Abstract:This interview between co-editor Jessica Watkin and Disability artist Salima Punjani delves deeply into Punjani’s multi-sensory art practice, what it was like to create art that structures care during the COVID-19 pandemic, and, ultimately, her vision for centring slowness and rest as a method for gathering people in art spaces.
{"title":"Connecting the Space between Us: An Interview with Multi-Sensory Artist Salima Punjani","authors":"Jessica Watkin, Salima Punjani","doi":"10.3138/ctr.190.005","DOIUrl":"https://doi.org/10.3138/ctr.190.005","url":null,"abstract":"Abstract:This interview between co-editor Jessica Watkin and Disability artist Salima Punjani delves deeply into Punjani’s multi-sensory art practice, what it was like to create art that structures care during the COVID-19 pandemic, and, ultimately, her vision for centring slowness and rest as a method for gathering people in art spaces.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"190 1","pages":"24 - 28"},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48779146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The levels of accessibility and accommodation for disabled theatre artists in Canada are diverse and varied. Without consistent infrastructures in place to support these artists, creative workarounds and new ways of creating have been developed. Becky Gold has worked with blind artist Alex Bulmer for nearly four years, navigating systems of support and accessibility (or lack thereof) within Bulmer’s various artistic projects. Together, they have come to an understanding about what support means to them and how it can best be nurtured and evolve from one project to the next. Drawing from their experiences of working together in Canada as well as from Bulmer’s previous experiences of support structures in the United Kingdom, this article highlights the need for support roles to be better understood as infrastructurally integral to the evolving culture of disability arts in Canada.
{"title":"Creative Enabling: Relations and Structures of Support for Disabled Artists","authors":"Becky Gold, Alex Bulmer","doi":"10.3138/ctr.190.004","DOIUrl":"https://doi.org/10.3138/ctr.190.004","url":null,"abstract":"The levels of accessibility and accommodation for disabled theatre artists in Canada are diverse and varied. Without consistent infrastructures in place to support these artists, creative workarounds and new ways of creating have been developed. Becky Gold has worked with blind artist Alex Bulmer for nearly four years, navigating systems of support and accessibility (or lack thereof) within Bulmer’s various artistic projects. Together, they have come to an understanding about what support means to them and how it can best be nurtured and evolve from one project to the next. Drawing from their experiences of working together in Canada as well as from Bulmer’s previous experiences of support structures in the United Kingdom, this article highlights the need for support roles to be better understood as infrastructurally integral to the evolving culture of disability arts in Canada.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"190 1","pages":"19 - 23"},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41995512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jody H. Cripps, Pamela E. Witcher, Ashley McAskill, Kat Germain
Abstract:Universal accessibility (or design) is a trend that promotes accessibility for everyone in various ways. One of its attributes is to ensure that everyone has equal learning opportunities, especially with the ‘access to information’ format. This applies to arranging a conference that includes conference organizers, plenary speakers, performers, conference presenters, and audio describers preparing to provide information and sensorial accessibility to the conference participants. Unfortunately for contemporary conferences, individuals with different needs are likely to experience language barriers due to their linguistic differences, hearing loss, and/or challenges in understanding and/or accessing visual information. A performing arts conference, Partition/Ensemble 2020, hosted by the Canadian Association of Theatre Research, serves as a case study for examining the process of arranging and providing language interpreters and text transcriptions, including audiovisual descriptions. During the COVID pandemic in the summer of 2020, the conference organizers decided to have a relaxed virtual conference. This designation had an impact on the preparation with four languages in different modalities: English (spoken and written), French (spoken and written), American Sign Language (signed), and Langue des signesquébécoise (signed). From this linguistic learning experience, individuals who participated in this conference (e.g. conference organizers, plenary speakers, and audio describers) share their thoughts and insights for the implementation of an accessible conference (whether hosted in-person or online) with the goal of reducing language barriers. The authors of this article consider what it means to incorporate a diversity of languages simultaneously with different modalities and the challenges of accessibility with this endeavour.
