2

TheUniversityofTorontoCentreforDrama,Theatre&PerformanceStudies

Presents…

FestivalofOriginalTheatre2018SupportingBodies/ChangingMinds

FullProgram

PicturedAboveCDTPSLogo

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TableofContents

WordsofWelcome 4

Co-Curators 5

AcknowledgementsandSponsors 6

Venues,Locations,andMaps 7

HospitalityandAccommodations 9

BriefSchedule 17

BookLaunch:PetraKuppers 19

Keynote:StephenLytton 20

INSTALLATIONSANDWORKSHOPS 21“RehearsingSilence”–RichardCWindeyer 21“Shift,Press,Churn”–OrlyZebak 21FIRSTWORKSHOP-“SnailPedagogies:ASlowTheatreWorkshop” 22SECONDWORKSHOP-“AccessibleThinkingWorkshop” 23THIRDWORKSHOP–“Olimpias:TheAsylumProject” 25FOURTH&FIFTHWORKSHOPS 26–“TheRoleoftheAmputeeinIntegratedDance” 26–“Juggling,Deconstructed” 27

WORKINGGROUPS 28FIRSTWORKINGGROUP–Place,PolicyandPower 28SECONDWORKINGGROUP-Feminisms 30

INTERDISCIPLINARYPANELPRESENTATIONS 32Friday,February2nd,2018

PANEL1–VirtuosityandConsent 32Saturday,February3rd,2018

PANEL2–EquityandTheatre 37PANEL3–TheStare 38PANEL4–SpotlightonDementia 41

Sunday,February4th,2018 PANEL5–WithAccessibilityinMind 43

CABARET 45

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WordsofWelcome

HelloandwelcometoFOOT2018:SupportingBodies/ChangingMinds.HostedbytheCentreforDrama,TheatreandPerformanceStudies,theFOOTfestivaliscelebratingits26theditionthisyear.Althoughthethemes,emphasesandtopicschangefromoneyeartoanother,openingupspacesforexchangingideasandcommunicatingthoughtshasalwaysbeenoneofFOOT’smainobjectives.Asateam,theco-organizershavedoneourbesttocurateaweekendofstimulatingandchallengingdiscussion,withwarmandinvitingprovocations.We’reaskingthequestion:“HowcanDrama,TheatreandPerformanceStudiescontributetoabarrier-freesociety.Weaim:tointerrogateinstitutionsofacademia(learning)andperformance(creating)toidentify,explore,andproposethewaysinwhichbarriersexistforthosewhoexperiencetheworlddifferently.Wewanttothinkthroughwithourattendeeswhatitmeanstoberesponsibleforaccommodation;whocreatesanequitableenvironment?Howis“disability”created,particularlyinspacesoflearningandperformance?Theteamiscommittedtothediscussion,negotiation,andevaluationofaccessibility.Withinouravailablemeans,wehaveestablishedanaccessibilityplanthathopestowelcomeasmanyaspossible.Ifthereissomethingmissingfromtheschedule,orifyouareinneedofassistance,pleasedonothesitatetoreachout.Welookforwardtolearningandcreatingwithyou!Warmly,TheFOOT2018TeamPaulaDanckert,MariaMeindl,SanjaVodovnik,andJessicaWatkin

Amessageaboutthisland...AsyoustandonthisgroundthroughthedurationofyourtimeatFOOT2018,pleaseconsiderthatyouarestandingontreatyland.ThislandistheterritoryoftheHuron-WendatandPetunFirstNations,theSenecaandtheMississaugasoftheCreditRiver.TheterritorywasthesubjectoftheDishWithOneSpoonWampumBeltCovenant,atreatybetweentheIroquoisConfederacyandtheOjibweandalliednationstoshareandcareforthisland.Today,TorontoisameetingplaceforIndigenouspeopleofalldifferentnationsand/orcommunities.Landacknowledgementsremindustosituateourselvesonthislandinrelationtoothersandinrelationshiptotheland.Weencourageyoutolearnfromthelandyouareon–togoonawalkwithafriend,visitFirstNationHouse,andconsiderthehistoryofthisland.--CharleyCarragher

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Co-Curators

JessicaWatkinisablind2ndyearPhDStudentattheUniversityofToronto’sCentreforDrama,Theatre,andPerformanceStudieswithresearchfocusingonaccessibleapproachestocreatingtheatreforartistswithdisabilitiesinCanada.Shehas2publishedarticlesintheCanadianTheatreReview,wasanartist-participantattheNationalArtsCentre’sTheStudy/RepublicofInclusion,andisaCo-CuratorfortheDramaCentre’supcomingFestivalofOriginalTheatre:SupportingBodies:ChangingMindsinFebruary2018.Notonlyherresearchfocusesoncreatingtheatre,JessicaisanavidplaywrightandinnovateswithintegrationofAudio-Descriptioninherwork.InMarch2018JessicawillbeCo-ChairoftheCanadianNationalInstitutefortheBlind’sCentennialCelebrationinOntario,whichwillbeginher7thyearofvolunteerworkwiththeCNIB.

MariaMeindlisaPhDcandidateintheDepartmentofDrama,TheatreandPerformanceStudiesattheUniversityofToronto,studyingtheworkoftheGermanmovementteacherElsaGindler(1885-1961).Shewritesfiction,non-fictionandpoetry,includingOutsidetheBox(McGill-Queen’s),amemoirofcreatinganarchiveforhergrandmother,andaradioseriesonPolioforCBCIdeas.Thecommondenominatorinherworkisafascinationwithuntoldstories.AFeldenkraispractitioner,shehasbeenhelpingpeoplegettallersince2004.

SanjaVodovnikisaPhDcandidateattheUniversityofToronto.Herinterestliesinexaminingvariousoutletsofstagingandperformingsciencefiction,focusingonit’sculturalhistory,dramaturgy,ethics,andtheperformanceofsci-fiinfancommunities.ShecompletedherBAdegreeinInternationalRelations,andgotherMAinCulturalStudiesandinPerformanceStudies.PriortorelocatingtoTorontosheworkedasastagemanager,performeranddirectoracrossEurope,colaboratingwithactivisttheatricalgroupsandtheatrecompaniesinSlovenia,IrelandandIceland.

PaulaDanckertisadramaturg,producerofliveradioandperformance,Foleyartistandteacher.Shewasthedramaturgonthenewopera,Missing,librettistMarieClements,andstoryeditoronthefilm,TheRoadForward,writtenanddirectedbyClements.From2012-2014shewastheFoleyArtistandAssistantDirectoronanadaptationofDylanThomas’sUnderMilkwood,anewoperawrittenandcomposedbyJohnMetcalfwhichtouredWalesandtheUK.ForfiveyearssheworkedasCompanyDramaturgandArtisticAssociateatCanada’sNationalArtsCentre.BeforejoiningtheNAC,PaulawastheArtistic&ExecutiveDirectorofPlaywrights’WorkshopMontrealfor9½years.InHalifax,NovaScotiashewasPresidentofPlaywrights’AtlanticResourceCentre,andadramaproducerattheCanadianBroadcastingCorporation.ShewasalsoAssociateProducerforLiveArtProductions:NewDanceSeries,FoleyartistforSalterStreetFilms,andhostofArtspeakonCKDU-FM.ShehasbeentheAssociateDramaturgatTheNewPlayCentreinVancouver,atBanff’sPlaywrightsColonyandatTheStratfordShakespeareFestival.ShehasdevelopednewworkswithplaywrightsalloverCanadaandhercareerinthefieldsofproductionandperformancespanmorethan30years.PaulagraduatedfromCanada’sNationalTheatreSchoolwhereshetaughtformanyyears.SheiscurrentlyadoctoralstudentatTheCentreforDrama,TheatreandPerformanceattheUniversityofToronto.

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AcknowledgementsandSponsors

Manythankstoourgeneroussupporters:

TheCentreforComparativeLiterature,UniversityofToronto

TheCentreforDrama,TheatreandPerformanceStudies,UniversityofToronto

TheCinemaStudiesInstitute,UniversityofToronto

ErindaleCollege,UniversityofToronto

CentreforDrama,TheatreandPerformanceStudiesGraduateStudentsUnion(CDTPSGU)

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Venues/Locations

FOOT2018willunfoldacrossseveralvenuesassociatedwiththeCentreforDrama,TheatreandPerformanceStudies,UniversityofToronto.

TheRobertGillTheatre/DramaCentre,214CollegeStreet,3rdfloor.

We would like to acknowledge the sacred land on which the University of Torontooperates.Ithasbeenasiteofhumanactivityfor15,000years,mostrecentlytheterritoryoftheMississaugasoftheCreditRiver.TakarontohasbeenstewardedbytheErie,Petun,Wendat,andSenecaFirstNations,theAnishinaabegandmostrecentlytheMississaguasofthe New Credit First Nation. The territory was the subject of the DishWith One SpoonWampumBeltCovenant,anagreementbetweentheHaudenosauneeConfederacyandtheThree Fires Confederacy (of the Anishinaabeg) to peaceably share and care for theresourcesaroundtheGreatLakes.Today,themeetingplaceofTorontoisstillthehometomany Indigenous people from across Turtle Island and we are grateful to have theopportunitytoworkinthecommunity,onthisterritory.

Figure 1 Pictured Above Partial University of Toronto Campus Map Showing CDTPS

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DressingRooms

Backstage

Booth

StudentLounge

SeminarRoom

LobbyKit

chen

WashroomsRehearsal

Hall

Fire Exit

Map Centre for Drama, Theatre and Performance Studies3rd Floor, Koffler Student Centre214 College StreetToronto, ONM5T 2Z9

Fire Exit

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HOSPITALITYANDACCOMMODATIONS:FOOD&DRINKOPTIONSCafés/BakeriesSecondCup214CollegeSt1stFloorKofflerStudentServicesBuildingDownstairsfromCentreforDrama,TheatreandPerformanceStudiesAccessiblebyelevator,menuavailableonlineCoffeeandpastriesGluten-freeandvegetarianoptionsavailableStarbucks205CollegeSt1minutewalkfromCDTPS(90m)Wheelchairaccessible,menuavailableonlineCoffeeandpastriesGluten-freeandvegetarianoptionsavailableTimHorton’s455SpadinaAve4minutewalkfromCDTPS(240m)Wheelchairaccessible,menuavailableonlineCoffeeandpastriesVegetarianoptionsavailableCaféReznikoff75St.GeorgeSt8minutewalkfromCDTPS(650m)Wheelchairaccessible,menuavailableonlineCoffee,sandwiches,andsnacksVeganandvegetarianoptionsavailableJimmy’s191BaldwinSt10minutewalkfromCDTPS(800m)Notwheelchairaccessible,menunotavailableonlineCoffeeandpastriesGluten-freeandveganoptionsavailableSecondCup–SecondLocation66HarbordSt11minutewalkfromCDTPS(850m)Wheelchairaccessible,menuavailableonlineCoffeeandpastriesGluten-freeandvegetarianoptionsavailable

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AlmondButterfly100HarbordSt12minutewalkfromCDTPS(1.0km)Notwheelchairaccessible,menuavailableonlineBakeryandcoffeeshop,breakfastandlunchGluten-free,vegan,andpaleooptionsavailableL’EspressoBarMercurio321BloorStWest14minutewalkfromCDTPS(1.1km)Wheelchairaccessible,menuavailableonlineCoffeeshopwithbakedgoodsandlightlunchfareGluten-freeandveganoptionsavailableLunch/DinnerMother’sDumplings421SpadinaAve5minutewalkfromCDTPS(350m)Notwheelchairaccessible,menuavailableonlineAlacartedumplingsandsidedishesVegetarianoptionsavailableKintonRamen51BaldwinSt6minutewalkfromCDTPS(450m)Notwheelchairaccessible,menuavailableonlineRamenbarVeganandvegetarianoptionsavailableFreeTimesCafe320CollegeSt6minutewalkfromCDTPS(500m)Wheelchairaccessible,menuavailableonlineJewish,MiddleEastern,andCanadianfood(brunch,lunch,andlate-nightsnacks)Gluten-free,vegan,andvegetarianoptionsavailableUrbanHerbivore64OxfordSt9minutewalkfromCDTPS(700m)WheelchairaccessibleVegetarianandVegantake-outwithlimitedseating,menuavailableonlineBio-degradablepackaging

