Petra Kuppers: Disability Culture and Creative Writing Pedagogies: When Having Fun Together is Radical Practice. in: Rebecca Manery and Stephanie Vanderslice (eds) Can Creative Writing Really Be Taught? Resisting Lore in Creative Writing Pedagogy, 10th anniversary edition, Bloomsbury, 2017., 2017
Petra Kuppers: Disability Culture and Creative Writing Pedagogies: When Having Fun Together is Ra... more Petra Kuppers: Disability Culture and Creative Writing Pedagogies: When Having Fun Together is Radical Practice. in: Rebecca Manery and Stephanie Vanderslice (eds) Can Creative Writing Really Be Taught? Resisting Lore in Creative Writing Pedagogy, 10th anniversary edition, Bloomsbury, 2017.
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Books by Petra Kuppers
Short Table of (full book) content:
1. Setting Up
2. Languages of Disability
3. Discourses of Disability
4. Embodiment/Enmindment: Processes of Living
5. Disability Culture
PART II
6. Life in the Institution: Discourses at Work and at Play
7. Freak Shows and the Theatre
8. Disabled Dance and Dancerly Bodies
9. Superheroes and the Lure of Disability
10. Looking at Autism
11. Classroom Activism and Resources
12. Appendix: For Teachers
Performance scholar and community artist Petra Kuppers engages these sites and practices as laboratories of experimental disability culture. Here, the possibility of new forms of embodiment, engagement and community take shape at the intersection of the past and the emerging future, in an embodied poetics that brings together movement, touch and language. Disability culture appears as a process, not a static definition, and offers seeds for artful justice work towards respect, love and an enrichment of the everyday.
This book presents a senior practitioner's/critic's exploration of creative community processes sustained over more than a decade, and models the connections between arts-based research and research-based arts.
'In this book, Petra Kuppers – one of the most dynamic thinkers in the field of disability culture, disability arts and community arts today – provides a rigourous, sophisticated and strikingly poetic series of mediations on the processes, pleasures and challenges of working in this field. Drawing on examples of the way her own arts based investigations have evolved across a variety of sites, contexts and countries over the past decade, Kuppers positions disability culture as a continual process of negotiation in which people experiment with new ways of relating to the languages, cultures and histories that frame and inform their experiences. Emphasising the need to access the feelings, flows and energies that exist within and between dominant formations of community, Kuppers advocates for a rhizomatic model of practice in which personal, cultural and political histories come together in singular, specific and provisional ways to allow new formations – albeit at times fleetingly – to emerge. Thoughtful, thought-provoking and accessible, this book will be of compelling interest not just to scholars of disability culture, but to a whole new generation of scholars looking to use arts practice as a laboratory in which identity, community and culture can be creatively re-imaged and re-imagined. ' - Bree Hadley, Senior Lecturer in Performance Studies, Queensland University of Technology, Australia
"The reader becomes a collaborator with Kuppers and Marcus in the creation of disability art and culture in the process of experiencing this book. With no linear narrative to guide the reader, one is invited to fill in the gaps, explore the nuances of the various literary and cultural allusions, enter into their debate the use of the word cripple, and argue about the poetics of disability art and culture.". --Carrie Sandahl, Disability Studies Quarterly, Fall 2009, Volume 29, No.1
In The Scar of Visibility, Petra Kuppers examines the use of medical imagery practices in contemporary art, as well as different arts of everyday life (self-help groups, community events, Internet sites), focusing on fantasies and “knowledge projects” surrounding the human body. Among the works she investigates are the controversial Body Worlds exhibition of plastinized corpses; video projects by Shimon Attie on diabetes and Douglas Gordon on mental health and war trauma; performance pieces by Angela Ellsworth, Bob Flanagan, and Kira O’Reilly; films like David Cronenberg’s Crash and Marina de Van’s In My Skin that fetishize body wounds; representations of the AIDS virus in the National Museum of Health and on CSI: Crime Scene Investigations; and the paintings of outsider artist Martin Ramírez.
At the heart of this work is the scar—a place of production, of repetition and difference, of multiple nerve sensations, fragile skin, outer sign, and bodily depth. Through the embodied sign of the scar, Kuppers articulates connections between subjective experience, history, and personal politics. Illustrated throughout, The Scar of Visibility broadens our understanding of the significance of medical images in visual culture.
