Jessica Thom describes herself as an artist, writer, and part-time superhero. The website she started with collaborator Matthew Pountey, Touretteshero, just celebrated its tenth anniversary. Thom, who is based in the United Kingdom, talked with us on March 20, 2020, about her own work, her experience as a disabled artist working remotely, and ways she is engaging creatively during the the COVID-19 pandemic.

Office of VSA and Accessibility: Tell us about Touretteshero and how it began.

Playwright Tim J. Lord received the inaugural Apothetae and Lark Playwriting Fellowship for a writer with a disability, a two-year award spanning 2017-2019. His work has been developed and produced at theaters across the United States, and he will be the writer-in-residence at the William Inge Theatre Festival in Independence, Kansas, this spring. Here, he talks about his career path, the connection he found with disability in his work, and the importance of honing your craft.

VSA and Accessibility: Where are you currently based?

Mockingbird, a play by Julie Jensen, adapted from the novel by Kathryn Erskine, features a main character on the autism spectrum.

“We were determined to cast an actor with autism to play the character with autism in Mockingbird”, says Erica Berman, Mockingbird’s director and Children’s Theater of Madison’s (CTM) Director of Education and Community Engagement. “In doing so, we are deepening our commitment to representation in the theater for people who are underrepresented.” Berman cast Mattie Olson, an 11-year-old on the autism spectrum, in the role.  Olson found it to be a natural fit.  "Acting has always helped me figure out the world,” says Olson, “It's like the whole world is kind of a script to me. And what I say is my script."

For the past 20 years, Back to Back Theatre has made a name for itself both in Australia and around the world through its contemporary performances created by an ensemble of actors with disabilities. The company aims to give voice to social and political issues that speak to all people. In January and February, they bring their piece THE SHADOW WHOSE PREY THE HUNTER BECOMES on a five-city tour in the United States, continuing to foster social and cultural dialogue between artists and audience.

The company describes THE SHADOW WHOSE PREY THE HUNTER BECOMES (SHADOW) as, “a group of activists with intellectual disabilities hold a public meeting to start a frank and open conversation about a history we would prefer not to know, and a future that is ambivalent.” Back to Back created SHADOW, as it does with all its new work, through a process of collaborative research, improvisation, and scripting between the ensemble, Artistic Director Bruce Gladwin, and guest artists.

According to recent statistics from the US Census, there are currently over 20 million veterans and active duty service members in the United States. Although arts play an important role in healing, the veteran community is often overlooked in programming. New Mexico Arts (NMA), a state arts agency, and Art Spark Texas, a nonprofit focused on inclusive arts, are two organizations emphasizing and creating programming for veterans and military families. 

Discovering the Gap

“In 2009, we realized there were a lot of veterans in our community and people who we were going to war and coming back, but not identifying as people with disabilities, which is the population we work with,” says Art Spark’s ArtWorks Director, April Sullivan. “The terminology didn’t relate to them.” 

United Kingdom (UK) theater company Mind the Gap envisions an arts sector where there are equal opportunities for performers with learning disabilities*, and where artists with learning disabilities are recognized as leaders in their fields. Mind the Gap’s new leadership program, called Staging Change, aims to increase the visibility of artists with learning disabilities in the wider arts community and offer them skills development and advocacy opportunities.

Staging Change is based around three-way partnerships between Mind the Gap (MTG), six arts venues across the UK, and artists with learning disabilities. According to MTG Associate Producer Deborah Dickinson, the program has five objectives: to grow talent among artists with learning disabilities (LD); to increase participation in LD-led arts; to increase representation of LD people in high quality work; to nurture new leaders to advance LD-led work; and to accumulate better evidence to support the value and impact of LD-led arts practice. They plan to accomplish these goals through three strands of the project: active partnerships with their six venue partners; training and leadership development for artists with LD; and collaboration and knowledge exchange events that bring venues and artists with LD together.

Christine Bruno is an actor, director, teaching artist, and disability inclusion consultant for the entertainment industry. She holds an MFA from the New School and is a lifetime member of The Actors Studio. Christine has worked extensively in theater, film, and television in the US and abroad. She sits on the New York board of SAG-AFTRA and is chair of the union’s New York Performers with Disabilities Committee. Christine can be seen in the documentary series ABLE, streaming now on Amazon Prime.