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ElTrompo277AugustaAve9minutewalkfromCDTPS(700m)Wheelchairaccessible,menuavailableonlineTacobarVeganandvegetarianoptionsavailableHibiscus238AugustaAve10minutewalkfromCDTS(750m)Notwheelchairaccessible,menuavailableonlineSweetandsavourycrêpes,salads,non-dairyicecreamGluten-free,vegetarian,andorganicoptionsavailableGalleryGrill–HartHouse7HartHouseCircle,2ndFloor10minutewalkfromCDTPS(800m)Wheelchairaccessible(accessiblewashroomonmainfloor),menuavailableonlineBrunchavailableSundaysVegetarianOptionsavailableHarvestKitchen124HarbordSt13minutewalkfromCDTPS(1.1km)Notwheelchairaccessible,menuavailableonlineCanadiancomfortfoodGluten-free,vegan,vegetarian,andorganicoptionsavailablePubs/BarsO’Grady’s171College3minutewalkfromCDTPS(240m)Notwheelchairaccessible,menuavailableonlineIrishPubVegetarianoptionsavailableRedRoom444SpadinaAve5minutewalkfromCDTPS(400m)Wheelchairaccessible,menuavailableonlineRelaxedbarwithbudget-friendlylunchanddinneroptionsGluten-free,vegan,andvegetarianoptionsavailableSinandRedemption136McCaulSt10minutewalkfromCDTPS(800m)Notwheelchairaccessible,menuavailableonlineBelgianbistrospecializinginEuropeanbeersVegetarianoptionsavailable

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PARKINGOPTIONS371BloorStreetWestAlsoKnownas:FacultyofEducationCashParking$4.00halfhour$12.00Maximumuntil10pmOvernightparking4pmto6:00am$7.00Weekends$7.00UnreservedPermitParking24/7parkingCashparkingreceiptsarenottransferableandarevalidattheparkinglotwherepurchased.Address:371BloorStW,Toronto,ONM5S2R7,CanadaAssociatedBuilding:BloorStreetWest-371AccessibilityInformation:2parkingstallsonthenorthwestpartoftheparkinglotGraduateHouseGarageCashParking$4.00halfhour$18.00Maximumuntil10pmOvernightparking4pmto6:00am$7.00Weekends$7.0024/7parkingCashparkingreceiptsarenottransferableandarevalidattheparkinglotwherepurchased.LotReserved"N"PermitParkingAddress:17GlenMorrisStAssociatedBuilding:GraduateHouseAccessibilityInformation:2parkingstallsatentranceintogarage.Rotman/InnisGarageCashParking$4.00halfhour$20.00Maximumuntil10pmM-F4pmto6:00am$10.00Weekends$10.0024/7parkingPay-On-Footgatedparkinglot.TakeaticketonwayinandusePayStationtopayuponexit.LotReserved"P"PermitsAddress:107St.GeorgeStreetAssociatedBuilding:RotmanSchoolofManagementB.C.I.T.ParkingGarageCashParking$4.00halfhour$20.00Maximumuntil10pmM-F4pmto6:00am$10.00Weekends$10.0024/7parkingCashparkingreceiptsarenottransferableandarevalidattheparkinglotwherepurchasedLotReserved"C"PermitsAddress:213HuronStreetAssociatedBuilding:BahenCentreforInformationTechnologyO.I.S.E.ParkingGarageCashParking$4halfhour$15Max.to10pmOvernightparking4pmto6:00am$7.00Weekends$7.00EarlyBird(6-9am)$1024/7parkingCashparkingreceiptsarenottransferableandarevalidattheparkinglotwherepurchasedLotReserved"I"PermitsAddress:71PrinceArthurAvenueAssociatedBuilding:OntarioInstituteforStudiesinEducationKing'sCollegeCircleParkingLotAlsoKnownas:MainCampusParkingCashParking$4.00halfhour$20.00Maximumuntil10pmOvernightparking4pmto6:00am$10.00Weekends$10.0024/7parkingCashparkingreceiptsarenottransferableandarevalidattheparkinglotwherepurchasedLotReserved"R"PermitsAddress:King'sCollegeCircle

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HartHouseCircleParkingCashParking$4.00halfhour$20.00Maximumuntil10pmOvernightparking4pmto6:00am$10.00Weekends$10.0024/7parkingCashparkingreceiptsarenottransferableandarevalidattheparkinglotwherepurchasedLotReserved"R"PermitsAddress:7HartHouseCircleAssociatedBuilding:HartHouseTowerRoadParkingLotCashParking$4.00halfhour$20.00Maximumuntil10pmOvernightparking4pmto6:00am$10.00Weekends$10.0024/7parkingCashparkingreceiptsarenottransferableandarevalidattheparkinglotwherepurchasedUnreservedPermitsAddress:2TowerRoad78Queen'sParkCrescentLotAlsoKnownas:FacultyofLawParkingLotCashParking-After5pmOnly5:00pmuntil6:00amnextdayOvernightparking4pmto6:00am$10.00Weekends$10.00CashparkingreceiptsarenottransferableandarevalidattheparkinglotwherepurchasedReservedPermitsAddress:78Queen'sParkCrescentAssociatedBuilding:FacultyofLaw256McCaulSt.ParkingLotCashParking-After5pmOnly5:00pmuntil6:00amnextdayOvernightparking4pmto6:00am$10.00Weekends$10.00CashparkingreceiptsarenottransferableandarevalidattheparkinglotwherepurchasedReservedPermitsAddress:256McCaulStreetAssociatedBuilding:McCaulStreet-254/256155CollegeStreetParkingCashParking-After5pmOnly5:00pmuntil6:00amnextdayOvernightparking4pmto6:00am$10.00Weekends$10.00CashparkingreceiptsarenottransferableandarevalidattheparkinglotwherepurchasedReservedPermitsAddress:155CollegeStreetAssociatedBuilding:HealthSciencesBuildingFacultyofDentistryParkingLotAlsoKnownas:DentistryParkingLotCashParking-After5pmOnly5:00pmuntil6:00amnextdayOvernightparking5pmto6:00am$10.00Weekends$10.00CashparkingreceiptsarenottransferableandarevalidattheparkinglotwherepurchasedReservedPermitsAddress:124EdwardStreetAssociatedBuilding:DentistryBuildingPhysicsParkingGarageCashParking-After5pmOnlyEntranceoffofRussellSt.5:00pmuntil6:00amnextdayFlatRateWeekdays:5pmto6:00am$9.00Weekends$9.00CashparkingreceiptsarenottransferableandarevalidattheparkinglotwherepurchasedReservedPermitAddress:60St.GeorgeStreetAssociatedBuilding:McLennanPhysicalLaboratories

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2BedfordStreetParkingLotCashParking$4.00halfhour$20.00Maximumuntil10pmOvernightparking4pmto6:00am$12.00Weekends$12.0024/7parkingCashparkingreceiptsarenottransferableandarevalidattheparkinglotwherepurchasedLotReserved"M"PermitsAddress:2BedfordStreet88CollegeStreetParkingLotCashParking-After5pmOnly5:00pmuntil6:00amnextdayOvernightparking4pmto6:00am$10.00Weekends$10.00CashparkingreceiptsarenottransferableandarevalidattheparkinglotwherepurchasedLotReserved"L"PermitsAddress:88CollegeStreet100CollegeStreetParkingLotTransportationofficelocatedinroom222.CashParking$10.00FlatRateAfter5pmWeekends$10.00FlatRate24/7parkingCashparkingreceiptsarenottransferableandarevalidattheparkinglotwherepurchasedUnreservedPermitsAddress:100CollegeStreetAssociatedBuilding:BantingInstitute112CollegeStreetParkingLotCashParking-After5pmOnly5:00pmuntil6:00amnextdayOvernightparking4pmto6:00am$10.00Weekends$10.00CashparkingreceiptsarenottransferableandarevalidattheparkinglotwherepurchasedLotReserved"K"PermitsAddress:112CollegeStreetAssociatedBuilding:BestInstituteHOTELSHolidayInnTorontoDowntownCentre30CarltonStreet16minwalktoCDTPS(1.3km),directstreetcar(#506)https://www.ihg.com/holidayinn/hotels/us/en/toronto/yyzct/hoteldetail?cm_mmc=GoogleMaps-_-HI-_-CA-_-YYZCTCourtyardbyMarriotDowntownToronto475YongeStreet17minwalktoCDTPS(1.3km)http://www.marriott.com/hotels/travel/yyzcy-courtyard-toronto-downtown/ChelseaHotel33GerrardStreetWest17minwalkfromCDTPS(1.3km)http://www.chelseatoronto.com/en/DoubeTreeHilton108ChestnutStreet17minwalktoCDTPS(1.3km),closetosubway(line1)http://doubletree3.hilton.com/en/hotels/ontario/doubletree-by-hilton-hotel-toronto-downtown-YTOCSDT/about/amenities.html

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SheratonCentre123QueenStreetWest21minwalkfromCDTPS(2.1km),closetosubway(line1)http://www.sheratontoronto.comNovotelTorontoCentre45TheEsplanade28minwalkfromCDTPS(3km),closetosubway(line1)http://www.novotel.com/en/hotel-0931-novotel-toronto-centre/index.shtmlSIGHTSEEING/THEATRESTherearemanythingstodoandseeinToronto.Ifyouarelookingtoexplorethecity,here'saquicklistofthemostpopularattractions:

• TheCNtower(http://www.cntower.ca/intro.html)• ROM-RoyalOntarioMuseum(http://www.rom.on.ca/en)• AGO-ArtGalleryofOntario(https://ago.ca)• TheDistilleryDistrict(http://www.thedistillerydistrict.com)• CasaLoma(http://www.casaloma.ca)• KensingtonMarket(http://www.kensington-market.ca/Default.asp?id=home&l=1)• StLawrenceMarket(http://www.stlawrencemarket.com)• OntarioScienceCentre(https://www.ontariosciencecentre.ca)• AgaKhanMuseum(https://www.agakhanmuseum.org)

Theatres:

• TheTheatreCentre(http://theatrecentre.org)• BuddiesinBadTimes(http://buddiesinbadtimes.com)• Crow'sTheatre(https://www.crowstheatre.com)• FactoryTheatre(https://www.factorytheatre.ca)• TheatrePasseMuraille(http://passemuraille.ca)• TarragonTheatre(http://www.tarragontheatre.com)• Soulpepper(https://www.soulpepper.ca)• HarbourfrontCentre(http://www.harbourfrontcentre.com)• CanStage(https://canadianstage.com/Online/)• Mirvish(https://www.mirvish.com)

ACCESSIBILITYRESOURCEShttps://www.handiscover.com/content/destinations/canada/guide-to-accessible-holiday-toronto-disabled-holidays/

http://wheelchairtraveling.com/accessible-attractions-and-sites-in-toronto-canada-for-wheelchairs-and-seniors/

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GETTINGAROUNDInformationaboutpublictransportationinTorontocanbefoundontheTTCwebsitesbelow.TheCentreforDramaTheatreandPerformanceStudiesisnearseveralstreetcar-,bus-,andsubwaylines.Pleaseseethefollowinglinksforfurtherinformation:http://www.ttc.ca/index.jsphttp://www.ttc.ca/WheelTrans/index.jsphttp://www.ttc.ca/TTC_Accessibility/index.jsp

Therearealsoseveralwheelchairaccessibletaxiservices:http://www.wheelchairtransit.com/our-services-personal/http://gtaaccessible.com/transportation-servicesIfyouneedadditionalsupportandinformationaboutaspecificroute,pleasesendusanemailatuoftfoot2018@gmail.comForFurtherInformationonAccessibilityinTorontopleasevisit:http://www.accessto.caAccessTOisanotforprofitorganizationthatwascreatedafteragroupofhealthprofessionalsfeltthattherewasaneedformorein-depthreviewsofthephysicalenvironmentsinourcommunity.

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BriefScheduleFRIDAY,FEBRUARY2,2018

1:001:30-2:00

RegistrationBeginsOpeningRemarks

RobertGillLobby

2:15-3:30

PANEL1:VirtuosityandConsentINSTALLATION1Opens:RehearsingSilenceINSTALLATION2Opens:Shift,Press,ChurnWORKSHOP1:SnailPedagogies

RobertGillLobbySeminarRoomRobertGillAlcoveRehearsalRoom

3:30-6:15 WORKSHOP2:AccessibleThinking RobertGillLobby

8:00-9:30

BOOKLAUNCH:PetraKuppersReadingbyErinBall

GladDayBookShop

SATURDAY,FEBRUARY3,2018

9:30-10:45 PANEL2:EquityandTheatre RobertGillLobby

11:00-12:30 WORKINGGROUP1:Place,Policy,andPowerPANEL3:TheStarePANEL4:SpotlightonDementia

RobertGillLobbySeminarRoomRehearsalRoom

12:30-2:00 LUNCHBREAK

2:00-3:30 WORKSHOP3:Olimpias:TheAsylumProject RehearsalRoom

3:45-5:155:15-7:30

KEYNOTEADDRESS:StephenLyttonDINNERBREAK

RobertGillLobby

7:30-9:009:00-10:00

CABARETRECEPTION

RehearsalRoomRobertGillLobby

SUNDAY,FEBRUARY4,2018

11:00-12:30 WORKINGGROUP2:Feminisms

WORKSHOPS4&5:TheRoleoftheAmputeeinIntegratedDanceJuggling,Deconstructed

SeminarRoomRehearsalRoom

12:30-2:002:00-3:303:30-4:30

LUNCHBREAKPANEL5:WithAccessibilityinMindCLOSING

RobertGillLobbyRobertGillLobby

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PRESENTERS

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BOOKLAUNCH:PETRAKUPPERS

Theatre&Disability

ASLandAudioDescriptionAvailable

FRIDAY,FEBRUARY2,20188:00–9:30pm

GLADDAYBookshop499ChurchSt,TorontoON,M4Y2C6

JointheUniversityofToronto'sFestivalofOriginal

Theatre(FOOT2018)andGladDayBookshopforalaunchforPetraKuppers'sbook“Theatre&Disability.”

