Rethinking Women’s Studies: Curriculum, Pedagogy, and the Introductory Course

We comment on the current context framing women’s and gender studies in Canada,identify recent and important curricular trends,and discuss some guiding principles that we have used to revise our first-year course. We offer reflections that might assist instructors in the challenging task of mounting the entry level course.RésuméNous émettons des commentaires concernant le contexte actuel d'encadrement des études sur les femmes et sur le genre au Canada. Nous identifions les tendances circulaires récentes et importantes, et discutons de quelques principes directeurs dont nous avons fait usage dans le cadre de la révision de notre cours de première année. Nous offrons des réflexions qui pourraient aider les instructeurs avec la tâche difficile de monter le cours de première année

Decolonizing Relaxed Performance: A Visual Translation of Vital Ecosystems

This essay draws on the visual translations produced by artist Sonny Bean in response to the 2022 report, Relaxed Performance: Exploring University-based Training Across Fashion, Theatre and Choir. Relaxed performance (RP) is a wide-reaching movement toward accessibility in arts that challenges normative comportment in performance contexts and has evolved into a contemporary cross-sector vital practice rooted in disability justice. Through a selection of illustrations, Bean transforms human-centric data about RPs into a vital ecosystem that extends to the more-than-human world, denoting the complex interconnectedness of RP production in a settler colonial state

Transgressing Professional Boundaries through Fat and Disabled Embodiments

We mine our experiences of fatness and disability to argue that professional doctrines function as professional biopedagogies: implicit and explicit instructions that teach us all how to manage our (professional) bodies through morally “right” behaviours. Analyzing our bodily transgressions leads to new insights about ways those in the “caring” professions might re-imagine our work, ourselves, and our practices

Cultivating Disability Arts in Ontario

Although Deaf and disability arts has been practiced under this name since the 1970s in Canada, within the last 15 years it has begun to be recognized as its own field of arts practice and production by arts councils and cultural funding bodies (Gorman 2007). Increased funding has accelerated the production of Deaf and disability art and has increased attention from arts organizations and audiences alike. With this leveling-up of Deaf and disability arts comes the advancement of a discourse specific to this sector, one that includes conversations about how we make arts accessible and how we blend accessibility with aesthetics and curatorial practices, about the development of distinct disability, crip, Mad, Deaf aesthetics, and about the role the arts play, and have always played, within the achievement of disability rights and justice

Re-storying autism: a body becoming disability studies in education approach

This paper presents and analyzes six short first-person films produced through a collaborative multimedia storytelling workshop series focused on experiences of autism, education and inclusion. The aim of the project is to co-create new understandings of autism beyond functionalist and biomedical ones that reify autism as a problem of disordered brains and underpin special education. We fashion a body becoming disability studies in education approach to proliferate stories of autism outside received cultural scripts – autism as biomedical disorder, brain-based difference, otherworldliness, lost or stolen child and more. Our approach keeps the meaning of autism moving, always emerging, resisting, fading away and becoming again in relation to context, time, space, material oppressions, cultural scripts, intersecting differences, surprising bodies and interpretative engagement. We argue that the films we present and analyse not only significantly change and critique traditional special education approaches based on assumptions of the normative human as non-autistic, they also enact ‘autism’ as a becoming process and relation with implications for inclusive educators. By this we mean that the stories shift what autism might be and become, and open space for a proliferation of representations and practices of difference in and beyond educational contexts that support flourishing for all

Imagining Disability Futurities

This article explores twelve short narrative films created by women and trans people living with disabilities and embodied differences. Produced through Project Re•Vision, these micro documentaries uncover the cultures and temporalities of bodies of difference by foregrounding themes of multiple histories: body, disability, maternal, medical, and/or scientific histories; and divergent futurities: contradictory, surprising, unpredictable, opaque, and/or generative futures. We engage with Alison Kafer\u27s call to theorize disability futurity by wrestling with the ways in which “the future” is normatively deployed in the service of able‐bodiedness and able‐mindedness (Kafer 2013), a deployment used to render bodies of difference as sites of “no future” (Edelman 2004). By re‐storying embodied difference, the storytellers illuminate ongoing processes of remaking their bodily selves in ways that respond to the past and provide possibilities for different futures; these orientations may be configured as “dis‐topias” based not on progress, but on new pathways for living, uncovered not through evoking the familiar imaginaries of curing, eliminating, or overcoming disability, but through incorporating experiences of embodied difference into time. These temporalities gesture toward new kinds of futures, giving us glimpses of ways of cripping time, of cripping ways of being/becoming in time, and of radically re‐presencing disability in futurity

Project Re•center dot Vision: disability at the edges of representation

The representational history of disabled people can largely be characterized as one of being put on display or hidden away. Self-representations have been a powerful part of the disability rights and culture movement, but recently scholars have analysed the ways in which these run the risk of creating a ‘single story’ that centres the experiences of white, western, physically disabled men. Here we introduce and theorize with Project Re•Vision, our arts-based research project that resists this singularity by creating and centring, without normalizing, representations that have previously been relegated to the margins. We draw from body becoming and new materialist theory to explore the dynamic ways in which positionality illuminates bodies of difference and open into a discussion about what is at stake when these stories are let loose into the world