{"title":"Pursuing Universal Accessibility for Everyone: The Linguistic Experience at Partition/Ensemble Conference","authors":"Jody H. Cripps, Pamela E. Witcher, Ashley McAskill, Kat Germain","doi":"10.3138/ctr.190.003","DOIUrl":"https://doi.org/10.3138/ctr.190.003","url":null,"abstract":"Abstract:Universal accessibility (or design) is a trend that promotes accessibility for everyone in various ways. One of its attributes is to ensure that everyone has equal learning opportunities, especially with the ‘access to information’ format. This applies to arranging a conference that includes conference organizers, plenary speakers, performers, conference presenters, and audio describers preparing to provide information and sensorial accessibility to the conference participants. Unfortunately for contemporary conferences, individuals with different needs are likely to experience language barriers due to their linguistic differences, hearing loss, and/or challenges in understanding and/or accessing visual information. A performing arts conference, Partition/Ensemble 2020, hosted by the Canadian Association of Theatre Research, serves as a case study for examining the process of arranging and providing language interpreters and text transcriptions, including audiovisual descriptions. During the COVID pandemic in the summer of 2020, the conference organizers decided to have a relaxed virtual conference. This designation had an impact on the preparation with four languages in different modalities: English (spoken and written), French (spoken and written), American Sign Language (signed), and Langue des signesquébécoise (signed). From this linguistic learning experience, individuals who participated in this conference (e.g. conference organizers, plenary speakers, and audio describers) share their thoughts and insights for the implementation of an accessible conference (whether hosted in-person or online) with the goal of reducing language barriers. The authors of this article consider what it means to incorporate a diversity of languages simultaneously with different modalities and the challenges of accessibility with this endeavour.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"190 1","pages":"13 - 18"},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46067364","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Moving Together: Dance and Pluralism in Canada ventures into fraught issues of culture and identity to show how dance, and dance scholarship, can contribute to the evolution of cultural pluralism in Canada. The book explores the history of policies surrounding multiculturalism before talking about how dance may enrich the discussion. It goes on to a series of case studies that touch on Indigenous dance and dance in Quebec and in various diasporic dance communities. Some studies discussthe mixing and encounter of different cultures in dance. My review explores a selection of the book’s chapters that highlight important themes: the essentializing of non-dominant cultures, the issue of cultural appropriation, and the transformative possibilities of dance. Sharing concerns about my own self-congratulatory tendency when it comes to narratives about Canada, I critique the book’s overly optimistic view and its shortage of BIPOC authors. Despite these concerns, Moving Together offers a well-considered sounding of current practices, discourses, and debates.
{"title":"Thinking through Moving Together","authors":"Mary A. Meindl","doi":"10.3138/ctr.190.015","DOIUrl":"https://doi.org/10.3138/ctr.190.015","url":null,"abstract":"Abstract:Moving Together: Dance and Pluralism in Canada ventures into fraught issues of culture and identity to show how dance, and dance scholarship, can contribute to the evolution of cultural pluralism in Canada. The book explores the history of policies surrounding multiculturalism before talking about how dance may enrich the discussion. It goes on to a series of case studies that touch on Indigenous dance and dance in Quebec and in various diasporic dance communities. Some studies discussthe mixing and encounter of different cultures in dance. My review explores a selection of the book’s chapters that highlight important themes: the essentializing of non-dominant cultures, the issue of cultural appropriation, and the transformative possibilities of dance. Sharing concerns about my own self-congratulatory tendency when it comes to narratives about Canada, I critique the book’s overly optimistic view and its shortage of BIPOC authors. Despite these concerns, Moving Together offers a well-considered sounding of current practices, discourses, and debates.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"190 1","pages":"66 - 68"},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45706833","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article examines how the Québécois artist Stanley Février approached the absence of BIPOC artists exhibited and collected at the Montreal Museum of Contemporary Art (MAC) with three performative projects that successfully forced the institution to revisit its collecting and exhibiting practices. In An Invisible Minority (2018), the artist infiltrated the MAC as a security guard after assessing that this was the only culturally diverse body of employees in the museum. Février then showed an installation at ARTEXTE composed of statistics, comparative charts, and other quantitative data points that highlighted the lack of representation in Montreal galleries and museums. It’s Happening Now (2019) was a guerrilla action organized with other collaborators where performers clad in black skinsuits dragged fifty years of annual reports by the MAC tied to their ankles before shredding them in the museum’s main lobby. In conjunction with these project, MAC-I was created as an alternate, unsanctioned portal to the MAC official website to promote the practices of non-white Québécois and Canadian artists. While Février’s figurative sculptural work has garnered attention, with recent acquisitions by the Montreal Museum of Fine Arts and the Musée national des beaux-arts du Québec, his more immaterial, institutionally critical, performative works remain undervalued and framed as ‘activism’ rather than their own aesthetic events.
