Amelia Cavallo completes Greyscale and Exeunt’s imaginary reviews series with “a glimpse of what crip utopia could look like”.
Ramps on the Moon’s Deaf and disabled-led revision of a classic doesn’t go far enough, writes Amelia Cavallo.
Power through vulnerability: Amelia Cavallo reviews Nando Messias’ new work at the And What? Queer Arts Festival.
A very interesting time to find yourself in Rio: Amelia weighs up the experience of visiting the city this summer with the Cultural Olympiad and Graeae.
Watching the Paralympics, people remark at how amazing athletes are – often for doing exactly what we deter disabled bodies from doing every day.
A look at the new Channel 4 advert for the Rio Paralympics and the notion of meeting the “superhumans” in their follow-up to the 2012 ad.
Amelia Cavallo has seen initiatives for Deaf and Disabled performers like Ramps on The Moon come and go with little effect, but she’s found plenty of signs to be hopeful in the company’s production of The Government Inspector.
In her latest column Amelia takes note of the successes of two recent disability-led productions.
On Stevie Wonder at the Grammys and what it means to interact with and react to disability politics and identity.
The relationship disability arts has with the mainstream is a tense, but exciting, tug-of-war.
Should disability arts aim for the “mainstream”?
Querying quotas: tokenism, the “able” disabled, and “pretty crips”.
Amelia Cavallo on Extant Theatre’s innovative Flatland, an experiment in haptic theatre.
Awakening the senses.
Amelia Cavallo on the meaning of diversity and asking “how can we do better?”