Howdodisabledpeopleexperiencetheatre,asboth

audiencemembersandperformers?Howhastheinstitutionoftheatrerespondedtodisabilityovertime?Howcanwecreatenewspacesforperformanceandattendtodifferentcommunities’formsofexpression?

Thisinsightfulandengagingtextexaminesthecomplexrelationshipbetweentheatreanddisability,bringingtogetherawidevarietyofperformanceexamplesinordertoexploretheatricaldisabilitythroughtheconceptualframeworksofdisabilityasspectacle,narrative,andexperience.

AfterteachingforadecadeintheUK,PetraKuppersisnowProfessorofEnglish,TheatreandDrama,Artand

Design,andWomen’sStudiesattheUniversityofMichigan,USA.Shealsoteachesonthelow-residencyMFAinInterdisciplinaryArtsatGoddardCollege,USA,andrunstheinternationaldisabilityculturecollective,TheOlimpias.

Readers:PetraKuppers(fromherbook“Theatre&Disability”withbooksavailable)ErinBall(fromher“FlyingFootless”circusmanual)

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KEYNOTEPRESENTATION

ASLandAudioDescriptionAvailable

STEPHENLYTTON

SATURDAY,FEBRUARY3,20183:45–5:15pm

StephenLyttonisamemberofthe

NicomenIndianBandwithintheNlaka’pamuxFirstNation.AnAboriginalactivist,LyttonispresidentoftheBritishColumbiaAboriginalNetworkonDisabilitySociety(BCANDS).

BCANDSisaforprofitcharitableorganizationwhosemandateistotendtotheuniquedisabilityandhealthneedsoftheBritishColumbiaIndigenouscommunitybyproviding

anarrayoftargetedanddiverseservicesinurbanandruralcenters.

Throughthiscommitmenttopromotingdisability,healthandsocialsupportservices,Lyttonaddsanartisticvoicetotheconversation.Asanaccomplishedactor,writer,LyttonhaspresentedbothinwesternandeasternCanadatovariousgroups.HisworkshareshispersonalexperiencesbothasanAboriginalpersonlivingwithadisability,cerebralpalsy,andasaresidentialschoolsurvivor.

Beginningatayoungage,LyttonspentthirteenyearslivinginLytton’sSt.George’sIndianResidentialSchool.In2012,Stephen’sstoryofsurvivalwasthesubjectofMarieClement’sdocumentaryfilmTheLabourofLove,toldthroughLytton’sownraw,poeticvoice.

InApril2016,LyttonwasarecipientofTheGovernorGeneral’sCaringCanadianAward.Theaward,presentedbyDavidJohnston,servestorecognizeindividualswhovolunteertheirtimetohelpothersandtobuildasmarterandmorecaringnation.

Aloverofpoetryandcreativewriting,Lyttonfirmlystandsbelievesintheroletheartsplayincommunitybuilding.ForLytton,“theartsareoneofmanywaystobuildbridgesbothculturallyandsocially”.

Figure 2 Pictured Above Stephen Lytton

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INSTALLATIONSLAUNCHFRIDAY,FEBRUARY2,2018

2:15–3:30OngoingUntilClose

“RehearsingSilence”–RichardCWindeyer“RehearsingSilence”ispartmedicalportraiture,partdatasonification.Itisanapproachtobinauralaudioportraiturethatframesandcompressesthegradualandinevitablediminishmentofauditoryperceptionasaconsequenceofagingandneurologicallycollapsingbodies.Datasetstracingapatient’smalfunctioningneurologicalwiringaresonified,resultinginbinauralsimulationsofvariousformsofhearingloss,tinnitusandotherauditoryhallucinations.Thispresentationstems,inpart,fromanongoingdesignpracticefocusedondevelopingtoolsandinstrumentstosupportmulti-sensory(non-visual)dataanalytics,andacontinuinginterestinhowtheeffectsofagingandsensoryimpairmentmanifestthemselvesasperceptualartifactswithinanartisticpractice(Monetpaintedthroughcataracts,Beethovencomposedthroughtinnitus,etc.)EarlieriterationsinthisseriesofworksincludeStillnessRinging(https://richardwindeyer.com/2007/05/10/stillness-ringing/)

RichardWindeyer(www.richardwindeyer.com)isacomposer,designerandPh.DcandidateintheCentre for Drama, Theatre and Performance Studies/Knowledge Media Design InstituteCollaborativeDegreeProgramat theUniversity ofToronto.He is alsoa traineewith theNSERCCreate Data Analytics and Visualization Program and a Research Assistant in the PerceptualArtifacts Lab at OCADUniversity. His doctoral research examines how theatre and performancecanoperateasinstrumentsforcriticaldatastudies.Hisprincipleareasofdesignresearchincludemulti-sensorydataanalytics,sonicinformationdesignandinteraction,participatoryperformancedesign,experientialprototypingandsimulation,soundscapeecologyanddesign,musicandsounddesign for immersive theatre and performance. Previously, he taught music technology andelectroacousticcompositionatWilfridLaurierUniversity.@Twitter:@rockeet;website:www.richardwindeyer.com

“Shift,Press,Churn”–OrlyZebakSlimeistakingtheworldbystorm!It'swarm,it'scold,it'slooseyandquitegooey,it'ssmooth,orbumpy,it'sanyshapeorcoloryouwantittobe!Shift,Press,Churnisaworkencouragingtheunknown,theplayful.Slimeisamalleableentitypreppedforplayanddiscovery.Sogoahead,shift,press,churn,andleavewhatyoucreatebehind.

Orly Zebak is currently completing herMasters at theUniversity of Toronto’s Centre forDrama,TheatreandPerformanceStudies.Sheisamultidisciplinaryartist,who,inhersparetime,dabblesin design, writing, and painting. But as of right now, slime seems to be her medium of choice!

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FIRSTWORKSHOPFRIDAY,FEBRUARY2,2018

2:15–3:30

“SnailPedagogies:ASlowTheatreWorkshop”

LedbyAshMcAskillImaginethecomplexslowmovementofasnail.Thesoftandmoistbodyofasnailgentlyglidesoverthediverseedgesoftheearth’ssurfaces.Whethermovingoverhardandsharprocksorsilkysmoothgrass,thesnailadaptstoeachnewgeographyittouches.Witheachmovement,thisgentlecreatureleavesawetpatharchivingeachofitsearthlyencounters.Thereissomethingtobesaidaboutitsrhythmandadaptivewayofbeing.Asnail’stemporalityoffersanimportantinquiryaboutthemeaningfulrhythmofslowness,forbothhumansandnonhumans.Ourturbo-capitalisticsocietydilutestheconditionsweashumanbeingsencounteroneanotherandthemannerwefindmeaninginourday-to-daylives(Barber-Stetson2015;Koepnick2014).Slowness,asIargue,isatemporalitythatoffersnewwaysfordiversecommunitiestomeetandprovidesanimportantspacetoquestionourownplaceintheworld.Myinterestisinhowslownessre-sensitizesustotheworldwemove,work,breathe,andexistin?Asatheatrepractitionerandscholarthatworkswithdisabilityandageingcommunities,IaminterestedinlookingathowslownesscanbeusedtoreimaginethefutureofCanadiantheatre,anditsinfluencers.IaminvestedinisolatingdeepermeaningsandaestheticsofwhataslowtheatremovementlooksandfeelslikeinCanada.Howcanslownessreframewhataproductivebodylookslike,andprovidespacetoreimagineotherwaysofproducingandcreatingtheatre?Thisintimateworkshopwillexplorecollaborativewaysofhowpeoplecancometogether,particularlywhenbeingconsiderateofeachperson’sneeds.Participantsofthisworkshopwilldiscusstheaffectsturbo-capitalismhashadonthem,andexperimentwithslowtheatretechniquestoresensitizethemselvestotheirpractices.Participantswillbeaskedtoengageinslowmovementexercises,andusetheircellphoneorcamerasasawaytorecordthemicromomentsofourmovements.Asagroupwewillsharethesemicrohappeningsofslowness,andtheirvariousperformativeandethicalcomplexities.Theseexperimentswillextendfrommyconceptionofa“snailpedagogy”wherebyslownessisusedastoolforartisticinquiryofvulnerability,inclusivity,andcare.AshMcAskillisaFondsdeRechercheduQuébec(FQRSC)recipientandaPhDcandidateinCommunicationStudiesatConcordiaUniversityinMontréal,Québec.ShehasaBAinTheatreandFilmStudies,andEnglish,andaMAinCommunicationandNewMediafromMcMasterUniversityinHamilton,Ontario.Combiningherexperienceinboththedisabilityandtheatrecommunities,McAskillisresearchingtheartisticcomplexitiesbehindthecreativeworkofCanadiantheatrecompaniesworkingwithdisabledartists.HermaindoctoralprojectquestionishowaresuchcompaniesshiftingunderstandingsofdisabilityandtheatremakinginCanada?SomeofthecompaniesincludedinherPhDresearchareTheatreTerrificbasedinVancouver,BritishColumbia,LesproductionsdespiedsdesmainsinMontreal,Quebec,andtheperformancetrainingprogram,LesMuses,alsolocatedinMontreal

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SECONDWORKSHOPFRIDAY,FEBRUARY2,2018

3:30–6:15“AccessibleThinking(Through)Together”

LedbyJessicaWatkin

ASLandAudioDescriptionAvailableCreatingaccessiblespacesismorecomplicatedthanhiringaninterpreterandputtinginastop-gapramp. The complexity of accommodations, being individualized to people’s personal experiences,complicates inclusionandequity,particularly in thespaces inwhichareknown tobeaccepting innature.Weturnheretotheperformancespaces,inToronto,inCanada,inouracademicinstitutions,spaces where passionate, creative, and brilliant creators, artists, dancers, movers, human beings,stageandperformgroundbreakingworkinmanyways.Whoisexperiencingthiswork?Whereisithappening?Howarewelearningandthinkingaboutthesespaces?Thisdiscussion,takingplaceintheCentreforDrama’sLobbyspaceandtheRobertGillTheatre,willchallenge the performance and learning spaces inwhichwe think through performances.Wewillbring the people who accommodate into the room, the people who think through the needs oftheatre spaces, and the FOOT conference co-facilitators, to discuss the practicalways tomake anequitableperformanceandlearningspacehappen.JessicaWatkinJessicaWatkinisablind2ndyearPhDStudentattheUniversityofToronto’sCentreforDrama,Theatre,andPerformanceStudieswithresearchfocusingonaccessibleapproachestocreatingtheatreforartistswithdisabilitiesinCanada.Shehas2publishedarticlesintheCanadianTheatreReview,wasanartist-participantat theNationalArtsCentre’sTheStudy/Republicof Inclusion,and isaCo-Curator for theDramaCentre’supcomingFestivalofOriginalTheatre:SupportingBodies:ChangingMindsinFebruary2018.Not only her research focuses on creating theatre, Jessica is an avid playwright and innovateswith integration of Audio-Description in her work. In March 2018 Jessica will be Co-Chair of theCanadianNationalInstitutefortheBlind’sCentennialCelebrationinOntario,whichwillbeginher7thyearofvolunteerworkwiththeCNIB.RebeccaSinghOftenworkinginpartnershipwithKatGermainas"LiveDescribe"RebeccaisonthevanguardofaudienceaccessprofessionalserviceprovidersinCanada.Byworkingwithcommunityconsultants,employinginternationalstandardsandguidelinestowardsexcellence,sheishelpingtodefineAudioDescription’s“Canadianaccent”.

Rebeccapreparesandpresents:-AudioDescriptionforliveperformance,

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-Pre-recordedorliveVerbalDescriptionsforVisualandperformanceartorinstallations-DescribedVideoforfilmandtelevision.AudioDescriptioncreditsincludeTheSchoolforScandalandTreasureIslandfortheStratfordFestival,Enavant,marche!attheLuminatoFestival,BlackBoys,andBodyPoliticatBuddiesinBadTimesTheatreUndercoverand,MoreFineGirlsatTarragonTheatre,BethuneRe-imaginedatFactoryTheatre,InSpiritandWitnesstotheRuinpresentedattheRUTASFestivalbyNativeEarthPerformingArtsandAlunaTheatreandaworkshoppresentationofhowtoproduceanaudiodescribedperformancefortheRepublicofInclusion.VerbalDescriptionclientsincludetheArtGalleryofOntario,Luminato,TangledArt+Disability,UniversityofGuelphReVisionCentre.WhennotAudioDescribing,Rebeccaisacultureprofessional,performer,producerandsupermom.Upcoming:BlackBoysMarch4BuddiesinBadTimesTheatreTheSecretGardenMarch17YoungPeople’sTheatreSanjaVodovnikSanjaVodovnikisaPhDcandidateattheUniversityofToronto.Herinterestliesinexaminingvariousoutletsofstagingandperformingsciencefiction,focusingonit'sculturalhistory,dramaturgy,ethics,andtheperformanceofsci-fiinfancommunities.ShecompletedherBA(InternationalRelations)andMA(CulturalStudies;PerformanceStudies)degreesinSlovenia.PriortorelocatingtoTorontosheworkedasastagemanager,performeranddirectorinSlovenia,IcelandandIreland,collaboratingwithactivistgroupsandtheatrecompaniesacrossEurope.DavidDeGrowDavidisadesigner,academic,managerandteacherwhohasbeenpartofover300productionsinTorontoandacrossCanada.Hisresearchatfocusesontheroleoftheatrearchitectureinthecreationofartisticmandate,audience,andthetheatre'splaceinthecity.