摘要:本文通过三个行为项目，探讨了quims艺术家Stanley fsamvrier是如何面对在蒙特利尔当代艺术博物馆(MAC)展出和收藏的BIPOC艺术家缺席的情况，并成功地迫使该机构重新审视其收藏和展览实践的。在《看不见的少数民族》(2018年)中，艺术家评估到这是博物馆中唯一一个文化多元化的员工群体，他以保安的身份潜入了MAC。然后，fsamvrier在ARTEXTE展示了一个由统计数据、比较图表和其他定量数据点组成的装置，突出了蒙特利尔画廊和博物馆缺乏代表性。《现在正在发生》(2019)是一场与其他合作者组织的游击活动，穿着黑色皮衣的表演者将MAC五十年的年度报告绑在脚踝上，然后在博物馆的大厅里撕碎。与这些项目相结合，MAC- i被创建为MAC官方网站的替代，未经批准的门户网站，以促进非白人quacei和加拿大艺术家的实践。尽管fsamvrier的具象雕塑作品引起了人们的关注，最近被蒙特利尔美术博物馆(Montreal Museum of Fine Arts)和mussame national des beaux-arts du qusamube收购，但他那些非物质的、制度性的、表现性的作品仍然被低估，并被框定为“行动主义”，而不是它们自己的美学事件。
{"title":"Stanley Février: Performing the Invisible","authors":"Didier Morelli","doi":"10.3138/ctr.190.016","DOIUrl":"https://doi.org/10.3138/ctr.190.016","url":null,"abstract":"Abstract:This article examines how the Québécois artist Stanley Février approached the absence of BIPOC artists exhibited and collected at the Montreal Museum of Contemporary Art (MAC) with three performative projects that successfully forced the institution to revisit its collecting and exhibiting practices. In An Invisible Minority (2018), the artist infiltrated the MAC as a security guard after assessing that this was the only culturally diverse body of employees in the museum. Février then showed an installation at ARTEXTE composed of statistics, comparative charts, and other quantitative data points that highlighted the lack of representation in Montreal galleries and museums. It’s Happening Now (2019) was a guerrilla action organized with other collaborators where performers clad in black skinsuits dragged fifty years of annual reports by the MAC tied to their ankles before shredding them in the museum’s main lobby. In conjunction with these project, MAC-I was created as an alternate, unsanctioned portal to the MAC official website to promote the practices of non-white Québécois and Canadian artists. While Février’s figurative sculptural work has garnered attention, with recent acquisitions by the Montreal Museum of Fine Arts and the Musée national des beaux-arts du Québec, his more immaterial, institutionally critical, performative works remain undervalued and framed as ‘activism’ rather than their own aesthetic events.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"190 1","pages":"69 - 72"},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48902447","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The author reflects on hir coming to identify as physically and cognitively disabled, making performance work concerning these identities and communities, the influence of Sins Invalid’s projects, challenges of securing arts funding while immigrating to Canada, and the activisms of developing disability-centred arts in smaller cities, of bridging ‘professional’ and ‘community arts,’ of increased training for disabled theatremakers onstage and offstage, and of amplifying improvements in working conditions industry-wide. Sie also discusses challenging paradigms of disabled relationships to desire and consent, of simplified narratives and conventional modes of staging our theatre, and hir goals for prioritizing work co-developed in local communities that experiments and explores.
