Canadian Journal of Disability Studies <p>The Canadian Journal of Disability Studies publishes peer-reviewed original articles that advance research in the multidisciplinary, international field of disability studies.</p> <p>All content is totally open access.&nbsp;The CJDS never charges any processing or publication fees, and is free and open to the public. This ensures that scholarship in the CJDS reaches the broadest possible audience, with no barriers for authors, institutions, or readers. The journal also advocates for Open Accessibility, ensuring that all content is fully accessible.<br><br>The journal embraces a wide range of methodologies and perspectives, values collaborative and cross-disciplinary work, community partnership, and creative approaches to scholarship.<br><br>Research in the Canadian Journal of Disability Studies will be of interest to scholars and students from across all academic disciplines, as well as anyone involved in disability arts, advocacy, community organization or policy.&nbsp; The journal foregrounds a critical disability studies perspective, committed to disability rights.</p> <p>Please consider registering as a reader to receive notifications and announcements.</p> CDSA-ACEI en-US Canadian Journal of Disability Studies 1929-9192 <p>There are no article processing or submission charges for CJDS authors.</p><p>Author(s) are not required to assign their copyright in and to their article to the <em>Canadian Journal of Disability Studies</em>. Instead, The <em>CJDS</em> asks for one-time rights to print this original work.</p><p>All articles in the journal are assigned a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license. See:</p><p><img src="/public/site/images/jdolmage/88x31.png" alt="" /></p><p>Authors are asked to contact the journal Editor if they wish to post the article on any website; translate or authorize a translation of the article; copy or otherwise reproduce the article, in any format, beyond what is permitted under Canadian copyright law, or authorize others to do so; copy or otherwise reproduce portions of the article, including tables and figures, beyond what is permitted under Canadian copyright law, or authorize others to do so.</p><p>Contacting the Editor will simply allow us to track the use and distribution of your article.  We encourage use for non-commercial, educational purposes. </p><p>Authors must provide proof of permission clearance prior to the publication of their work if they are including images or other materials that are not their own.  Keep in mind that such clearance can at times be costly, and often takes time.  The journal editor can often work with you to seek permissions if you need information, advice or assistance.</p> Introduction: Cripping the Arts in Canada <p>Disability arts are political. Disability arts are vital to the disabled people’s movement for how they imagine and perpetuate both new understandings of disability, Deafhood, and madness/Mad-identity and create new worldly arrangements that can hold, centre, and even desire such understandings. Critically led by disabled, mad, and Deaf people, disability art is a burgeoning artistic practice in Canada that takes the experience of disability as a creative entry point.</p> Eliza Chandler ##submission.copyrightStatement## 2019-02-21 2019-02-21 8 1 1 14 10.15353/cjds.v8i1.468 The Healing Power of Art in Intergenerational Trauma <p>Throughout this paper, I use a political and activist lens to think about disability arts and its potential role in opening up a necessary conversation around how madness is produced by experiences of racism, poverty, sexism, and inter-generational trauma within the Black community. I begin by explaining how the Black body has a history of being the site of medical experimentation. From the perspective of my own experience, I suggest that this history of medical abuse has caused Black people to be suspicious and wary of the healthcare system, including the mental healthcare system, which forecloses discussions around the intersection of Blackness and mental health. I go on to argue that this discussion is further silenced through the trope of the ‘strong Black woman,’ which, in my experience works to perpetuate the idea that Black women must bear the effects of systemic racism by being ‘strong,’ rather than society addressing this racism, and she must not admit the toll that this ‘resilience’ might have on her mental health. I close with a discussion of how my art practice seeks to open up a conversation about madness in the Black community by suggesting that madness is political.</p> Gloria Swain ##submission.copyrightStatement## 2019-02-21 2019-02-21 8 1 15 31 10.15353/cjds.v8i1.469 Public Intimacies: Water Work in Play <p>This essay emerges out of water. It follows the thoughts of four disability culture scholars and artists who went swimming together and reflected on artful methods of public somatic presence. The writing developed from Petra Kuppers’ initial queercrip aqua-fitness research, and from a series of communal post-swim free-writes in which the group meditated on boundaries and contiguity, on contagious laughter and demonstrative peace. The team conceptualized their self-care in a range of different ways: as political, as queered women’s labour, as deeply personal, and as forcefully communal. Through shared swimming, conversation, and writing, they became conscious of the flows and undertows of somatic practice.