or unintentional prejudice against disabled people. It can refer to individuals’ negative attitudes and values about disability, to assumptions or expectations imposed on people to act in certain ways in interactions, and to broader environments, institutional settings, and practices that erect barriers to access for disabled people.
“I am not relaxed… Best to let the students trickle in in silence. I can’t see a single person in front of me, but I am sure people are there.”
Listen to Dr. Jessica Watkin reading her story of bringing Relaxed Performance into the classroom. This is an excerpt from the article Relaxed Performance: An Ethnography of Pedagogy in Praxis (Rice, et al., 2020).
I am not relaxed. I am standing at the front of the kind of large lecture hall I have visited since my undergraduate studies. I’m a guest in this classroom, about to introduce complicated non-normative concepts about disability theatre and accessibility that might be destabilizing for students. Best to let the students trickle in in silence.
I can’t see a single person in front of me, but I am sure people are there. I begin with a joke. I hear their laughter, which reassures me of their engagement. This brings up a memory: in high school, when I was just gaining my Blindness, a teacher said to the class, “I can tell if you’re paying attention and thinking if you are looking at me and blinking; blinking tells me you are engaged.” Since childhood, I have been asked to perform ableist standards of engagement in institutional spaces. In this way, academic ableism is at work clarifying its “taxonomy of abnormality” by dividing the sighted from the non-sighted in the hierarchy of learners (Dolmage, 2017, p. 110). Disabled bodies’ daily performances in higher education and elsewhere are marked as deviant so others can more easily be read as normal (Scott, 2017, p. 62). It wasn’t until I began delivering RP training in 2018 that I realized that what my teacher told me about “performing my engagement” through blinking was, to be blunt, absolute bullshit.
I dive into an intersectional origin story of RP as it is tied to disability theatre. RP movements took root, I explain, in the U.K. in the 1990s, and they were described in their early days as “autism-friendly” for their work of widening the scope of children’s participation in theatre with particular reference to kids who are part of the autism spectrum (Kempe, 2015, p. 59). The concept of RP is broadening and an increased need for specialized training including and beyond theatre has emerged (LaMarre et al., 2019, p. 3). As part of this timeline, I play a sexy video from Sins Invalid (a BIPOC disability arts group from San Francisco) and someone asks if there is more archival footage on their website. “Of course! Check them out on Instagram,” I respond—first year students love Instagram, right? It occurs to me these folks may not end up using this material in their theatre work for a long time, but for me that doesn’t make a difference. […]
My job goes far beyond offering students a checklist of how to make their performances accessible. Though the inclusion of audio description, accessible venues, lighting adjustments, American Sign Language interpretation and other gestures are important, accessibility is a broad concept informed by recent interventions in disability theatre and justice. I take this moment to explain disability justice: it is as much a framework for worldmaking that resists assimilation into normalcy as it is the everyday acts of honouring our bodyminds (Sins Invalid, 2019, p. 7).
To demonstrate how disability justice can be enacted in a classroom, I begin these seminars by inviting my students not to visually engage with me. This is one way of relaxing the room. Students are welcome to look at their cell phones, to close their eyes and have a rest, or to simply make their gaze comfortable. I model this “relaxed” approach when I explain to my students that I best engage with content by fidgeting, drawing or by using my laptop, and that it is up to them to make the choice of how best to engage.
[…] A key part of RP cannot be gleaned from a classroom setting: the impact it has on a given production. RP engages with each performance production differently, as the modifications are catered to every theatre space, urban environment and engagement that specific theatre has with its patrons. The nuances of every performance practicing RP are difficult to articulate. When asked what I would suggest to any new theatre practitioner beginning their journey with RP—with integrating access into their theatre practice—I suggest they attend RPs to understand the features and to compare one production to another. As with any skill, RP takes seeing the performance modelled, learning the theory behind it and trying it out ourselves more than once over time to get it right. In a playwriting class at the University of Toronto, Djanet Sears gave students her best advice for anyone trying to write plays: Read plays, see plays, write plays. For me, the same principles can be applied to becoming more accessible in our theatre practice: Read about accessible performances, see them and then try to do the work with our own productions. It takes more than understanding the concepts of RP to feel the embodied, affective experience of being an audience member in a production that accounts for your presence.
The following resources introduce you to disability arts and offer suggestions on bringing RP and accessibility into the classroom.
BEGINNER
Cripping the Arts: It’s About Time
(Reid, 2016)
BEGINNER
What are the Broader Effects of Relaxed Performance on Society?