{"title":"Crip, Arts: Community Trajectories and Agendas","authors":"Seeley Quest","doi":"10.3138/ctr.190.013","DOIUrl":"https://doi.org/10.3138/ctr.190.013","url":null,"abstract":"Abstract:The author reflects on hir coming to identify as physically and cognitively disabled, making performance work concerning these identities and communities, the influence of Sins Invalid’s projects, challenges of securing arts funding while immigrating to Canada, and the activisms of developing disability-centred arts in smaller cities, of bridging ‘professional’ and ‘community arts,’ of increased training for disabled theatremakers onstage and offstage, and of amplifying improvements in working conditions industry-wide. Sie also discusses challenging paradigms of disabled relationships to desire and consent, of simplified narratives and conventional modes of staging our theatre, and hir goals for prioritizing work co-developed in local communities that experiments and explores.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"190 1","pages":"60 - 63"},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45504471","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Disability Theatre in Canada: Working Together and Closing the Gaps in the East","authors":"J. Boulay","doi":"10.3138/ctr.190.010","DOIUrl":"https://doi.org/10.3138/ctr.190.010","url":null,"abstract":"","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"190 1","pages":"46 - 49"},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47408659","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Benjamin Gillespie, Signy Lynch, Hannah Rackow, Featuring Lisa Aikman, S. Bennett, David Owen, Marlis Schweitzer, Kim Solga
Abstract:This article summarizes a round table on the state of hiring and labour in the field that was conducted at the 2021 Canadian Association for Theatre Research (CATR) conference. Prompted by the results of a survey conducted by CATR’s Emerging Scholars Task Force, the round table addresses the difficult job prospects that emerging scholars in theatre and performance studies face, and opportunities that lie beyond the field and the academy. The round table panellists—Lisa Aikman, Susan Bennett, David Owen, Marlis Schweitzer, and Kim Solga—offer advice, suggestions, and provocations for graduate students as well as those recently graduated, their supervisors, and graduate departments, as well as departments conducting job searches.
{"title":"A Round Table Conversation on the State of Hiring and Labour in Theatre and Performance Studies in Canada","authors":"Benjamin Gillespie, Signy Lynch, Hannah Rackow, Featuring Lisa Aikman, S. Bennett, David Owen, Marlis Schweitzer, Kim Solga","doi":"10.3138/ctr.190.018","DOIUrl":"https://doi.org/10.3138/ctr.190.018","url":null,"abstract":"Abstract:This article summarizes a round table on the state of hiring and labour in the field that was conducted at the 2021 Canadian Association for Theatre Research (CATR) conference. Prompted by the results of a survey conducted by CATR’s Emerging Scholars Task Force, the round table addresses the difficult job prospects that emerging scholars in theatre and performance studies face, and opportunities that lie beyond the field and the academy. The round table panellists—Lisa Aikman, Susan Bennett, David Owen, Marlis Schweitzer, and Kim Solga—offer advice, suggestions, and provocations for graduate students as well as those recently graduated, their supervisors, and graduate departments, as well as departments conducting job searches.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"190 1","pages":"77 - 80"},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48169077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The following is a textual transcript of an interview with Black Deaf artist Natasha Bacchus, a.k.a. Courage. The interview was done by Ash McAskill over Zoom, with ASL-English interpretation by Christopher Desloges. Courage speaks about her entry into Canadian theatre and her experience as a Deaf artist of colour. She makes recommendations on how to better include Deaf artists and Black artists alike. You can see the original recording of the interview in ASL and closed-captioned on the CTR website. We would like to thank Christopher Desloges for his ASL-English interpretation service and for editing the final piece in collaboration with Courage.
{"title":"Interview with Natasha Bacchus, aka Courage (ASL-English Transcript)","authors":"Ashley McAskill, Natasha A. Bacchus","doi":"10.3138/ctr.190.011","DOIUrl":"https://doi.org/10.3138/ctr.190.011","url":null,"abstract":"The following is a textual transcript of an interview with Black Deaf artist Natasha Bacchus, a.k.a. Courage. The interview was done by Ash McAskill over Zoom, with ASL-English interpretation by Christopher Desloges. Courage speaks about her entry into Canadian theatre and her experience as a Deaf artist of colour. She makes recommendations on how to better include Deaf artists and Black artists alike. You can see the original recording of the interview in ASL and closed-captioned on the CTR website. We would like to thank Christopher Desloges for his ASL-English interpretation service and for editing the final piece in collaboration with Courage.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42223082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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