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THIRDWORKSHOPSATURDAY,FEBRUARY3,2018

2:00–3:30

“Olimpias:TheAsylumProject”LedbyPetraKuppersandStephanieHeitASLandAudioDescriptionAvailable

TheOlimpias isadisabilityperformanceartists’collective thatcreatescollaborative,research-focused environments open to people with physical, emotional, sensory and cognitivedifferencesandtheirallies.Intheseenvironments,wecanexploreprideandpain,attentionandthetransformatorypoweroftouch.Let’sexploreourembodiedselvesandourpoliticallaborthroughmovement,meditationandsocialsculpture.Delightoursensestocreatesanctuaryin(disability)activiststruggles.Findmovementsthatpushboundariesandtranslateintoeverydaylife,createandshareresourcesforart/lifepracticesthatcansustainourselvesandourcommunities.Inourscoreswewillreachforjoy,ceremony,andedge,beyondthestudioandintothestreet(weatherandaccesspermitting).Openexploration,experimentalaccess:wefindouttogetherwhatworksforthosewhoassemble.ForadeepersenseoftheAsylumProject,itsmethodsandapproaches,youcanaccessanacademic/creativecollaborationemergingfromitinthisTheatreTopicsarticle:https://www.academia.edu/28243574/Mad_Methodologies_and_Community_Performance_The_Asylum_Project_at_BedlamPetraKuppersisawheelchairdancer,disabilitycultureactivist,acommunityperformanceartist,andArtisticDirectorofTheOlimpias.SheteachesattheUniversityofMichiganandonGoddardCollege’sLowResidencyMFAinInterdisciplinaryArts,andhaswrittenwidelyondisabilityperformance.StephanieHeitisapoet,dancer,andteacherofsomaticwriting,ContemplativeDancePractice,andKundaliniYoga.SheliveswithbipolardisorderandisamemberoftheOlimpias,aninternationaldisabilityperformancecollective.TheColorSheGaveGravity(TheOperatingSystem2017)isherdebutpoetrycollectionandexplorestheseamsoflanguage,movementandmentalhealthdifference.HerworkmostrecentlyappearedinMidwesternGothic,CladeSong,LimeHawk,AboutPlace,DunesReview,Typo,DisabilityStudiesQuarterly,Streetnotes,NerveLantern,QueerDisabilityAnthology,TheatreTopics,andResearchinDramaEducation.ShelivesinYpsilanti,Michigan,withherpartnerandcollaborator,PetraKuppers.ThetwotogetherarerunningTurtleDisco,alocalcommunityperformancespaceinYpsilanti,Michigan,asasomaticwritingstudio.http://www-personal.umich.edu/~petra/asylum.htmlhttp://video.dptv.org/video/2365737793/PetraKuppers(@OlimpiasDance)|Twitterhttps://stephanieheitpoetry.wordpress.com/home/turtle-disco-classes/

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FOURTHWORKSHOPSUNDAY,FEBRUARY4,2018

11:00–12:30

"TheRoleoftheAmputeeinIntegratedDance”LedbyLawrenceShapiroAudioDescriptionAvailable"TheRoleoftheAmputeeinIntegratedDance"isa45-minuteinteractivepresentationofferingattendeesauniqueinsightintocontemporaryperformanceart.Blendingphysicaldemonstrationswithdescriptiveelements,thepresentationoutlinesthehistoricandfutureroleofdancerswithlimblossandthecontributiontheycanmaketothisperformanceart.Movingbeyondhoping,thepresentationdiscussesdifferentelementsamputeesmayuseinperformanceincludingvignettes,stationarymotionaswellasusingtheprosthesisasasymbolicdeviceonstage.Thepresentationconcludeswithaudiencememberscomingonstageandmovingwiththefacilitator.

Apassionateandpioneeringpractitionerofintegrateddanceforoveradecade,LawrenceShapiroisaverifiedDeafandDisabilityArtistwiththeCanadaCouncilanda2016OntarioArtsCouncilDeafandDisabilityArtsProjectsProfessionalDevelopmentGrantHolderwhichsupportedhisground-breakingdancepiece'DiscoveringwhichwasperformedattheDanielsSpectruminToronto';oneofthefirstdanceworksinCanadaevertoprofileanabove-kneeamputeeinaleadingrole.CareerhighlightsincludeperformanceswiththeVancouverSocietyofDisabilityArtsandCulture,GuelphDance,theInternationalViennaDanceFestivalaswellaspublicinstallationpiecesfacilitatedthroughHeidiLatskyDanceofNewYorkCity.LawrenceisaproudmemberoftheInternationalGuildofDisabledArtistsandPerformers.

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FIFTHWORKSHOPSUNDAY,FEBRUARY4,2018

11:00–12:30“Juggling,Deconstructed”LedbyMorganAndersonAudioDescriptionAvailableIencourageeveryoneIknowtojuggle.Ipraisejugglingascapableofteachingmath,meditation,problemsolving,creativity,hand-eyecoordination,engagementwithnon-humanothersandphysicalawarenessofselfandothers.Aboveall,Ihaveclaimedthatthiscure-allactivityis“barrier-free.”However,despitemyfacadeofenthusiasmandconfidence,alittlevoiceinmyheadhasalwaysasked:Butisjugglingactuallytotallyaccessible?Toexplorethisquestion,IdiscussthewiderangeofapproachestojugglingthatmaybeunknowntotheWestern,non-jugglingpublic.Thesemightincludebalancingobjects,anti-podism(jugglingwithyourfeetwhilelyingdown),footbagging(jugglingwithyourfeetwhilestanding)andmouthjuggling(keepingpingpongballsintheairwithonlyyourmouth)amongothers.Itakeasafocusthemathematicalnotationofjugglingcalled“siteswap.”Siteswapdescribesjugglingpatternsandcanbeusedtocreatenewonesbyattributingnumberstothebeatsthatoccurbetweenathrowandacatch.Itshighlevelofabstraction,however,meansthatsiteswapisinfinitelyinterpretableandcanbeappliedtomanydifferentsituations.Inotherwords,themathematicalnotationofajugglingpatterndoesnotnecessarilydictatehowmanypeoplearejuggling,whatbodypartstheyareusingtojuggle,whatobjectsarejuggledorevenwhatishappeninginthebeatsbetweeneach“throw.”Thisallowsforawiderangeofadaptationtojugglingpatternsandalooserbarrieronwhocanparticipateintheactofjuggling.Afterashortformalpresentationofthisresearch,IinviteaudiencemembersandmypartnerfromTorontoJuggling,AndreyMikhaylov,toassistmeinastructuredexplorationanddemonstrationofthetechniquesdiscussed.AndreyMikhaylovisacurrentmemberoftheTorontoJugglingClub.

MorganAndersonholdsaBachelorofArtsHonoursdegreewithamajorinDramafromQueen’sUniversityandrecentlyfinishedherMaster’sinTheatreandPerformanceStudiesatYorkUniversity.ShebeganaPhDinthesameprogramatYorkinSeptember2017.Herresearchexplorestheintersectionsofperformancestudies,objectmanipulation,newmaterialismandseriousleisure.Inherprofessionallifesheperformsasajugglerandunicyclist.

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WORKINGGROUPS

WORKINGGROUP1“Place,PolicyandPower”

Saturday,February3rd-11:00-12:30

Moderatedby:JessicaWatkin

Theworkinggroupwilldiscusswaysofdesigninginclusiveartspacesandaddressaspectssuchasfunding,design,perception,humour,educationandlegislation.Theconversationwillalsofocusontheuseofart,dramaandperformanceasatoolforexploringsociallyperceivednotionsofabilityanddisability.NinaCzegledyNinaCzegledy,artist,curator,educatorcollaboratesinternationallyonart&science&technologyprojects.ThechangingperceptionofthehumanbodyanditsenvironmentaswellastheparadigmshiftsintheartsinformsherprojectsShehasexhibitedandpublishedwidelywonawardsforherartworkandhasinitiated,ledandparticipatedinforumsandfestivalsworldwide.Czegledypresentsinternationallyatacademicinstitutionsandconferences.Latestdocumentaryartwork:SeeingtheInvisibleatUniversityofToronto2017,latestcuratorialproject:SPLICEre-examiningNature,OuluArtMuseum,FinlandMay-December2017.CzegledyistheChairof,Leonardo50thCelebrationsCommittee;MemberoftheGoverningBoardLeonardo/ISAST;BoardMember,AICAInternationalAssociationofArtCriticsCanada;Chair,IntercreateorgNewZealand;AdjunctProfessor,OntarioCollegeofArtandDesignUniversity,Toronto,anIndependentartist,curator;SeniorFellow,KMDI,UniversityofToronto;ResearchFellow,SemaphoreResearchCluster,UniversityofToronto;ResearchCollaborator,HexagramInternationalNetworkforResearch-CreationinMedia,Montreal;SeniorFellowHungarianUniversityofFineArtsBudapestLynneHellerLynneHellerisapost-disciplinaryartist,aneducatorandacademic.Herinterestsencompassmaterialculture,newmediaperformativeinteraction,graphicnovelsandsculpturalinstallation.HellercompletedherMFAattheSchooloftheArtInstituteofChicagoin2004andherPh.D.atUniversityCollegeDublin,Ireland.SheisanAssistantProfessoratOCADUniversityintheFacultyofDesignandalsoteachesintheFacultyofLiberalArts&SciencesandSchoolofInterdisciplinaryStudies.Sheisco-directoroftheDataMaterializationStudioatOCADUniversity.AtUniversityCollegeDublin,sheworkedinthedepartmentofGender,CultureandIdentity,witharesearchfocusonfeministpracticeinonlineculture.HellerhasanextensiveexhibitionrecordbothnationallyandinternationallyandistherecipientofgrantsfromtheOntarioArtsCouncil,theCanadaCouncilfortheArtsandtheDepartmentofForeignAffairs,Canada.RecentexhibitionsincludeSlippageattheRobertLangenArtGallery,UniversityatWaterloo,Waterloo,ON,ChelseaGirls,Gallery44,Toronto,ON,HomeostasisLab,TheWrong–NewDigitalArtBiennale,madeandexhibitedworldwide,AnotherSeason:AnInternationalExchangeProject,Gallery44,Toronto,ON(theexhibitiontravelledtotheThreeShadowsPhotographyArtCentre,Beijing,theDetroitCentreforContemporaryPhotography,andtheHippolytePhotographicGallery,

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Helsinki)andHysteria:Past,Present,FuturecuratedbyAnondaBell,PaulRobesonGalleries,RutgersUniversity,Newark,NewJersey,USA.SheexhibitedthispastyearatWARCGallery,Toronto,ON,ISEA2014,Dubai,UAE,touring-Salisbury,Leicester,Bristol,Londonandonline,2014-15.Recentpublicationsincludethechapter“FoundObjects,BoughtSelves”inNewOpportunitiesforArtisticPracticeinVirtualWorlds,ed.Dr.DeniseDoyle.#lynneheller

AndreaConnellAndreaConnellisMaster’sstudentattheUniversityofOttawa,currentlyresearchingdisabilityperformanceandthewaythebodyisusedonstageinCanada.ShecompletedherHonoursBAwithSpecializationinTheatreattheUniversityofOttawagraduatingin2015.Andreaisaperformingartistandplaywrightwhoisconstantlysearchingformoreconnectionsbetweenboththepracticeandtheoryofartandhowthisinturnaffectsoursociety.DavidBeiselDavidBeiselisaToronto-basedproductionmanagerandlightingdesignerfordance,theatreandliveevents.HeisagraduateoftheRyersonTheatreSchool’sPerformanceProductionprogram,wherehesubsequentlyhasworkedasatechnicalsupervisorforthe2016/2017season.PastmanagementinternshipsalsoincludecontractsatSoulpepperTheatre,SummerWorksPerformanceFestivalandHarmonyCentreOwenSound.Davidisaproudco-establisheroftheYouthTheatreCoalitioninOwenSound,Ontario.Recentcreditsinclude8WorksInProgress(8WorksCollective),InOnIt(emerGENceTheatre)andTheAMYProject(SummerWorks2016).DavidiscurrentlycompletinghisMAatYorkUniversitythisfallinthedepartmentofCriticalDisabilityStudies,withresearchfocusingininclusivetheatreindustrypractices,especiallyintechnicalandmanagementpositions.TeresaMSorska