(British Council Canada, 2020)
BEGINNER
Relaxed Performance: An Illustrated Guide
(Collins, et al., 2022)
INTERMEDIATE
Accessibility: Pushing the Boundaries of Theatre Performance
(Rice & Besse, 2020)
INTERMEDIATE
Introduction: Cripping the Art in Canada
(Chandler, 2019)
ADVANCED
Letting Bodies be Bodies: Exploring Relaxed Performance in the Canadian Performance Landscape
(LaMarre, et al., 2021)
ADVANCED
Studies in Social Justice Special Issue: Cripistemologies of Disability Arts and Culture: Reflections on the Cripping the Arts Symposium
(Chandler, et al., 2021)
ADVANCED
Innovative Pedagogical Approaches to Access and Mental Health
(Shanouda, et al., 2018)
ADVANCED
Academic Ableism: Disability and Higher Education
(Dolmage, 2017)
Understanding the Context
When teaching and hosting RP it is necessary to understand your context. This means understanding disciplinary norms as well as the physical and online space in which the RP will take place. A context-specific RP pedagogy refers to local community understandings of disability history, culture, and aesthetics which support the implementation of site-appropriate accessibility strategies.
Tensions can arise when hosting RP in a discipline for the first time. For example, some learners may not understand why RP is needed and it may challenge their assumptions about the norms of their discipline. In disciplines where RP is practiced more frequently and is itself becoming a disciplinary norm there may be fewer tensions. When teaching or learning about RP, think through disciplinary norms, their potential roots in colonial or ableist practices and how to stretch beyond disciplinary boundaries.
A context-specific RP pedagogy means learning with and from local communities about accessibility in the area. For example, the inclusion of American Sign Language (ASL) is a commonly held accessibility requirement in Ontario, but the integration of ASL interpretation is a non-standardized practice that varies from region to region on Turtle Island. However, it should not be assumed that securing ASL interpreters is possible without understanding interpreters’ availability from place to place. ASL is not the only sign language used across Turtle Island. Many people in the province of Quebec know Quebec Sign Language, known in French as Langue des signes québécoise or Langue des signes du Québec (LSQ); and some Indigenous people communicate through Indigenous Sign Languages such as Plains Sign Language (PSL) (Perley, 2020) or Oneida Sign Language (OSL) (Oneida Language and Cultural Centre, 2016).
These resources can support the development of context-specific RP.
BEGINNER
Making Accessible Media – Communication: Sign Language
(Grimard et al., 2021c)
BEGINNER
Making Accessible Media – Communication: Hearing and Deaf Interpreters
(Grimard et al., 2021a)
BEGINNER
Making Accessible Media – Communication: Indigenous Sign Languages
(Grimard et al., 2021b)
INTERMEDIATE
“Relaxed” vs “Extra Live”
(Tourettes Hero, 2015)
INTERMEDIATE
Land Back: A Yellowhead Institute Red Paper
(Pasternak et al., 2019)
ADVANCED
Vital Practices in the Arts
(Chandler et al., 2020)
ADVANCED
Universities Must Open Their Archives and Share their Oppressive Pasts
(Kelly & Rice, 2020)
ADVANCED
Centre for Indigegogy – Programming and Certificates
(Centre for Indigegogy, 2023)
Online and Social Media
When hosting an online RP, chat functions and break-out rooms can be used to enhance audience engagement. This enables audiences to participate “in a comfortable environment” without “all the stress” from travelling to an unfamiliar location.
Additionally, social media has become an important tool for RP promotion and community connection. Our research shows that social media was a significant way of engaging with accessibility. Accessibility features online included the use of high colour contrast, alternative text and much more.
For instance, Tangled Art + Disability highlighted social media accessiblity in their Instagram post, “How Do You Make Your Digital Images More Accessible? A Guide to Alt-Text and Image Description.”
These resources offer suggestions on how to develop accessible social media posts.
BEGINNER
Beauty to be Recognized – Instagram
(Beauty to be Recognized, n.d.)
BEGINNER
How Do You Make Your Digital Images More Accessible? A Guide to Alt-Text and Image Description
(Tangled Arts and Disability, 2021)
BEGINNER
Make Your Social Media Posts More Accessible
(Akimbo, 2021)
BEGINNER
Deaf Artists and Theatres Toolkit: Website and Vlogs
(Deaf Artists and Theatres Toolkit, 2016)
INTERMEDIATE
Making Accessible Media
(Grimard et al., 2021d)
INTERMEDIATE
How Do We Incorporate Relaxed Performance in Digital Media?
