Condensed Notes/Themes/Action Items from Performing Arts and Disability: Leadership, Inclusion, and Training – March 13, 2017 at Boston University Part of the AXIS Dance Company 2017 Residency at Boston University Compiled by Ty A. Furman. May 2017

Panel Discussion (original notes courtesy of Charles G. Baldwin) Panelists: Judith Smith, John Killacky, Yo-El Cassell, Keith Jones. Video Archive at - http://howlround.com/livestreaming-a-performing-arts-and-disability-panel-from-the-axisdance-company-residency-at-boston Things that came up several times: • Make your own work • There is a lack of professional training opportunities in the performing arts for people with disabilities • Persistence is crucial/learn on the job/trial, error, and risk • Collaboration – can raise your own profile, but must be working as equals, must see students as collaborators as well • Inclusion must be transparent • Need for instructor/teacher training to develop inclusive skills • Need to move past stereotypes and the perceived fragility of disability • Discipline is necessary and quality artistry should be the goal • More opportunities are needed to present artists and their work Special Note: JK brought up that organizations who are not inclusive should not receive public money. Is this a possible advocacy focus?

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Breakout Session: Artistic Decisions – Led by Ilana Brownstein Discussion about process of presenting two pieces by Company One. Love Person by Aditi Kapil and Colossal by Andrew Hinderaker. For both plays the playwright believes that the performers should have the real life experiences of the characters. Context – the “problem” is not the person with a disability, but what is the system of art making that produces obstacles for inclusion. Company One produces what they call “aspirational programming” that is programming plays that they can’t do yet, but program them in order to learn how to do them. Must think about every process involved in the production of a play (or other work) and work with the artists to make those processes welcoming and inclusive to established artists as well as potential new talent who may not know the standard protocols. It has to start before casting. The company needs to completely rethink access points for artists and then collaborate to make it a successful process and production. Issues include: Casting – language, community outreach, collaboration with community organizations, adapted process, nontraditional locations, etc… Developing new talent/training opportunities including audition prep Rehearsals – how are notes given (if people communicate in different languages including ASL) Design – set, marketing, audience Accessibility to audiences Box office policies and structures Performance locations Issues Discussed: • Street credibility – arts organizations can’t do one and done inclusive programming. It takes years to establish the credibility for artists to believe you are committed to inclusion. It must be sustainable. • Nothing about us, without us • Must be willing to face the perceived risks or challenges in casting someone with a disability. Work with them to solve those perceived “problems”. Negotiate solutions. • Some solutions are inexpensive – release electronic scripts as a way to caption a show. Stream text via smart devices. Understand that whatever helps one patron, will ideally help the performance as a whole. • Recognize the distinction between a facility/venue and a presenter. How to get a facility to be more accessible? • Don’t be afraid to fail • Identify and utilize bridge builders • Let artists clearly state what role or roles they are auditioning for – don’t assume that a character must be hearing • Look to collaborators – including the artists and community organizations – to problem solve • How can we share resources?

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Professional Training – Led by Yo-El Cassell Instructors must: adapt, modify, adjust, listen and observe what is happening in the entire space How do instructors create a high standard of learning while at the same time allowing students to become a partner in the experience? How do they teach toward inclusion but uphold the integrity of the art form? • Horizontal communication – we are in this together, partnering in the learning experience • Engage the community of the student – parents, other faculty, staff as well • How can technology support communication? • How do you reimagine a space to be more inclusive? • What should the institution be doing? Who has the power to get it done? • Students need to also take responsibility and state their needs and how does the instructor empower that students voice? • How can the teaching/learning experience also include other students to eliminate stigma? • Instructor needs to establish trust – so student comfortable speaking up, learning terminology, etc. Actions: Funding for training for faculty and staff Workshops on communication and pedagogy for faculty and staff Re-imagine what an inclusive teaching environment looks like – make a checklist Training for cultural institutions – how do we get the non-converted? Require disability sensitivity for employees Certificate programs?

Graphics by Carhart Creative. Photo by David Green.



Leadership & Activism – Let by Charles Baldwin and Dawn Lane Different kinds of leadership exist and there are different platforms where leaders may be found. Story tellers can lead – “art can create windows of understanding where before there was ignorance and fear. Its excellence can contradict the idea of us as inferior.” Attributed to Paul Kahn. • The Social is political • One way to lead is to be seen. • Leaders need to be resourceful. • Leaders and activists will step up if opportunities are presented. • Internships and mentorships can help develop leaders and activists. • If you are not part of the community, look for opportunities to step back and allow a community member to take the lead. Support them. • Allow yourself to make mistakes • Step away from convention – Hire people from the disabled community and hire people who design with the community in mind. • Include artists who actually experience disability into the DNA of the organization and management. • Create multiple entryways for people to enter a building – creates a sense of belonging • Schools and training programs need to intentionally recruit and accommodate people. • Help younger people find their voices, explore their passions, and advocate for themselves – they are future leaders and activists.

Graphics by Carhart Creative. Photo by David Green.



Wrap Up Video archive at http://howlround.com/livestreaming-a-performing-arts-and-disability-panel-from-the-axisdance-company-residency-at-boston Opportunities for Action: • Resource Sharing • Artist Training • Teacher/Instructor Training • Collaboration • Where is the Funding? Where do we go, what do we do next?

Graphics by Carhart Creative. Photo by David Green.



Special Thanks to the Symposium Co-Sponsors VSA Massachusetts, HowlRound, Boston Dance Alliance, Mass Cultural Council, StageSource, and the New England Foundation for the Arts.