TeresaMariaSorskaisadesigner/architect,awriter/poetandanartcurator.HerstudiesintheartsandhumanitiestookherfromJagiellonianUniversityinKrakow,theArtInstituteofPolishAcademyofArtsandViennaUniversitytocollegesinTorontoandDublinUniversityCollege'sSMARTlab.InherworkandstudiesTeresaadvocatesaconceptofintegrated,inclusive,accessibledesignfriendlyforanysensoryorcognitiveacuteness.Teresaorganizedcreativeeventsproofinginter-connectionofart,includingaworkshopwithacollaborationofUofTDramaturgyLabandDigitalMediaYorkUniversity.Sheisamotherofamazing,nonverbalautisticson,withwhomsheiswritingabookaboutFilip'sexperienceswithautism.ShelivesinToronto.ConnectingCirclesAutism(Facebookpage)WesleyPayneWesleyA.Payne(OCT,MT)isateacher,actor,andstage-managerfromCaledon,Ontario.Wescurrentlyteachesthedramaticartsandspecialeducationatapublicsecondary-schoolinBrampton,whilevolunteeringasanactorinmusicalpresentedmonthlyataTorontopediatrichospital.Wes’pastresearchinterestsincludestudyingtheefficacyofhospital-basededucation,andtheexaminingthe

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practiceofarts-basedprogramminginspecial-educationcontexts.Weshasalsoworkedonover50theatricalproductionsacrossCanada,fromMississaugatoHalifax.WesholdsaMasterofTeachingfromtheOntarioInstituteforStudiesinEducation,aBachelorofArtsfromtheUniversityofToronto,andaDiplomainTheatreandDramaStudiesandActingfromSheridanCollege.TWITTER:@MrWPaynesClass

WORKINGGROUP2“Feminisms”

Sunday,February4th-11:00-12:30Moderatedby:JessicaWatkinThediscussionandworkshopwillbelookingintofeminismsandintersectionalidentitiesthatareconstructedinandaroundartsandperformancespaces.Topicsuchasembodiedknowledge,burlesqueperformanceandintersectionalfeministcomedywillbeaddressedinthissession.AnnaLytvynovaAnnaLytvynovaisaUkrainian-Canadiantheatre/performancemakerandscholar.Herworkfocusesprimarilyontheroleofthebodyandnon-representationalformsinsocially-engagedtheatre.Asapractitioner,shehasdirectedanddevisedvarioustheatreproductionsinMontreal,Toronto,andUkraine.Anna’srecentpublicationsincludeperformancereviewsandworkinalt.theatremagazineandMcGill’sTheChannelreview.ShereceivedherB.A.HonoursfromMcGillandin2018willcompleteherM.A.inTheatreandPerformanceStudiesatYorkUniversity.@annaynova(instagram)AnnaLytvynova(LinkedInandfacebook)SarahRobbinsSarahRobbinsisa2ndYearPhDstudentattheUniversityofToronto'sCentreforDrama,Theatre&Performancestudies,researchingequityinCanadiantheatre.Instagram:@robbins_sarahJuliaMatiasJuliaMatiasisa2ndYearPhDstudentattheCentreforDrama,Theatre,andPerformanceStudies.Herresearchiscentredaroundneo-burlesquepractices,especiallyastheyrepresenttorepresentationsofethnicityonstage.Juliaisalsoanactivetheatremakerandinternationally-activeburlesquepractitioner.

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JuliaisoneoftheproducersbehindUnmarkedTheatre's"CremedeLaFemme"series,anintersectionalfeministcabaretwhichshowcasesnewworkdealingexplicitlywithfemininity.CheckinwithUnmarkedat"UnmarkedTheatre"onfacebook,oronInstagram:@unmarkedtheatreLucasLoizouLucasLoizougraduatedlastyearfromtheUniversityofTorontomajoringinbothAnthropologyandDrama.Hisresearchinterestsincludequeercomedy,affecttheoryandexperimentalethnography.Twitter:@lukeskeye

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INTERDISCIPLINARYPANELPRESENTATIONS

Friday,February2nd,2018

PANEL1–VirtuosityandConsent

2:15-3:30–ModeratedbyMariaMeindl

AudioDescriptionAvailable

Inthispanelfivescholarsandartistswillpresenttheirworkconcerningtheprecarious,sensitive,andconcerningnatureofbodiesinthisvulnerableandfast-pacedtime,andshedlightonthenotionsofsportsandviruosticbody,collectivemusicalcreation,clownpracticeandvulnerabilityinsocialmovements.

MarleneGoldman"PianoLessons":ashortfilmbasedonAliceMunro's"InsightoftheLake"

The radical facetofMunro’s story—like somanyofher stories—is that sheoffers entry intoherprotagonist’s mind. Most stories about dementia are typically told from the perspective of thecaregiver and, as a result, the personwith dementia is objectified. In the case of “In Sight of theLake”—thestoryweadaptedintoourfilm“PianoLessons”—bothmyco-director,PhilipMcKeeandI recognized the importance of Munro’s protagonist remaining the subject—the one who looks.Althoughpresentinganolderwoman’sconsciousnessmayappeartobeasmall,privategesture,intoday’ssociety—asocietywhereolderpeople,particularlyolderwomen,gounseenor,worse,areviewed as a burden—Munro’s insights into her elderly protagonist’s sense of dignity andpersonhoodconstituteapowerfulpoliticalintervention.

Dr.MarleneGoldmanisaProfessorintheDepartmentofEnglishattheUniversityofTorontowhospecializesinCanadianliterature,agestudies,andmedicalhumanities.SherecentlycompletedabookentitledForgotten:Age-RelatedDementiaandAlzheimer’sinCanadianLiteratureontheintersectionbetweennarrativeandpathologicalmodesofforgettingassociatedwithtrauma,dementia,andAlzheimer’sdisease(McGill-Queen’sPress,2017).SheiscurrentlywritingabookentitledPerformingShame:SimulatingStigmatizedMindsandBodies.Inadditiontoherscholarlyworks,shehasalsowritten,directed,andproducedashortfilmaboutdementiaentitled“PianoLessons”basedonAliceMunro’sshortstory“InSightoftheLake”fromhercollectionDearLife(2004).Atpresent,sheisadaptingthestory“TorchingtheDusties”aboutagingandintergenerationalwarfarefromMargaretAtwood’srecentcollectionStoneMattress(2014)intoashortfilm.SheistheauthorofPathsofDesire(UniversityofTorontoPress,1997),RewritingApocalypse(McGill-Queen’sPress,2005),and(Dis)Possession(McGill-Queen’sPress2011).FormoreinformationaboutDr.Goldman’sresearch,filmmaking,andpublications,pleaseseeherwebsite:http://marlenegoldman.ca

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JeffGagnon“(Im)Mobilized Vulnerability and Mimetic Fragility: Protest and Performative CounterResistance”Whereastheperformanceofembodiedstrengthhaslongbeenanessentialcharacteristicofsocialjusticemovements, therehasbeenamore recent turn inwhich theperformanceofvulnerability“becomes a potentially effective mobilizing force in political mobilizations.” (Butler, 2015)This presentation seeks to interrogate and challenge the reactionary, immunizing strategies ofcounter resistance that I’m calling “mimetic fragility” inwhich a pretense to frailty is enacted inordertoundercutthediscursivepositionofprotestmountedonthegroundsofvulnerability

JeffGagnonisadoctoralcandidateattheUniversityofToronto'sCentreforDrama,Theatre,andPerformanceStudies.JuliaGray“The centrality of foolishness: reconsidering clown practices in hospitals with disabledchildren”

Through this paper I will investigate the ways that clown practitioners in hospitals “foolishly”support disabled children to be in the socialworld inmore creativeway.While emerging theoryframesclownpractices inhospitalsasaestheticand relational,what isnot considered is thewaysthese performance practices are “foolish” (as brave-vulnerablewith awillingness to fail) and therelevance of foolishness for learning and being in the world more broadly. As embodied, clownpractices can provide accessible, playfulmoments that offer creativeways of supporting disabledchildrenaschildren,ratherthanas‘damagedchildren’withbrokenordiseasedbodies(1).Through this paper I draw on performance theories to critique traditional rehabilitation, whichfocuses on assisting disabled children to achieve or approximate able-bodied-ness and whereobjectified bodies are ‘acted upon.’ Conceptualizing the centrality of foolishness as part of clownpractices in hospitals, including theways clowns imaginatively, vulnerably and bravely playwithdisabled children, brings applied performance scholarship and practice together with criticalrehabilitation’s move towards supporting new ways of being in the world as a kind of sociallearning.Thisincludesconsideringthewaysdisabledchildrenandthosearoundthem‘enact’inthepresent moment as active agents with others (rather than being ‘acted upon’ as objects). Byconceptualizing the foolishness of clowns’ performance practices in hospitals, I will consider therole of clowns in supporting disabled children’s existential social learning by aesthetically andrelationallybeingintheirownbodiesandinthesocialworldinnewways.(Note 1: I use the term ‘disabled children’ rather than ‘childrenwith disabilities’ in keepingwithcurrent usage in Disability Studies. Disability is not considered a condition of individuals as isimpliedby thephrase ‘withdisabilities,’but rather somethingexperiencedasa resultofprejudiceandsocialexclusion).

JuliaGray(PhD)isaplaywright,theatredirectorandscholar-researcherworkingattheintersectionofhealth,arts,personallearningandsocialchange.SheholdsaPhDfromUniversityofTorontoandisaPostdoctoral Fellow at Bloorview Research Institute, Holland Bloorview Kids Rehabilitation Hospitalwhereherprogramofresearchfocusesonthewaysdisabledchildrenengageinartspracticesin

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rehabilitationsettings. Sherecentlyedited‘ReView:ananthologyofplayscommittedtosocialjustice’(Sense Publishers),which included her play 'Cracked: new light on dementia.' She has published andpresentedacross disciplines includingperformanceand theatre studies, education, applied literature,recreation and leisure studies, sociology, rehabilitation science, among others. Shewas a 2012-2014CanadianInstitutesforHealthResearchStrategicResearchTrainingFellowinHealthCare,TechnologyandPlaceandholdsaBFAandMAfromYorkUniversity’sDepartmentofTheatre.

@PossibleArtsSimonLaw“Musicandit’stransformativepower”ApresentationoftheworkwehavebeendoingattheBitoveWellnessAcademyrecentlyaboutthemeaningofmusic inour lives. Ihavewrittenasongcelebratingthiswiththemembers,around35people….everyone contributing in someway.Many contributed in thewriting of lyrics/melodies,everyone has contributed in the singing of the song, playing percussion and for those who havelearntukuleleplaying thataswell. Somememberswhohavemoreadvancedmusical skillwithaninstrumenthaveplayedtoo,aviolapart,andapianopart.It’strulyacommunitysong.Ihaverecordeditwithmyregularprofessionalrecordingequipment.Iwillpresentadescriptionofhowwecreatedthisworkofarttogether.Howitcreatedsuchjoy,collaborationandfacilitatedrelationalcaring.Thenteachandhaveeveryonesingthechorusofthesong.GrammywinningsongwriterMusicianProducerTeacher:FromearlychildhooddaysinTrinidadinthe60s,tohistimeasheadchoristeratHerefordCathedralinEnglandinthe70s…FromLondon’sdance/club/musiccultureandtothepresentdayinToronto,Simon’sdiverseandeclecticloveofmusichasalwaysshonethrough.Hissongsandproductionshavesoldover10millionalbumsandsinglesworldwide.Hewasaregularclubgoer&dancerattheAfricaCentreforSoulIISoul’slegendarySundaynightsessionswhichledtoalifelongfriendship&collaborationwithJazzieBOBEandthecreationofSoulIISoul’slongcareer.Hehasbeeninvolvedinallbutoneoftheir7albumreleases.Inparticularco-writingtheGrammywinning,globalNo.1hitBackIILifeandalsoKeepOnMovin’,bothfromtheseminalalbumClubClassicsVol1.Thisworldwidemulti-platinumalbum,includestheGrammyAwardwinninginstrumentalAfricanDance,co-writtenbySimon.Hehasproducedandco-writtenhittuneswithmanyotherartistsincludingMaxiPriest,ChanteMoore,ShabbaRanks,JohnnyGill,JTTaylor(KoolandtheGang)JoannaLaw(hissister)Guru'sJazzmatazzandTheJazzWarriors.Threecareerhighlightsarehisco-producingthelate,verygreatSouthAfricanreggaesuperstarLuckyDube’salbum‘Victims’inSouthAfrica.SimonalsoworkedwithhismentorandheroMauriceWhite,EarthWindandFire’sfounderin1991.HecontributedkeyboardsforGuru'sJazzmatazzalbumandperformedthisalbumwithDonaldByrdandRoyAyres.InCanadaheplaysregularlyintheTorontobandJenSchaffer&TheShinerswithhispartnerJenSchaffer.They’vereleased1albumwiththe2ndalbumreleasedinearly2018)TheyhaveplayedattheprestigiousMariposaFolkfestivalin2016.