(British Council Canada, 2020a)
ADVANCED
Alt-Text as Poetry
(Coklyat & Finnegan, n.d.)
ADVANCED
Accessibility Toolkit: A Guide to Making Art Spaces Accessible
(Zbitnew et al., n.d.)
Vital Practices
Vital practices attend to the embodied, shifting, and lively nature of artistry. Learners need guidelines for strong accessibility practices, but it is critical that instructors and learners use these as starting points only. Guidelines and shared knowledge can be successfully paired with non-prescriptive, open-ended approaches to justice-oriented RP that supports the creation vision of the artists and performers.
ACtivity
Relax Our Space: Thinking Through Community
Think about your relationship to community with this guided reflection video.
Relax Our Space: Thinking through Community
Take a moment to pause and think about your presence in your surroundings.
Think about yourself and your relationship to others.
Think about yourself in relation to land.
What communities are you part of?
What land upholds these communities?
Are the people, animals, plants and objects in these communities welcome in this space?
If this were a relaxed space, what would be different? Who would be invited here?
What actions do you need to relax the space?
Can you relax the space yourself, or does this have to happen in cooperation with others?
What would this cooperation look and feel like?
Praxis Orientation
RP pedagogy supports the development of vital practices instead of compliance-based best practices. Unlike best practices which focus on individual accommodations, vital practices welcome difference as an integral part of context-specific accessibility praxis. Vital practices are context-specific, rooted in community knowledge, and responsive to evolving accessible praxis. A praxis orientation means we use theory to inform our practices and we use insights emerging from our practices to inform theory.
Why Relaxed Performance
Some people feel pulled between checklist-based approaches and the principles of disability justice. Our research highlights the benefits of using both approaches at once: checklists support the pragmatic parts of pulling together an RP, while an open-ended, justice-oriented approach to RP makes space for bodymind differences and guards against RP becoming formulaic. An open-ended, justice-oriented approach to RP encourages taking a creative and improvisational approach to imagining access.
How It Begins
A vital RP pedagogy begins with context-specific accessibility and therefore it turns to local and community disability knowledge when multiple and perhaps conflicting access needs are at play. For example, some RP attendees may require reduced noise levels whereas other attendees may need the space to make additional noise. A vital practice might be to offer different sensory levels at alternating showings in consultation with communities.
Your RP might begin with your region’s accessibility standards and then stretch beyond them through local community-centred knowledge. In Ontario this may mean referring to the Accessibility for Ontarians with Disability Act (AODA) and then consulting with local communities to move beyond legal compliance. If a best practice is to include American Sign Language (ASL) in performances, a vital practice might involve making time to consult with D/deaf, aging and Indigenous communities and artists to develop a stronger understanding of their context-specific cultural and linguistic practices, needs, and interests.
The following resources offer some suggestions on how to stretch beyond best practices to vital practices.
BEGINNER
Cripping the Arts Access Guide
(Cripping the Arts, 2019)
BEGINNER
Deep Accessibility
(Ford, 2013)
INTERMEDIATE
Changing the Framework: Disability Justice
(Mingus, 2011)
INTERMEDIATE
Why Access is Love and There is Now Such Thing as “Barrier-Free”
(Thomas, 2019)
ADVANCED
Vital Practices in the Arts
(Chandler, et al., 2020)
Decolonial Praxis
As an intersectional, justice-based praxis, RP confronts the colonial conditions under which it takes place by engaging in and committing to decolonization.
Decolonization involves working towards restoring the self-determination and sovereignty of Indigenous peoples. It means respecting Indigenous people and their lived experiences and moving away from ways of thinking that give white people (settlers) unjust rights and privilege over Indigenous peoples.
Decolonizing Relaxed Performance
As a first step toward decolonizing RP, context-specific RP pedagogy might include learning and teaching about the needs and interests of local Indigenous communities and developing non-prescriptive decolonizing gestures in consultation with these communities.
One example is found in the play bug, created, and performed by Yolanda Bonnell (Ojibway-South Asian) (Bonnell, 2020). For this production, Bonnell and her director welcomed Indigenous women and Two-Spirit audience members into the space before the show and prioritized their responses in the question-and-answer period after the show. The production also had an Indigenous counsellor with traditional medicines on hand at every performance to support audience members in moving through some of the difficult material explored on-stage.
The following resources will support your teaching and learning about decolonizing RP.