Where are you based?
I have been a proud New York City-based artist since 1995.

“Promoting Equity at the Intersection of Deaf Education and the Arts” is a full-day preconference session at the VSA Intersections: Art and Special Education Conference taking place October 25-28, 2019 in Irvine, California.

Theater artist, advocate and educator Fred Beam has been a driving force in support of arts learning for D/deaf and hard of hearing (D/HH) students. He and Brian Cheslik, a theater teacher at Texas School for the Deaf and Founding Artistic Director of Deaf Theater Austin, will present at the first session in VSA Intersections history to focus exclusively on arts education and D/HH learners. 

At Leadership Exchange in Arts and Disability (LEAD®) we are able to share resources and knowledge, develop best practices and foster collaborative relationships to create communal success for cultural organizations. Often when we return to our hometowns, it can feel like the successes of fellow organizations are in direct conflict with our own. In the case of accessibility, knowledge networks around the country are proving this wrong. 

If you were in attendance at LEAD, you might have seen the session “Partners and Rivals: Championing Access Across a Community.” At first look, the panelists didn’t come across as rivals or even colleagues, but friends. All five panelists hailed from Pittsburgh and have been working together for inclusion and accessibility in the arts community. Organizations in Pittsburgh have banded together, becoming a national model for how different kinds of organizations can foster a community-wide collaboration that effectively bridges knowledge and experience gaps around accessibility, aiming to fully connect people with disabilities to the arts community.

Christena Gunther is the founder and steering committee co-chair of the Chicago Cultural Accessibility Consortium which was honored with a Leadership Exchange in Arts and Disability Emerging Leader Award in 2015. Christena speaks nationally and internationally about cultural accessibility, and is a strong advocate for the importance of establishing a local access knowledge network in one’s own community. We sat down for a Q&A with Christena about the benefits she has seen working with the cultural community in Chicago, Illinois. 

2017-2019 CCAC Steering Committee at their first fundraiser in May 2019 at Lagunitas Brewery. Pictured from left to right: Anna Cosner, Evan Hatfield, Christena Gunther, Hillary Pearson, Alyssa Harsha, Brittany Pyle, Matt Bivins, Risa Jaz Rifkind, Rachel Arfa, Lynn Walsh, Jeanna Rathell (and baby Frankie), Kris Nesbitt. Missing from photo: Steering Committee member Mike Shaw.

April is Autism Awareness month, but Jacqueline Russell, Co-Founder and Artistic Director of Chicago Children’s Theater, celebrates the “mind-blowing” creativity of theater and drama students on the autism spectrum every day.

Universal Design for Learning (UDL) is a framework for curriculum development that provides many different points of access for each student.  In recognition that each learner is as unique as their fingerprint, UDL aligned pedagogy offers multiple ways for students to receive information, express what they know and engage with the content in ways they find interesting and motivating.

In this article, three experienced arts practitioners share some of the UDL aligned strategies and accommodations they employ:  Teaching Artist and Music Therapist Deb Neuman; Accessibility Coordinator, Director and Drama Teaching Artist Fran Sillau; and Middle School Visual Art Teacher Samantha Varian.

Kallen Blair and Alie B. Gorrie have had many conversations about inclusion and representation of disability in the arts, and both share a passion for changing the way disability is currently portrayed in media. Now these actors are getting a chance to share their conversations with an audience in their new documentary series, ABLE. Here, Kallen and Alie B. talk about what to expect from ABLE, the future of the series, and how we can engage with them.

Office of VSA and Accessibility: What is ABLE, and what inspired this project?

In December, a group of prominent theater artists with disabilities announced the launch of a new professional company, employing only professionals with disabilities to create fully accessible theater. National Disability Theatre (NDT) says its mission is not only to create world-class theater productions, but also to “change social policy and the nation’s narrative about what people with disabilities can do and provide a guiding model in audience accessibility for the arts and culture sector.” Here, Co-Executive Directors and founders Talleri McRae and Mickey Rowe offer insight on how NDT came to be, as well as their plans for the future.