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AsateacherhetaughtmusicatthePaulPennaDowntownJewishDaySchoolfor4years(2010-14)Healsowrote,producedanddirected2originalmusicalsatJackmanAvenuePublicSchoolandGeorgeWebsterPublicSchoolinToronto.Theseproductionswerewrittenwiththechildrenusingstateoftheartmultimediaandalsotraditionaltheatrearts.Theyfeaturedacastof100childrenwithselloutperformances!CURRENTPROJECTS:PromotionofLookToTheSky,hissoloalbumforDomeRecordsintheUK.GuestartistsincludeCaronWheeler,JazzieBOBE,ChanteMoore,MaxiPriest,JoannaLawandLainGray.HeproducesandplaysdrumsandkeysintheTorontobandJenSchaffer&TheShiners(secondalbumtobereleasedInearly2018)HefacilitatesmusicclassesandisinvolvedinresearchintomusicanddementiaattheDotsaBitoveWellnessAcademyinToronto.HeiscurrentlywritingsongsformanyinternationalartistswithLainGrayforSonyAtvpublishing.AlsowritingandproducingmusicforTV,FilmandadvertisingforhispublisherSonyAtvProductionMusic.@thefunkyginger–twitterhttps://m.facebook.com/funkygingerChristineMazumdar“TrainingandtheVirtuosicBodyinRhythmicGymnastics”

I’dexhibitedthequalitiesofachampion.Iwaswillingtoself-destructtowin.—JenniferSey64-65Drawingonmyexperienceoftrainingandcoachingelite-levelrhythmicgymnasticsforthepast25years,myresearchinvestigatestherolethedevelopmentalprocessofthevirtuosicbodyinaestheticsports—sportsinwhichascoreisawardedforartisticmeritinadditiontotechnicalskill.Buildingonthe2017CATRpanel“TheVirtuosicBody:ShiftingTowardsaPost-HumanFuture”,whichIcuratedwithDr.SeikaBoye,Iexaminetheexclusivityoftrainingpracticesinelite-levelgymnastics.InlightoftherecentsexualabusescandalintheUSA’swomen’sgymnasticsteam,Iconsidernotionsofconsentthatariseinthestudent/instructorcollaborationduringthedevelopmentalprocess.Likeincompetitivedanceandballet,elitegymnastsareselectedatayoungageandmouldedintochampions.AsJoanRyaninvestigatesinherbook,LittleGirlsinPrettyBoxes,theprocessisassimilativeandforasportthatispredicatedoninnovationandartistry,thereisnospaceforphysicaldisability,‘otheredness’,oraccommodation.Therigidityofthedisciplineinmanyinstancesteachesyounggirlstoignorepainandotherwarningsignsofinjury.AsRyanindicatessomeathleteschoosenottodiscloseinjuriestotheircoacheslesttheybedismissedfromtheeliteteam.Whilemygymnasticscareerendedduetoinjury,IhaveturnedtocoachingasameansoftryingtorightsomeofthewrongsthatIexperiencedduringmycareer,thefirstofwhichchallengesthenotionofagencyforboththestudentandinstructor.Iarguethatthetrainingprocessneedstobetailoredtothestudent’sindividualneeds,andmoreover,thatthereisspaceinthesportfordifferentskillsets,bodytypes,andindividuality.Agoodcoachhasthecapacitytobringoutthebestqualitiesineachoftheirstudents.

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Sey,Jennifer.2008.ChalkedUp.NewYork,NY:HarperCollins.

ChristineMazumdarisaPhDcandidateattheCentreforDrama,Theatre,andPerformanceStudiesattheUniversityofToronto, focusingontheathleteasperformerthroughthe languageofmovement inaestheticsport,dance,andcircus.Aformerrhythmicgymnastandnationallycertifiedcoach,Christineconsiderstheinterrelationshipbetweensportandart.

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Saturday,February3rd,2018PANEL2-EquityandTheatre

9:30-10:45-ModeratedbySarahRobbinsForthispanel,wehaveassembledagroupofscholars,activists,andpractitionerstodiscusstheenduringlycalcifiedpracticesofteachingthetraditionalcanoninCanadiantheatrecurricula.Thepanelwillconsiderbarrierstoandmeansofachievinggreaterinclusivity—includingtheworkofdisabledartistsandscholars—intheatrecourses.Thepanelwillalsofeaturethelaunchofabrandnewprojectindevelopmentforthelasttwoyears,theProductionListingforEnhancedDiversityandGenderEquity(PLEDGE).PLEDGE’sprimaryaimistohelpimprovethenumberofwomenplaywrightsproducedinpost-secondarytheatreprogramsinCanada.MultipleacademicstudiesconductedoverthreedecadesconfirmthatwomenarewoefullyunderrepresentedinpositionsofhighercreativeinfluenceinCanada(Fraticelli1982;Burton2006;MacArthur2015).Thesereportspointtoeducation—totheplacestheatrepeoplearetrained—asacriticalplacetobegintocorrecttheimbalance.Whileachievingabettergenderbalanceinproductionistheprimaryaim,theprojectalsohopestohelpimprovethediversityofvoicesreflectedinsettingsoftheatreeducationinCanada,includingdisability.PLEDGEisafullysearchabledatabaseofplaysbyCanadianwomenthatsuggestacastsizeofsixormore--thisisbecauseplaysproducedineducationalsettingstypicallyneedlargercastsizestoaccommodatethenumberofstudentsinvolved.PLEDGEasksinstitutionsareaaskedtomakepublicpledgestostriveforgreaterpluralismontheirstages.SarahRobbins“StrangeFeminisms:TheFemaleDisabledTheatreArtist”SarahRobbinsisa2ndYearPhDstudentattheUniversityofToronto'sCentreforDrama,Theatre&Performancestudies,researchingequityinCanadiantheatre.Instagram:@robbins_sarahBarryFreeman“PledgingtoChange:DiversityandDisabilityinPost-secondaryTheatreCurricula”BarryFreemanisanAssociateProfessorandProgramDirectorofTheatreandPerformanceStudiesattheUniversityofTorontoScarboroughaswellastheCentreforDrama,TheatreandPerformanceStudies.His2017bookStagingStrangers:TheatreandGlobalEthics(McGill-Queen’sUniversityPress),drawsonethicalphilosophyandthesociologyofglobalizationtoofferafreshcritiqueofcontemporarytheatreinCanada.His2016co-editedbookInDefenceofTheatre:AestheticPracticesandSocialInterventions(UniversityofTorontoPress),assemblesessaysfromnineteenacademics,educatorsandartistsfromacrossCanadatoaddressthequestion:whytheatrenow?BarryisAssociateEditorofCanadianTheatreReview,recentlyeditingissuesonthesubjectsof‘AlternativeGlobalizations’,‘PerformingPoliticians’,and‘(Post-)Reality’.www.pledgeproject.ca(notyetlive)

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PANEL3-TheStare

11:00-12:30

Inthispanel,fourscholarsandartistswillpresenttheirworkonfourdifferenttheatreperformancesandspeakaboutthewaysinwhichtheseshowsapproachthethemesofdisabilityandinclusivityandnegotiatethespacesbetweenaudiences,artistsandarts.

KristyJohnston“ReturningCreeps”TheonlyCanadianplayinVictoriaAnnLewis'2005BeyondVictimsandVillains:ContemporaryPlaysbyDisabledPlaywrights,DavidFreeman'sCreepshasbeenheldupasacriticalforerunnerofcontemporarydisabilitytheatrepractice.NearlyfortyyearsafterFreemanwontheFloydS.Chalmersawardfortheplay,astagedreadingofCreepswasofferedinTorontoin2011,performedinSeattlein2014,andlastyear,anewaward-winningproductionoftheplaywasproducedbyRealwheelstheatrecompanyinVancouver,thuslinkingtheplaytoapioneeringcontemporarydisabilitytheatreproduction.InthispaperIwillconsiderhowCreepssharesaestheticandpoliticalimpulseswithseveralkeyplaysthathaveemergedforpublicationfromtheCanadiandisabilitytheatresceneoverthepasttwodecades.An associate professor in the Dept. of Theatre and Film at UBC, Kirsty Johnston's book Stage Turns:CanadianDisabilityTheatre(McGill-Queen'sUniversityPress)receivedthe2012awardfor“BestBookin Canadian Studies” from the Canadian Studies Network andwas a finalist for the Humanities andSocial Sciences Federation of Canada Canada Prize. Her latest book Disability Theatre and ModernDrama:RecastingModernism(Bloomsbury:2016)examines thecentralityofdisabledcharactersandtropesinmoderndramaandconsidersmeanstoreimaginedisabilityinperformance.In2016sheguesteditedaspecialissueofTheatreResearchinCanada(2016)onthetopicofDisabilityandPerformance.

NatalieLiconti“WaysofStaring”Thislecture-performanceengageswithRosemarieGarland-Thomson’sconceptionof‘thestare,’exploringthewaysinwhichthestaremaybeemployedasaproductiveencounterofmutuality.Withreferencetotworecentperformances(CanDoCo’s"CounterActs"andCunninghamandCurtis’s"TheWayYouLook(atme)Tonight"),Iexaminehowdisabilityperformanceemploysthestareasameansofideologicalre-orientation,andhowthisfitswithintheframeworkofperformance–spacesinwhichspectatorsareforcedtostare.Howdotheseconfrontationsbetweenperformersandaudiencedeterminethewaysinwhichspectatorswill“look”uponleavingtheperformancespace?Howdoes‘thestare’indisabilityperformanceinfiltratetheeveryday,andpresentthepossibilityforperceptivetransformations?

Natalie Liconti is a performance artist and actor from Toronto, Ontario. She graduated fromMcGillUniversity, where she studied Theatre Studies and Political Science. In 2016 she founded thefeminist/queer performance collective, Daughter Product (www.daughterproduct.com) - amultidisciplinarycompanythatproduced“DocileBodies”(LaChapelleScènesContemporaines,St-

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AmbroiseMontrealFringeFestival)and“TheGentleArtofPunishment”(ZHFestival,CalmDown,Dearat Camden People’s Theatre). Her interdisciplinary (dance, theatre, electroacoustics) work combinescritical theorywithauto-biography,exploringhowtomakeaudiences “feel theory” rather than thinkthroughit.Otherrecentcreditsinclude:“TheHistoryofSexuality”(ThéâtreMainLine),Flointheworldstagepremiereof“VicandFloSawaBear”(TalismanTheatre),andCBC’s“TheDetectives”.

www.daughterproduct.com

JennBoulay“PlaysforChange:FightingSilence”Thisplaywaswrittenwithdisabilityinmindandhowthisembodimentmovesthroughtheuniversitysystem.Itwillbeexplainedafterwardshowittriesaddressthemessuchas,ableism,theuseoflanguage,stereotypes,disabilityasmetaphorandthemodelsofdisability.Thus,understandingtheimportanceofhavingtheseplays,andhowtheyareeducationalandcaninformaudiencesaboutproblematicinaccessibility.Lastly,explainingthatacademictheorycanbeusedintheatricalpracticestomakeastrongerimpactonaudiences.FightingSilenceisaboutagirlwhoisfacedwithmanybarriersintheuniversityenvironment.Itshowcasesthereal-lifeexperiencesinaccessibilitythatdisabledstudentscurrentlydealwithateducationalinstitutions.Sheisfacedwithmanysituationsofdiscrimination,whichleadtotheimaginedfinalsceneofashowdownbetweenthegirlandanadministrator,inwhichshetriestoaddresstheurgencyoftheneededsystemicchangesattheinstitution.Forthispiece,sectionsoftheplaywillbeshown.***TriggerWarning:Thisplayusesreal-lifeexperiencesandinteractionsofableismJennisanemerginginterdisciplinaryartistandscholar.Sheisinterestedinexploringcurrentpoliticalandactivistmovementsthroughtheatreandavant-gardepractices.JenniscurrentlyanundergraduatestudentstudyingattheUniversityofTorontopursuingaspecialistinDrama,TheatreandPerformanceStudies and aminor in Equity studies. Her current research interests include, intersectional identitypolitics (visibility, and non-visibility), disability studies/theatre, theatre, theatrical clown and findingways of how to make contemporary theatres more accessible to disabled identified performers andartists.Mostrecently, she is interested inexploringways to includeacademicworkandresearch intoher artistic practice. As such, she had her film screened at the University of Toronto ScarboroughCampus,aspartof theScarboroughFilmFestival,which focusedonhowdisability ispresentthroughthestrugglesthatsocialmovementsarefightingfor.Jennisveryexcitedtobesharingherworkandartatthisyear'sFOOTFestival,andhopesthatyouenjoyit!Facebook:JennBoulayInstagram:@theatre_artist_music(publicaccount)@jenn171d(privateaccount,butcanbetaggedandfolloweduponrequest)Twitter:@theatreArtsMusic