BEGINNER
Decolonizing the Body: Indigenizing Our Approach to Disability Studies
(Presley, 2019)
INTERMEDIATE
Anti-Colonial Disability Arts & Activism
(Driskill, 2019)
INTERMEDIATE
Decolonizing Relaxed Performance: A Visual Translation of Vital Ecosystems
(Collins et al., 2022)
ADVANCED
Relaxed Performance: An Ethnography of Pedagogy in Praxis
(Rice et al., 2020)
ADVANCED
Decolonizing Disability Through Activist Art
(Rice et al., 2021)
Land Acknowledgements in RP
A land acknowledgement is a statement of recognition about the First Peoples and the lands on which a performance occurs. Both First Peoples and their lands have important pasts, present situations, and futures that we seek to understand and acknowledge. Disability justice underscores the need for RP practitioners to be in relation with communities most impacted. This means knowing the colonial history of the discipline or art form that RP planners are working within, which, in some cases, will involve building long-term relationships with community members who hold this knowledge to do better than the “standard” land acknowledgement.
The following resources can support your learning and teaching about land acknowledgements.
BEGINNER
A Digital Land Acknowledgement: Existing as a Settler on Unceded Land: A Guide
(Lee, 2020)
INTERMEDIATE
Guide to Acknowledging First Peoples & Traditional Territory
(Canadian Association of University Teachers, n.d.)
ADVANCED
Rethinking the Practice and Performance of Indigenous Land Acknowledgement
(Robinson et al., 2019)
Funding and Policies
Sustaining RP means expanding accessible funding models both internal and external to the institutions in which RP training and RPs take place. To maintain the vitality of RP, this funding must focus on accessibility as a community desire rather than an individual responsibility. RP training is an important addition to existing curriculum as it prepares students for their respective industries and broadens their thinking about accessibility.
Diversity agendas are sets of principles used by many organizations and institutions in the attempt to ensure the fair and respectful treatment of all people and representation of equity-deserving groups in a welcoming, inclusive environment where all can participate. In the context of RP, following such internal policies is insufficient. RP production involves connecting with and calling-in groups that remain underrepresented by such policies.
External funding opportunities may be useful to support RP training and planning. Funding opportunities may include local and national arts grants designed to support accessible arts training and praxis; learning and teaching grants designated for access-related projects and collaborations with impacted communities; and online program development funding to support the cultivation of vital accessibility practices online.
The following resources offer suggestions for accessible arts funding in Canada:
Acknowledgements
This section builds on RP training modules developed by the British Council Canada. It also draws on the findings from research by the British Council Canada and Bodies in Translation: Activist Art, Technology and Access to Life (BIT) including the Relaxed Performance: Exploring Accessibility in The Canadian Theatre Landscape (British Council Canada & Bodies in Translation, 2020b) and the Relaxed Performance: Exploring University-based Training Across Fashion, Theatre and Choir (Jones et al., 2022) reports.
The partnership between Bodies in Translation and the British Council has produced an ever-growing body of knowledge on RP in Canada.
Selection of research
- Relaxed Performance: Exploring Accessibility in the Canadian Theatre Landscape (English, French & Spanish) (LaMarre, Rice, & Besse, 2020a,b,c)
- Funciones Relajadas o Relaxed Performance (Embajada de Canadá en México, 2020)
- Relaxed Performance Videos (British Council Canada, n.d.)
