In 2017 students and staff at The School of Disability Studies launched five web-docs aiming to bring current disability activism into online classrooms. This project was a collaboration between Student Advisory Committee members Marsha Ryan, Nicole Meehan, Emily Delbecchi, Pauline Mwangi, Carolyn Lee-Jones, and Laura Mele. Chelsea Jones, Kim Collins and Melanie Panitch were the primary investigators on this project.
Developed with a grant from Ryerson’s Learning and Teaching Enhancement Fund, these web-docs responded to requests from part-time online students to form “real world” connections with Toronto-based disability activists. This multidisciplinary project asked contemporary disability activists to think through the ways in which they challenge the status quo in their day-to-day work. Activists spoke to themes of: online queer movements, mad activism, accessible city building, crip arts, and institutional survival.
Some of the web-docs highlight more than one disciplinary theme. For example, activist Melanie Marsden discusses the politics of parenting and allyship in this 6-minute film:
Many students enrolled in this part-time program are Southern Ontario-based professionals who take classes across faculties. They are online learners with particular understandings of disability espoused by their workplaces, such as school and health care systems. They are often required to respond to disability in ways that are in opposition to disability-related activism and its intersections, including, for example, mad and queer activists whose social justice work resists and disrupts school and health care systems. In her discussion about siloed services and sexuality, Fran Odette describes the significance of interdependent and independent decision making within these and other systems:
As learners, Ryerson students are called to orient themselves to broader understandings of disability in order to effectively engage in community. Therefore, our objectives in producing these films were to:
Produce fully accessible teaching tools for online instructors
Build connections with disability communities beyond our work and school
Learn from real world disability activism/s that connect theory and practice
Highlight Toronto-based social justice movements
Develop a digital archive of disability activism
Wide-reaching in scope, these accessible web docs bring Toronto’s disability leaders into online classrooms, thus empowering students to forge knowledgeable connections with the wider disability community that may be difficult to access from their professionalized vantage points. For example, Disability Pride March co-creator Kevin Jackson discusses his work organizing the annual event in Toronto:
This project started in January 2016 and was completed in June 2017. Our commitment to accessibility was that involved consideration of the ableist barriers over which all of the contributors behind these web docs have little control. The need for flexibility in any disability-based project stems from features of its diversity: a dependency on attendants, extra time needed for accessible transportation, equipment malfunctions, an ableist encounter with a stranger that interrupts filming and shifting understanding of consent (Kafer, 2013). Eliza Chandler offers some examples of the ways in which it is important to think broadly about access in creating cultural spaces and representation of disability in this film:
Importantly, these web docs are be accessible in that they apply to the AODA’s Integrated Accessibility Standard Regulation. The web docs are transcribed, captioned, and presented with ASL interpretation. However, through the production of these films we learned that accessibility is fluid; our understanding of access changed throughout the production process. We learned to think through crip time, the politics of storytelling, ethics, and collaboration:
Crip time: Working in crip time means understanding that accessibility is a broad concept; accessibility means meeting AODA barriers and simultaneously understanding that people face ableist barriers as they tell their stories
The politics of storytelling: often stories are not told in linear ways, but rather in fragments as Barry’s film demonstrates.
Ethics: Consent is an ongoing process that can change and impact production.
Collaboration: Negotiating creative differences and the importance of being entrusted with others’ stories is a key part of the creative process.
Each of these features–crip time, the politics of storytelling, ethics, and collaboration–emerged in our work with Barry Smith, whose story emerged gradually through one interview Here, Barry tells his stories of living both in and outside of Huronia Regional Centre.
In total, the project lasted spanned 19 months and cost approximately $13,000 in total. Our costs were divided as follows:
Pre-production (research such as interviews and participant honorariums): $1400
Production (filming): $4,500
Post-production (editing, captions, audio descriptions and ASL interpretation): $7,000
Cost of dissemination (conferences, posters, and screenings): $100