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LisaAikman“InterruptingAuthenticity:ExaminingtheDramaturgyoftheRAREEnsemble”InRAREandWildfire,twoseparateproductionscreatedbythesametheatrecompany,anactorwithDownSyndromeperformsamonologuefromRomeoandJuliet.InthecaseofRARE,criticsrespondtothismoment,andmomentslikeit,bycelebratingtheemotionalauthenticityoftheperformers,assumingalackofartificeand,indoingso,failingtoacknowledgetheperformer’sagencyasperformer.Bycontrast,thecriticalresponsetosimilarmomentsinWildfirewasmorevaried.Whilesomereviewersstillengagedinproblematicassumptionsaboutauthenticity,othersreflectedonthesemomentsaspartoftheplayasawhole,effectivelyanalysingtheplayasaplay,ratherthananalysingtheperformersassignifiersof“authenticity”.ThispaperwillexplorethecomplexdramaturgicalframingofWildfire–theplayissimultaneouslyaresearch-informedtheatrepieceandanadaptationofRomeoandJulietthatinvolvesaplaywithinaplaystructureinspiredbytheMarat-Sade(Thompson,PersonalInterview)-toexaminewhatkindofencounterthisdramaturgyfostersbetweenaudienceandperformer.Bydrawingcomparisonsbetweentheencounter(s)fosteredbyWildfire’sdramaturgy,andthosefosteredbythedocumentary-styledramaturgyofRARE(whichStephensoneffectivelyexploresinherarticle“‘PleaseLookAtYourself’:InsecurityandtheFailureofEthicalEncounterinAutobiographicalPerformance”)thispaperwilluseRAREandWildfiretoexplorethepossibilitiesandlimitationsofusingdocumentarytheatretofosterethicalencounterbetweenneurodiverseperformersandanassumednormateaudience.HowdoesWildfireinterrupttheanormateaudience’sproblematichabitofreadingdisabledbodiesassignifiersofinnocence.Aretheseinterruptionspossibleindocumentarytheatre?Lisa Aikman is a PhD candidate at the University of Toronto’s Centre for Drama, Theatre andPerformance Studies, where she researches working methods and the role of the dramaturg inCanadiandocumentarytheatre.Hercurrentpreoccupations includehowstrangeness ismappedontocertainbodiesorcharactersbydramaturgicalframes;fosteringethicalencountersbetweenaudiencesandpresumed“others”;andthealways-fluidroleofthedramaturg,bothintheresearchprocessandinthe rehearsal hall. Her article, “Freedom Singer: Fostering PerformativeWitnessing in DocumentaryTheatre,”willbeappearingshortlyintheMarchvolumeofTheatreTopics.

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PANEL4–SpotlightonDementia

11:00-12:30Thispanelwillconsistoffiveprofessionalswhousedifferentapproachesandapplicationsoftheatretochallengedementiastigma,tofosterrelationalcarepracticesindementia-caresettings,andtoengageandsupportpeoplelivingwithdementia.Thepresentationwillgivetheaudienceaviewintothediverserangeofpossibilitiesthattheatreandtheatre-makingoffersinthecontextofdementia.

KathleenLeRoux“SpotlightonDementia:TheatreForandWithEldersLivingwithDementia”Kathleenisanexperiencedtheatreartistandprofessionalarts-in-healthpractitionerspecializingindrama,improvisationandclowningincareenvironmentsforpeoplelivingwithdementia.Sheisaregularartist-teacherattheDotsaBitoveWellnessAcademyandsherunsaprivatetherapeuticclowningpracticeinvariousLong-TermCareHomesandrehabilitationhospitalsinToronto.KathleenholdsadramadegreefromQueen’sUniversity(1991),andsheisagraduateoftheNationalTheatreSchoolofCanada’sDirectingprogram(1993).Shehasstudiedimprovisationandtheatricalclown/physicaltheatrewithworld-renownedinstructorsincludingJohnTurnerandMikeKennard(Mump&Smoot),KeithJohnstone,PhilippeGaulier,KarenHines,andFrancineCoté.After15yearsworkingasadirector,producerandactorintheatreandintelevision,Kathleendiscoveredthemeaningfulapplicationsofclownandtheatreworkinhealthcare.Since2001Kathleenhasbeenbuildinghercareeraroundtherednoseinservice,buildingbridgesoflove,warmth,humourandlightnesswithpeopleincaresettingsaroundToronto.www.kathleenleroux.com

TomCarson“SpotlightonDementia”TomCarsonistheGeneralManagerofSmileTheatre(smiletheatre.com),aregisteredcharitywhosemandateistobringprofessionalmusicaltheatretoseniors.Tomhasbeenworkingintheatreforovertwentyyearsasadirector,producer/administrator,writerandteacher.Heisadynamicartisticleaderandcatalystforperformanceprojectsthathavereachedaudiencesinternationally.Tomhasaspecialinterestinreachingvulnerableaudiences,rangingfromyoungchildren,toadultsinthespecialneedscommunity,andtoseniorsincare.smiletheatre.com,facebook.com/SmileTheatre/,Insta:smiletheatrePiaKontos“SpotlightonDementia”PiaKontosisaSeniorScientistattheTorontoRehabilitationInstitute–UniversityHealthNetworkandAssociateProfessorintheDallaLanaSchoolofPublicHealth,UniversityofToronto.Sheisacriticalscholarcommittedtothetransformationoflong-termdementiacaresoitismorehumanisticand

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sociallyjust.Shedrawsonthearts(e.g.music,dance,improvisationalplay)toenrichthelivesofpeoplelivingwithdementia.Shealsocreatesresearch-baseddramastoeffectpersonalandorganizationalchange.Shehaspresentedandpublishedacrossmultipledisciplinesonembodiment,relationality,ethics,anddementia.@PiaKontos

JanStirling-Twist“SpotlightonDementia:TheatreForandWithEldersLivingWithDementia”JanStirling-Twisthasoverthirtyyearsofexperienceworkingacrossthearts,education,andhealthcaresectors.Janco-foundedCalgary'sexperimentaltheatregroupOneYellowRabbitin1982andworkedasanactorandclownfor12yearsinWesternCanada.In1990JanmovedtoEnglandwhereshegainedaPost-graduateDiplomainDramaTherapy.ShewentontoworkasadramatherapistinadultpsychiatryandlongtermcaresettingsbeforeteachingintheArtsTherapiesDepartmentattheUniversityofHertfordshireforsevenyears.JanhasalsoworkedinthefieldofInter-generationalArtsbringingyoungandolderpeopletogetherthrougharts-basedpracticesintheeastendofLondonEngland.In2007JantrainedinElderClownwithHeartsandMindsinEdinburghandonherreturntoCanadathatsameyearshebeganworkingasapsychosocialconsultantandtrainertoprofessionaltheatricalclownsworkingindementiacareenvironments.JanlivesinPeterboroughOntariowheresheisactiveinhospiceandpalliativecareasgroupfacilitator,trainer,andcontemplativeendoflifecarepractitioner.

RandiHelmers“SpotlightonDementia:TheatreForandWithEldersLivingWithDementia”Aprofessionalsingerandactorsince1985,RandiHelmershasperformedintheatresandfestivalsacrossCanadaandEuropeincludingTheStratfordFestival,NationalArtsCentre,NightwoodTheatre,Aveny-T(Copenhagen),CanadianStage,SoulpepperTheatre,TheCaravanFarmTheatre,TheFrostbiteFestivalandtheFestivald'etedeQuebec.RandiisalsoafoundingassociateartistattheDotsaBitoveWellnessAcademy,Toronto,wherethewellbeingofpeoplelivingwithdementiaandtheircaregiversispromotedthroughalivelyencounterwiththearts.Randiemploysstorytelling,creativedrama,improvisation,singinganddancingtonurturecommunityandmeaningful,oftenjoyfulconnection.

JuliaGray“SpotlightonDementia”JuliaGray(PhD)isaplaywright,theatredirectorandscholar-researcherworkingattheintersectionofhealth,arts,personallearningandsocialchange.SheholdsaPhDfromUniversityofTorontoandisaPostdoctoralFellowatBloorviewResearchInstitute,HollandBloorviewKidsRehabilitationHospitalwhereherprogramofresearchfocusesonthewaysdisabledchildrenengageinartspracticesinrehabilitationsettings.Sherecentlyedited‘ReView:ananthologyofplayscommittedtosocialjustice’(SensePublishers),whichincludedherplay'Cracked:newlightondementia.'Shehaspublishedandpresentedacrossdisciplinesincludingperformanceandtheatrestudies,education,appliedliterature,recreationandleisurestudies,sociology,rehabilitationscience,amongothers.Shewasa2012-2014CanadianInstitutesforHealthResearchStrategicResearchTrainingFellowinHealthCare,TechnologyandPlaceandholdsaBFAandMAfromYorkUniversity’sDepartmentofTheatre.@PossibleArt

Sunday,February4th,2018

PANEL5-WithAccessibilityinMind:Process,Methods,andApproachestoCreation

2:00-3:30

ASLandAudioDescriptionAvailableStevenLytton

StevenLyttonisamemberoftheNicomenIndianBandwithintheNlaka’pamuxFirstNation.AnAboriginalactivist,LyttonispresidentoftheBritishColumbiaAboriginalNetworkonDisabilitySociety(BCANDS).BCANDSisaforprofitcharitableorganizationwhosemandateistotendtotheuniquedisabilityandhealthneedsoftheBritishColumbiaIndigenouscommunitybyprovidinganarrayoftargetedanddiverseservicesinurbanandruralcenters.Throughthiscommitmenttopromotingdisability,healthandsocialsupportservices,Lyttonaddsanartisticvoicetotheconversation.Asanaccomplishedactor,writer,LyttonhaspresentedbothinwesternandeasternCanadatovariousgroups.HisworkshareshispersonalexperiencesbothasanAboriginalpersonlivingwithadisability,cerebralpalsy,andasaresidentialschoolsurvivor.Beginningatayoungage,LyttonspentthirteenyearslivinginLytton’sSt.George’sIndianResidentialSchool.In2012,Stephen’sstoryofsurvivalwasthesubjectofMarieClement’sdocumentaryfilmTheLabourofLove,toldthroughLytton’sownraw,poeticvoice.AlexBulmer

AlexBulmer,awardwinningwriter,performerandartmaker,divideshertimeworkingintheUKandCanada.ShehaswrittenandperformedwithCBCandBBCradio,iswriterofSMUDGE,herfirststageplaywhichearnedtwoBestNewPlaynominationsinCanadaandwasnamedCriticsChoiceduringit’sLondonpremiere,hasworkedwithHarbourfrontCentre,CommonBoots(TheatreColumbus),BuddiesInBadTimes,Nightwood,TheatreCentre,TangledArt+Disability,SelfConsciousTheatre,theNationalArtsCentre,RoyaylCourtTheatre,theLondon2012Olympics,theRoyalShakespeareCompanyandGraeae(UK’sflagshipdisabled-ledtheatrecompany).Shewasco-writeroftheUKBAFTAwinningtelevisionseries,CastOffs,featuringanalldisabledcast,andwriteroftheAMIawardwinningBBCradioadaptationofNotreDamedeParis.Alexisco-founderandArtisticDirectoroftheUKbasedinclusivetheatrecompanyInvisibleFlash,co-founderofToronto’sPicassoProject,wasaproductionassistantforCBCDisabilityNetwork,anddirectoroftheTorontobasedcabaretCripplingTheStage.RecentlyAlexsharedbestactressawardforherleadinAwakeattheMoscowInternationalDisabilityFilmFestival,wasnamedoneofthemostinfluentialdisabledartistsintheUKbyPowerMagazine,andnameda

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fellowoftheWinstonChurchillTrust.Alexcelebratestheinfusionofdisabilityintotheartsandwelcomesparticipatorydesignforamoreinclusiveworld.