- Disability Saves the World Podcast Special Episode 1 (Shanouda, 2021)
- LaMarre, A., Rice, C., & Besse, K. (2021). Letting bodies be bodies: Exploring relaxed performance in the Canadian performance landscape. Studies in Social Justice, 15(2), 184–208. https://doi.org/10.26522/ssj.v15i2.2430
- Jones, C. T., Collins, K., & Rice, C. (2022). Staging accessibility: Collective stories of Relaxed Performance. Research in Drama Education: The Journal of Applied Theatre and Performance, 4, 1–17. https://doi.org/10.1080/13569783.2022.2029388 (open access copy)
Akimbo. (2021, April). Make your social media posts more accessible. https://akimbo.ca/wp-content/uploads/2021/04/Akimbos-Social-Media-Accessibility-Guidelines.pdf
Beauty to Be Recognized [@cripfashionshow]. (n.d.). Beauty to Be Recognized [Instagram profile]. Instagram. Retrieved January 13, 2023, from https://www.instagram.com/cripfashionshow
Berne, P. (2015, June 10). Disability justice – A working draft by Patty Berne. Sins Invalid. https://www.sinsinvalid.org/blog/disability-justice-a-working-draft-by-patty-berne
Bonnell, Y. (2020). bug. Yolanda Bonnell. https://yolandabonnell.com/project/bug
British Council Canada (n.d.). Relaxed performance videos. https://www.britishcouncil.ca/relaxed-performance-videos
British Council Canada. (2020a, November 20). How do we incorporate Relaxed Performance in digital media? [Video]. YouTube. https://youtu.be/YPFFSMmF1js
British Council Canada. (2020b, November 20). What are the broader effects of Relaxed Performance on society? [Video]. YouTube. https://youtu.be/ph13xpFlFyY
British Council Canada. (2023). About British Council Canada. https://www.britishcouncil.ca/about
Brown, L. X. Z. (2016, April 4). Hello, internalized ableism. Autistic Hoya. https://www.autistichoya.com/2016/04/hello-internalized-ableism.html
Canada Council for the Arts. (2023). Grants. https://canadacouncil.ca/funding/grants
Canadian Association of University Teachers. (n.d.). Guide to acknowledging First Peoples & Traditional Territory. https://www.caut.ca/content/guide-acknowledging-first-peoples-traditional-territory
Centre for Indigegogy. (2023). Programming and certificates. Wilfrid Laurier University.https://www.wlu.ca/academics/faculties/faculty-of-social-work/centre-for-indigegogy/programming.html?ref=professional-development%2Fcentre-for-indigegogy%2Fworkshops-and-events.html
Chandler, E. (2019). Introduction: Cripping the arts in Canada. Canadian Journal of Disability Studies, 8(1), 1–14. https://doi.org/10.15353/cjds.v8i1.468
Chandler, E., Aubrecht, K., Ignagni, E. & Rice, C. (Eds.). (2021). Cripistemologies of disability arts and culture: Reflections on the cripping the arts symposium [Special issue]. Studies in Social Justice 15(2). https://journals.library.brocku.ca/index.php/SSJ/issue/view/128
Chandler, E., Rice, C., Fisher, L., Tidgwell, T., LaMarre, A., Changfoot, N., & Dion, S. (2020, July 5). Vital practices in the arts. Bodies in Translation.
Clare, E. (2016, January 19). Writing a mosaic? https://www.degruyter.com/document/doi/10.1515/9780822373520-002/html?lang=en
Coklyat, B., & Finnegan, S. (n.d.). Alt Text as Poetry. https://alt-text-as-poetry.net
Collins, K., Temple Jones, C., & Rice, C. (2022). Decolonizing Relaxed Performance: A Visual Translation of Vital Ecosystems. Research in Arts and Education, 2022(3), 58–64. https://doi.org/10.54916/rae.125086
Collins, K., Jones, C. T., & Rice, C. (2022). Relaxed Performance: An illustrated guide. Re•Vision: The Centre for Art and Social Justice, University of Guelph, Guelph. https://hdl.handle.net/10214/27382
Crenshaw, K. (1989). Demarginalizing the intersection of race and sex: A Black feminist critique of antidiscrimination doctrine, feminist theory and antiracist politics. University of Chicago Legal Forum, 1, 139–167. http://chicagounbound.uchicago.edu/uclf/vol1989/iss1/8
Cripping the Arts (2019, January 24–26). Cripping the arts access guide. Tangled Art + Disability. https://tangledarts.org/wp-content/uploads/2019/01/cta-access-guide-spreads-digital.pdf
Deaf Artists and Theatres Toolkit. (2016). Website and vlogs. http://deafartistsandtheatrestoolkit.com/marketing-and-publicity/website/
Dolmage, J. T. (2017). Academic ableism: Disability and higher education. University of Michigan. https://www.jstor.org/stable/j.ctvr33d50
Driskill, Q.-L. (2019, January 27). Anti-colonial disability arts and activism. ArtsEverywhere Festival. https://festival.artseverywhere.ca/event/qwo-li-driskill/
Embajada de Canadá en México. 2020, December 2. Lanzamiento de la publicación Funciones Relajadas[Video]. Facebook. https://fb.watch/i0aO2NsdPb/
Ford, S. (2013, September 9). Deep accessibility. Star Ford. https://ianology.wordpress.com/2013/09/06/deep-accessibility/
Friere, P. (2005). Pedagogy of the oppressed. Continuum. (Original work published 1970) https://envs.ucsc.edu/internships/internship-readings/freire-pedagogy-of-the-oppressed.pdf
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Authors
Kim Collins, Chelsea Jones, Carla Rice
An illustration by Sonny Bean of a large, pink and purple spider sitting atop a collection of pink, red, yellow and green flowers and foliage. Above, small petals and grains of pollen float against an intensely blue sky.