Offering a comprehensive anthology of key writings in the vibrant field of community performance, spanning dance, theatre and visual practices, this Reader uniquely combines classic writings from major theorists and practitioners such as Augusto Boal, Paolo Freire, Dwight Conquergood and Jan Cohen Cruz, with newly commissioned essays that bring the anthology right up to date with current practice.
This book can be used as a stand-alone text, or together with its companion volume, Community Performance: An Introduction, to offer an accessible and classroom-friendly introduction to the field of community performance.
List of Contributors: Petra Kuppers, Gwen Robertson, Eugene van Erven, Augusto Boal, Paulo Freire, Gerard Delanty, Anita Gonzalez, Dwight Conquergood, Jessica Berson, Baz Kershaw, Nicolas Bourriaud, Becky Shaw, Cedar Nordbye, Devora Neumark, Theresa May, Ubong S. Nda, Marcia Blumberg, Graham Pitts, Ana Flores, Libby Worth, Helen Poynor, Lomas, Deborah Hay, Cynthia Novak, Terry Galloway, Donna Marie Nudd, Carrie Sandahl, Diane Amans, Jan Cohen Cruz, Rebecca Caines, Glenda Dickerson, Carrie Sandahl
Papers by Petra Kuppers
we call this way of thinking a radically poetic operation on social relations.
• Disability culture and cultures as emerging concepts
• Disability culture providers as real entities in the world
• Death points: hate killings, eugenics, and public responses to parents
and carers killing disabled children and adults
• Different cultural studies concepts and their application to disability
culture(s)
• How to capture disability cultural moments
• How to create disability cultural activities
• How to analyze traces of the lived experience of disability
Short Table of (full book) content:
1. Setting Up
2. Languages of Disability
3. Discourses of Disability
4. Embodiment/Enmindment: Processes of Living
5. Disability Culture
PART II
6. Life in the Institution: Discourses at Work and at Play
7. Freak Shows and the Theatre
8. Disabled Dance and Dancerly Bodies
9. Superheroes and the Lure of Disability
10. Looking at Autism
11. Classroom Activism and Resources
12. Appendix: For Teachers
Performance scholar and community artist Petra Kuppers engages these sites and practices as laboratories of experimental disability culture. Here, the possibility of new forms of embodiment, engagement and community take shape at the intersection of the past and the emerging future, in an embodied poetics that brings together movement, touch and language. Disability culture appears as a process, not a static definition, and offers seeds for artful justice work towards respect, love and an enrichment of the everyday.
This book presents a senior practitioner's/critic's exploration of creative community processes sustained over more than a decade, and models the connections between arts-based research and research-based arts.
'In this book, Petra Kuppers – one of the most dynamic thinkers in the field of disability culture, disability arts and community arts today – provides a rigourous, sophisticated and strikingly poetic series of mediations on the processes, pleasures and challenges of working in this field. Drawing on examples of the way her own arts based investigations have evolved across a variety of sites, contexts and countries over the past decade, Kuppers positions disability culture as a continual process of negotiation in which people experiment with new ways of relating to the languages, cultures and histories that frame and inform their experiences. Emphasising the need to access the feelings, flows and energies that exist within and between dominant formations of community, Kuppers advocates for a rhizomatic model of practice in which personal, cultural and political histories come together in singular, specific and provisional ways to allow new formations – albeit at times fleetingly – to emerge. Thoughtful, thought-provoking and accessible, this book will be of compelling interest not just to scholars of disability culture, but to a whole new generation of scholars looking to use arts practice as a laboratory in which identity, community and culture can be creatively re-imaged and re-imagined. ' - Bree Hadley, Senior Lecturer in Performance Studies, Queensland University of Technology, Australia
"The reader becomes a collaborator with Kuppers and Marcus in the creation of disability art and culture in the process of experiencing this book. With no linear narrative to guide the reader, one is invited to fill in the gaps, explore the nuances of the various literary and cultural allusions, enter into their debate the use of the word cripple, and argue about the poetics of disability art and culture.". --Carrie Sandahl, Disability Studies Quarterly, Fall 2009, Volume 29, No.1
In The Scar of Visibility, Petra Kuppers examines the use of medical imagery practices in contemporary art, as well as different arts of everyday life (self-help groups, community events, Internet sites), focusing on fantasies and “knowledge projects” surrounding the human body. Among the works she investigates are the controversial Body Worlds exhibition of plastinized corpses; video projects by Shimon Attie on diabetes and Douglas Gordon on mental health and war trauma; performance pieces by Angela Ellsworth, Bob Flanagan, and Kira O’Reilly; films like David Cronenberg’s Crash and Marina de Van’s In My Skin that fetishize body wounds; representations of the AIDS virus in the National Museum of Health and on CSI: Crime Scene Investigations; and the paintings of outsider artist Martin Ramírez.