</p> Petra Kuppers VK Preston Pamela Block Kirsty Johnston ##submission.copyrightStatement## 2019-02-21 2019-02-21 8 1 32 57 Est-Ce Vraiment une Bande Dessinée? Langues des Signes, Déconstruction et Intermédialité <p>La bande dessinée est un medium pensé en 2D et souvent déployé sur papier (Falardeau, 2008). Comment en créer une en langue des signes québécoise (LSQ), cette langue tridimensionnelle (3D) dont la vidéo s’avère la meilleure forme d’écriture&nbsp;? Une bande dessinée vidéo… est-ce encore une BD&nbsp;?</p> <p><em>C’est tombé dans l’oreille d’une Sourde </em>est une bande dessignée, néologisme créé pour désigner cette bande dessinée bilingue vidéographiée en langue des signes québécoise (LSQ) et en français. Produite à partir d’extraits de rencontres avec des personnes sourdes et des membres de ma famille entendante réalisées dans le cadre de ma thèse de recherche-création, elle propose diverses réflexions sur la sourditude (Ladd, 2005), ce concept qui englobe les diverses manières de vivre comme personnes sourdes et de réfléchir aux enjeux que cela soulève.</p> <p>Chassé-croisé entre écriture créative en français, citations thématiques en LSQ et extraits de ma thèse inédite, cette contribution propose une réflexion, dans une posture de déconstruction, sur la création signée (en langues des signes) et l’intermédialité, en prenant comme site particulier la production d’une BD en LSQ, une création aux confins de la bande dessinée, de la littérature et du cinéma. L’article aborde notamment un survol des systèmes d’écriture en langue des signes, une réflexion sur la déconstruction de la bande dessinée entendante et une exploration de l’intermédialité comme site d’agentivité. Si «&nbsp;l’écriture est la condition de l’<em>epistémè</em>&nbsp;» (Derrida, 1967), la recherche-création à travers les médias numériques favorise cette écriture signée nécessaire à la création de savoirs et de productions culturelles en langues des signes.</p> Véro Leduc ##submission.copyrightStatement## 2019-02-21 2019-02-21 8 1 58 97 10.15353/cjds.v8i1.471 Reflections on Access: Disability in Curatorial Practice <p>Access is a vital tool to deploy within a critical disability curatorial practice and can embody both conceptual and physical possibilities, whereby the very idea of access can be discovered in an artist’s work, and, at the same time, be productively curated into both gallery spaces and the exhibition of the artwork. This essay reflects on the author’s critical disability curatorial practice with the exhibitions <em>Marking Blind </em>(2015) and <em>Sweet Gongs Vibrating</em> (2016). Through the curation of works by Raphaëlle de Groot and Carmen Papalia, and through the artist curator relationship between the artists and the curator, the author of this paper, both exhibitions incorporated access in order to benefit the artists, the artworks, as well as diverse audiences. This paper argues that through the guidance of the curator, access can be incorporated into the exhibition in highly imaginative and artistic ways.</p> Amanda Cachia ##submission.copyrightStatement## 2019-02-21 2019-02-21 8 1 98 117 Multimedia Storytelling Methodology: Notes on Access and Inclusion in Neoliberal Times <p>In this article, the authors examine the impact of using their evolving multimedia storytelling method (digital art and video) to challenge dominant representations of non-normative bodies and foster more inclusive spaces. Drawing on their collaborative work with disability and non-normatively embodied artists and communities, they investigate the challenges of negotiating what ‘access’ and ‘inclusion’ mean beyond the individualizing discourses of neoliberalism without erasing the specificities of differentially-lived experiences. Reflecting on their experiences in a variety of workshops and on a selection of videos made in those workshops, they identify and analyze three iterative ‘movements’ that mark their storytelling processes: from failure to vulnerability, from time to temporality, and from individual voice to collective concerns. The authors end by considering some of the ways they have experimented with developing an iterative workshop method that welcomes difference while simultaneously allowing for an examination of the terms of the shared space and of the mechanisms of inclusion and exclusion operating within that space.</p> Carla Rice Ingrid Mündel ##submission.copyrightStatement## 2019-02-21 2019-02-21 8 1 118 148 10.15353/cjds.v8i1.473 Admiring All We Accomplish <p>In this podcast, Eliza Chandler interviews artist Alex Bulmer about her experience as a blind audience member of Deirdre Logue’s exhibition <em>Admiring All We Accomplish</em> at the Tangled Art Gallery.</p> Alex Bulmer ##submission.copyrightStatement## 2019-02-21 2019-02-21 8 1 149 159 10.15353/cjds.v8i1.474 Own Your Cervix <p>Images from Vanessa Dion-Fletcher's exhibit at Tangled Art Gallery. Images are accompanied with descriptions.</p> Vanessa Dion-Fletcher ##submission.copyrightStatement## 2019-02-21 2019-02-21 8 1 160 163 10.15353/cjds.v8i1.475 About the "Own Your Cervix" Exhibit <p>Artist Vanessa Dion Fletcher on her exhibition, <em>Own Your Cervix.</em></p> Vanessa Dion-Fletcher ##submission.copyrightStatement## 2019-02-21 2019-02-21 8 1 164 169 10.15353/cjds.v8i1.476 Cripping The Stage <p>A series of&nbsp;pen and coloured ink drawings by Barbara Mann,&nbsp;drawn at Cripping the Stage: A Disability Cabaret.&nbsp;</p> Barbara Mann ##submission.copyrightStatement## 2019-02-21 2019-02-21 8 1 170 175 10.15353/cjds.v8i1.477 Dissing/Invalid <p>Poetry by Diane Driedger.</p> Diane Driedger ##submission.copyrightStatement## 2019-02-21 2019-02-21 8 1 176 176 10.15353/cjds.v8i1.478