By P. Kuppers
Performances in hospices and on shorelines; cross-cultural fantasy making in Wales, New Zealand and the U.S.; communal poetry between psychological healthiness procedure survivors: this booklet, now in paperback, offers a senior practitioner/critic's exploration of arts-based study approaches sustained over greater than a decade - a sophisticated engagement with incapacity tradition.
Read Online or Download Disability Culture and Community Performance: Find a Strange and Twisted Shape PDF
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Additional info for Disability Culture and Community Performance: Find a Strange and Twisted Shape
Example text
It will serve us, for a while, as so many people are only slowly coming to a political and artistic understanding of what it means to lead a rich disabled life. Neil answers: i learned recently that i dont like it said of me that i have dystonia however to say i am dystonic 28 Disability Culture and Community Performance is ok i feel too that i am not a crip thats not who i am i like this word Kruppelgruppen perhaps creeper too behindenmensch no shapeshifter yes trickster ok artist ok mortal YES foil of the goddess and god realm neural collective on earth Petra writes: Storms and breezes, wind and blows – I note that your last word is ‘earth,’ which brings me back to your opening poem, and the ploughed earth.
No matter how we tried to bind the space of the corridor to our bodies, habituated ourselves to the cold tiles, the niches and architectural quirks, the interruptions of people hurrying past us, stepping over us, squeezing themselves past the wheelchair, all this to-ing and fro-ing reinscribed again and again the ephemerality of this space as habitat. The rules were set, as Bachelard explains: A house constitutes a body of images that give mankind proofs or illusions of stability. We are constantly re-imagining its reality: to Landscaping: Spacings 39 Figure 2 Kanta Kochhar-Lindgren and Derek McCormack in Landscaping, Chisenhale Dance Space distinguish all these images would be to describe the soul of the house; it would mean developing a veritable psychology of the house.
Many spectators followed the invitation, and, after placing their icons on the ground, chalking in a road or a line here or there, they took up individual invitations by the performers, enacting scenes of play, and arms began to intertwine, hands to hold each other. Together, we created pockets of action, mad-hatters’ nonsense games, contact improvisations. We focused the energy on the width of the stairs, not the up-and-down function of this space, and the world in there became wider, like a strange Tardis, Dr Who’s police box that’s larger inside than out.