At the heart of this work is the scar—a place of production, of repetition and difference, of multiple nerve sensations, fragile skin, outer sign, and bodily depth. Through the embodied sign of the scar, Kuppers articulates connections between subjective experience, history, and personal politics. Illustrated throughout, The Scar of Visibility broadens our understanding of the significance of medical images in visual culture.
Offering a comprehensive anthology of key writings in the vibrant field of community performance, spanning dance, theatre and visual practices, this Reader uniquely combines classic writings from major theorists and practitioners such as Augusto Boal, Paolo Freire, Dwight Conquergood and Jan Cohen Cruz, with newly commissioned essays that bring the anthology right up to date with current practice.
This book can be used as a stand-alone text, or together with its companion volume, Community Performance: An Introduction, to offer an accessible and classroom-friendly introduction to the field of community performance.
List of Contributors: Petra Kuppers, Gwen Robertson, Eugene van Erven, Augusto Boal, Paulo Freire, Gerard Delanty, Anita Gonzalez, Dwight Conquergood, Jessica Berson, Baz Kershaw, Nicolas Bourriaud, Becky Shaw, Cedar Nordbye, Devora Neumark, Theresa May, Ubong S. Nda, Marcia Blumberg, Graham Pitts, Ana Flores, Libby Worth, Helen Poynor, Lomas, Deborah Hay, Cynthia Novak, Terry Galloway, Donna Marie Nudd, Carrie Sandahl, Diane Amans, Jan Cohen Cruz, Rebecca Caines, Glenda Dickerson, Carrie Sandahl
we call this way of thinking a radically poetic operation on social relations.
• Disability culture and cultures as emerging concepts
• Disability culture providers as real entities in the world
• Death points: hate killings, eugenics, and public responses to parents
and carers killing disabled children and adults
• Different cultural studies concepts and their application to disability
culture(s)
• How to capture disability cultural moments
• How to create disability cultural activities
• How to analyze traces of the lived experience of disability
culture experiment, centres non-mainstream experiences of space
in two Michigan performances, accessing extrasensory experiences
as a creative form. How can we witness and amplify histories of
intersected violence and emergent forms of healing? How can we
invite hauntings? In community performance practices, we address
the infrastructures that allow us access to be together. We ask:
where is asylum? What is access? The methods of this essay include
experimentation with different writing formats, exploring poetry as
a way of compressing and layering somatic experience and
performance sensing.
(sample chapter from Studying Disability Arts and Culture, see also introductory chapter and table of contents in the 'book section' on this website)
During my childhood in Germany, some of my family members worked in large fabric factories, and my writing remembers playing at the base of giant mechanized looms, and delving into buckets of fabric remnants in order to get away with small items of pilferage, little icons, forbidden textures.
The writing here is part of the song cycle Spherical, and in it, I rework, substitute, reconstitute, reference and reshape much material from other sources, including various alchemical texts, the fashion pages of the Los Angeles Times, Tender Buttons by Gertrude Stein, material from Monique Wittig’s The Lesbian Body, Luce Irigaray’s The Sex That is Not One, quotes from Carl Jung, Audre Lorde, Gloria Anzaldúa and Lucille Clifton
http://youtu.be/IaDaTcw7qsk
Three poetry performances (The Metaphor of Wind in Cripple Poetics, I am Salmon, and At The Gynecologist’s) braid through dances captured at the Tele-Immersion Laboratory, University of California Berkeley.