Canadian Journal of Disability Studies

The Canadian Journal of Disability Studies publishes peer-reviewed original articles that advance research in the multidisciplinary, international field of disability studies.

All content is totally open access. 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.

The journal embraces a wide range of methodologies and perspectives, values collaborative and cross-disciplinary work, community partnership, and creative approaches to scholarship.

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.  The journal foregrounds a critical disability studies perspective, committed to disability rights.

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Call For Papers: Intersections of Critical Disability Studies and Critical Animal Studies

This special issue builds on an emergent body of scholarship located at the intersection of critical disability studies & critical animal studies.  
Posted: 2017-10-17 More...

Call For Proposals: Disabled Sexualities

This special issue seeks to challenge the normative assumptions that underpin ideas about “healthy sexuality.”  
Posted: 2017-03-13 More...

Call For Proposals: Survivals, Ruptures, Resiliences


Survivals, Ruptures, Resiliences: Perspectives from Disability Scholarship, Activism, and Art

Posted: 2017-02-27 More...

Call For Proposals: Cripping the Arts in Canada

Until very recently, disability, crip, D/deaf, and Mad arts (d/c/D/M arts) have been included in the art world in such a way that normalizes us as outsides rather than meaningfully propels our art sector. Categorizations of our art as ‘outsider art’ or ‘art brut’ have delegitimized our artistic voices and depoliticized our art (Gorman, 2007); inaccessible environments, equipment, technology, and programming have excluded us from artistic development and cultural participation; systemic ableism and institutionalized poverty have prevented us from accessing the funding needed to sustain our artistic practice. But this special issue of the Canadian Journal of Disability Studies aims to build on the excitement d/c/D/M arts is currently generating in Canada by capturing how d/c/D/M artists, curators, arts administrators, and activists are resisting being normalized within and by the art world and are instead cripping the arts, that is developing new ways of creating art and sustaining art practices, changing the kinds of art we encounter, and innovating new ways of engaging with art.  
Posted: 2016-10-06 More...
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Vol 6, No 3 (2017)

Cover Page

The cover image is a detail of the bottom right section of a classroom blackboard on which there appears white chalk writing and drawing. the board captures the survivors brainstorming, their desired protests and creative actions during a Recounting Huronia workshop, October 22, 2015, in VARI 1156.

In the top left corner are drawings of three placards; in the first there is a question: “what happened to the babies;” the second reads: “we remember the violence;” and the third informs the reader: “we had to wash the dead”

Under these placards are the words “MACH (sic) SPEECHES” and an arrow that points to an oval enclosing the words: “QUEENS PARK”

Stretching from the lower left corner to the middle of the board is: “BAN THE R-WORD;” below which are alternate reclaimed “r” words: “RECOVERY, RELIVING, REMEMBER US, REACH OUT, RESPECT, REAL, RECOUNTING.”

Above the “r” words, in the lower middle half of the board, another placard is drawn with the words: “we were the worker bees – meal ticket”

In the centre of the board is a drawing of an imagined banner drop from a highway overpass. the banner reads “WE ARE THE SURVIVORS.” below is a note: “WE ARE HURTING, THIS IS HOW THEY LEFT US – THIS IS WHAT ANGER LOOKS LIKE.” From there an arrow points to “WORLD WIDE – The Media – Internet.”

Across the top and down the right side of the board are the words: “walls can talk,” “the ghosts are walking,” “we suffered in HURONIA,” “TEAR IT DOWN!” “THIS IS NOT OUR HOME – THIS IS OUR NIGHTMARE.

The reader can see the bottom ledge of the board; to the extreme right and perpendicular to the frame is a wooden red, white and black felt, blackboard eraser. ­