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.
In the latest installment of Strangeness + Charm, Hannah Nicklin discusses her upcoming show Equations for a Moving Body, combining performance with sport, personal limits and personal bests.
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.
Mary Halton talks to Alistair McDowall about upcoming play X at the Royal Court, Pluto, remoteness and Pomona.
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.
The year-long durational performance none of you are watching.
Should disability arts aim for the “mainstream”?
Strangeness + Charm explores the art of science and the science of art. This month – looking at looking at each other.
Querying quotas: tokenism, the “able” disabled, and “pretty crips”.
Strangeness + Charm explores the art of science and the science of art. This month – accents.
Exeunt’s new Science & Art column, Strangeness + Charm: There’s no place like home.