PetraKuppersPetraKuppersisawheelchairdancer,disabilitycultureactivist,acommunityperformanceartist,andArtisticDirectorofTheOlimpias.SheteachesattheUniversityofMichiganandonGoddardCollege’sLowResidencyMFAinInterdisciplinaryArts,andhaswrittenwidelyondisabilityperformance.ShelivesinYpsilanti,Michigan,withherpartnerandcollaborator,StephanieHeit.ThetwotogetherarerunningTurtleDisco,alocalcommunityperformancespaceinYpsilanti,Michigan,asasomaticwritingstudio.http://www-personal.umich.edu/~petra/asylum.htmlhttp://video.dptv.org/video/2365737793/PetraKuppers(@OlimpiasDance)|Twitterhttps://stephanieheitpoetry.wordpress.com/home/turtle-disco-classes/SyrusWareSyrusisaVanierScholar,visualartist,activist,curatorandeducator.Syrususespainting,installationandperformancetoexploresocialjusticeframeworksandblackactivistculture.Hisworkhasbeenshownwidely,includingattheArtGalleryofOntario,theUniversityofLethbridgeArtGallery,ArtGalleryofYorkUniversityandTheGladstoneHotel.HisperformanceworkshavebeenpartoffestivalsacrossCanada,includingatCrippingTheStage(HarbourfrontCentre,2016),ComplexSocialChange(UniversityofLethbridgeArtGallery,2015)andDecolonizingandDecriminalizingTransGenres(UniversityofWinnipeg,2015).HeispartofthePDA(PerformanceDisabilityArt)Collectiveandco-programmedCripYourWorld:AnIntergalacticQueer/POCSickandDisabledExtravaganzaaspartofMayworks2014.HeisalsoapartoftheBlackTriangleArtsCollective(BTAC),avisualartscollectivededicatedtoexploringdisability,racialandeconomicjustice.Syrus'recentcuratorialprojectsincludeThat’sSoGay:OntheEdge,TSG:FalltoPieces,TSG:ComeTogether(GladstoneHotel,2016,2015&2014),Re:Purpose(RobertMcLaughlinGallery,2014)andTheChurchStreetMuralProject(Church-WellesleyVillage,2013).Syrusisalsoco-curatorofTheCycle,atwo-yeardisabilityartsperformanceinitiativeoftheNationalArtsCentre.Heisafacilitator/designeratTheBanffCentre,andfor12yearswastheCoordinatoroftheArtGalleryofOntarioYouthProgram.SyrusistheinauguralDaniel’sSpectrumArtist-in-Residence(2016/17).Syrusisacore-teammemberofBlackLivesMatter-Toronto.SyrusisalsopartofBlacknessYes!/Blockorama.Syruswasvoted“BestQueerActivist”byNOWMagazine(2005)andwasawardedtheSteinertandFerreiroAwardforLGBTcommunityleadershipandactivism(2012).SyrusisworkingonaPhDatYorkUniversityintheFacultyofEnvironmentalStudies.

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CABARET

PERFORMERS

Saturday,February3rd7:30–9:00ASLandAudioDescriptionAvailableMorganAndersonIencourageeveryoneIknowtojuggle.Ipraisejugglingascapableofteachingmath,meditation,problemsolving,creativity,hand-eyecoordination,engagementwithnon-humanothersandphysicalawarenessofselfandothers.Aboveall,Ihaveclaimedthatthiscure-allactivityis“barrier-free.”However,despitemyfacadeofenthusiasmandconfidence,alittlevoiceinmyheadhasalwaysasked:Butisjugglingactuallytotallyaccessible?Toexplorethisquestion,IdiscussthewiderangeofapproachestojugglingthatmaybeunknowntotheWestern,non-jugglingpublic.Thesemightincludebalancingobjects,anti-podism(jugglingwithyourfeetwhilelyingdown),footbagging(jugglingwithyourfeetwhilestanding)andmouthjuggling(keepingpingpongballsintheairwithonlyyourmouth)amongothers.Itakeasafocusthemathematicalnotationofjugglingcalled“siteswap.”Siteswapdescribesjugglingpatternsandcanbeusedtocreatenewonesbyattributingnumberstothebeatsthatoccurbetweenathrowandacatch.Itshighlevelofabstraction,however,meansthatsiteswapisinfinitelyinterpretableandcanbeappliedtomanydifferentsituations.Inotherwords,themathematicalnotationofajugglingpatterndoesnotnecessarilydictatehowmanypeoplearejuggling,whatbodypartstheyareusingtojuggle,whatobjectsarejuggledorevenwhatishappeninginthebeatsbetweeneach“throw.”Thisallowsforawiderangeofadaptationtojugglingpatternsandalooserbarrieronwhocanparticipateintheactofjuggling.

MorganAndersonholdsaBachelorofArtsHonoursdegreewithamajorinDramafromQueen’sUniversityandrecentlyfinishedherMaster’sinTheatreandPerformanceStudiesatYorkUniversity.ShebeganaPhDinthesameprogramatYorkinSeptember2017.Herresearchexplorestheintersectionsofperformancestudies,objectmanipulation,newmaterialismandseriousleisure.Inherprofessionallifesheperformsasajugglerandunicyclist.

SeeleyQuestSeeley Quest is a trans disabled performer, writer, curator and environmentalist based in OaklandCalifornia over sixteen years, now in graduate school in Montreal. Sie has worked in independentbookstores twelve years, art modeling for eleven, literary and body-based performance since 2001,organizedshowcasesandworkshops,andhastouredtopresentinVancouver,Toronto,andmanyU.S.citiesandcolleges.Sie has poems published in the bookDisability Culture andCommunity Performance: Find a StrangeandTwistedShape,Them:aTransLit Journal,andFictionInternational. YearswiththeSFBayAreacollectivedisabilityjusticeperformanceandeducationproject,SinsInvalid,greatlyinfluencehirwork.

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A white person with mixed class, gender, and medicalized experiences since childhood, raised incommunityandacademic theatre settings, sie's excitedby the socialpracticeofmakingperformancefor thestage,and facilitatingdialoguethroughembodiedencountersbetweentrainedtheatreartists,untrainedpractitioners,anddiverseaudiences.

LoisBrownA30-footlengthofpaper,theplasticbagitiscarriedin,foilwrapsavedfromChristmaspoinsettias,andanout-dateddictionaryhavequalitiesthatrevealthemselveswithpatience.Thisimprovisedperformanceproposesthatwhenweslowdown-riskboredom,whenwedeflatenarrativeadhesions–freeingthingsfromoursuppositionsandexpectations;whenweextricateourselvesfromtheweightofpastandfuturetime,andthepreposterousirrelevanceof“repeating”idealizedforms;thenwebecomepresent,curiousandopen.ReferencingCanadianphilosopherBrianMassumi’sobservationsof“ludicplay”in“WhatAnimalsTeachUsaboutPolitics”andbringingtomindwhatpoliticaltheoristJaneBennettcalls“thingpower”:Brownplayswithherimpulsetocontrolanddominatethingsandherequallystrongimpulsetomaketimeandspaceforthingstoanimatethemselves.Browncallsplayingwithready-madeobjects,liketheolddictionaryandthefoil,“thedoable”.Muchlikethepedestrianmovementvocabularyextensivelyexploredinthenewdanceinthe1970’sand80’s,thedoableisfamiliar,intimate,andsometimeshumorous.Employingpatience,“Iamagenius”stretchesthedoablebeyonditsordinariness,soexistsasbothasordinaryandextraordinary.Thisimprovisedperformancerestsfirmlyintheaestheticsofdisabilityartsanditsexplorationofdemocratization,culturalinversion,counterculturalaffirmation,andautonomy,andmostespeciallyinitsactivismforopenaccess.LoisBrown(B.A.DramaUofA,M.Ed,MUN)isaninterdisciplinaryartist.ShehaswonnumerousawardsincludingTheCanadaCouncil’sVictorMartynLynch-StauntonAwardforoutstandingachievementintheatre(2005)andYWCA’sWomenofDistinctionGoodwillAward(2015).Recentworkincludescurationofamicro-festival"Injury,Illness,Pain,Sadness,GriefandPerformance."Lois’sproductionofherplay“WhentheAngelofDeathsays?howareyou…”aboutPTSDwasnamedbestplayof2016byTheOvercast.Hercurrentinvestigationisdemocratization;followingtheprops,objectsorthings;autonomy;andpatienceandboredominlong-formstructuredimprovisations.

OphiraCalof“LiterallyTitanium”Acomedicsoloperformanceexploringconceptsofidentityandthebody-mindrelationship.Ophira Calof is a singer, writer, and performer, based in Toronto, Canada. She has an extensivebackgroundinoperaperformanceandhasperformedacrossCanadawiththeUBCOperaEnsembleandVancouver SymphonyOrchestra,with credits includingPraskovia (TheMerryWidow), SoeurAntoine(Dialogues of the Carmelites), and Mother (Hansel and Gretel). She has completed a SpecialistCertificate in Songwriting and is currently studying towards a Bachelor's degree in InterdisciplinaryMusicStudiesatBerkleeOnline.Sherecentlyreleasedherfirstsingleandmusicvideo“StillStanding”aspartofafundraisingcampaign

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thatsheproduced.OphiraisalsoagraduateofSecondCity'sWritingandImprovisationPrograms,andis currently training in Second City's Sketch Conservatory Program and the Assembly's LongformImprovisationProgram.www.ophira.caandhttps://www.facebook.com/ophirac/

ErinBall“ReadingfromFlyingFootless:AManualforAerialCoachesofLowerLimbAmputeesbyErinBall”TheFlyingFootlessmanualaccompaniesthecourseforaerialcoacheswhoareworkingwithorwanttobeworkingwithamputees,(specificallylowerextremity).Thefocusisonaerialfabricskills,thoughsomeaerialsling,trapeze,aerialhoopandropeconsiderationsandtechniquesarecovered.Themanualexploreshowtosafetyandconfidentlyspotandworkwithamputeesintheair.Itcoversterminology,differentsetupsforprostheticlimbsandhowtheyaffectaerialarts,warmups,spottingamputees,modificationsandspecificskillscreatedforamputees(byamputees),conditioningforthelowerbody,stretchingandmuchmore.Suggestionsandideasaregivenintermsoflanguageandconversationswhenworkingwithamputees.Thismanualandcourseweredevelopedduetoalackofavailableinformationonthissubject.Thereisademand,shownbyinterestedparticipants,aswellasmanyconversationswithcoachesfromalloverrequestingthisinfo.Amputeescancertainlybeaerialists.Coachescanhelpbyadaptingandusingnew/differentpathwaysaswellasunderstandinghowtoplanfordifferentbodiesfromthestartoftheprocess,versustryingtosqueezetheminafter.ErinBallisacircusartistandcoachbasedinKingston,OntarioandsheistheownerofKingstonCircusArts.Herdisciplinesincludeaerialsilks,singlepointtrapeze,duotrapezeandduosilks,wheelchairacrobatics,flexibilityandhooping.Erinisalsoexperiencedwithaerialhoop,partneracrobaticsandhand-balancing.ShetookayearoffinMarch2014duetolifechangingeventsthatresultedinthelossofherlowerlegs.Shehasreturnedtoherpassionoftraining,coachingandperforming.Shelovesadaptingandcreatingnew/differentwaysofexecutingskills.ShehastrainedatmanyschoolsinOntario,theU.S.,oneinEnglandandvisitstheNewEnglandCenterforCircusArtsinVermontseveraltimesayearfortrainingsandprivatelessons.Shehasmanymovementcertifications,includingseveralFabricandTrapezeTeacherTrainings(NECCA),HoopingInstructor(BodyHoops),MatPilatesInstructor(BalancedBody),YogaTeacherTraining(TheYogaStudio,Toronto),Handstands(DeflyingFitness)andmanyothers.ShealsoreceivedadiplomainFitnessandLifestyleManagementfromGeorgeBrownCollegeinToronto.Erinlovestomoveandtoconnectwithothersthroughmovementandplay.SheperformsandteachesregularlyinKingstonandthesurroundingareas.Erinteachesallbodies,shapes,sizesandsituations.Shehasworkedwithamputees,peopleinwheelchairs,AutismOntario,etc.ShealsoteachesherworkshopcalledFlyingFootless,acourseforcoachesworkingwithlowerlimbamputees.SomeofErin’scurrentperformanceprojectsincludeLEGacyCircuswithVanessaFurlong(acombinationofstiltdancing,prostheticlegs,synchronizedacrobatics,partneracrobatics,duotrapeze

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andmore)andCyborgE.R.I.N,directedandco-createdbySoniaNorris,aerialdramaturgybyRebeccaLeonardandperformedwithChrisStroesser(apiecewhereErinhasvariouslegattachmentssuchassmokegrenades,confetticannons,lightuplegsetcandhercyborgcharacterhasbeencreatedbyascientistforthesolepurposeofbeinganaerialist).AnotherprojectiscalledCreature,choreographedwithMicheleFrances(Acombinationofhandbalancing,flexibilityandhulahooping.Theactexploresauniqueaestheticandinterestingphysicalpossibilitiesthatarecreatedbyamputation/adaptability/innovation)andConeLegs,asinglepointtrapezepiecewithlegextensionsthatareshapedlikecones,choreographedwithAiméeHancock.ErinisalsocreatinganaerialwheelchairpiecechoreographedbyHeidiLatskyDance.Shecreatesartthroughhumour(sometimes)invariousformsfortheworldtoenjoypertainingtoherlifeasanamputee.ErinalsowritesacolumnforTheKingstonWhigStandardnewspaper,calledNoFeetandaHeartbeat,aboutlifesinceheraccident.FindoutmoreaboutErin’sclassesandperformancesathttps://kingstoncircusarts.com.Instagram:@erinballcircusFacebook:https://www.facebook.com/ktowncircusartshttps://www.facebook.com/erinballcircus/https://www.facebook.com/erin.ball.94Website:http://www.kingstoncircusarts.com/services/teaching-resources/http://www.kingstoncircusarts.com/shop/