Theater & Dance

Auti Angel Carves Out Niche as First Hip Hop Wheelchair Singer and Dancer

Fri, 06 Jun 2008 16:00:00 GMT

Auti Angel truly has the voice of an angel. Every word she shares is encouraging as she wears positive energy like a badge of honor. She shares that energy with everyone who crosses her path.

Auti has found the strength to rise above tough situations in her life. She grew up in a gang-infested neighborhood in Torrance, California.

"I've dealt with it all: child abuse, molestation and rape. When I married at 18, I went through a living hell and then escaped him," Auti details. "I'm lucky to be alive."

With growing attention from the record industry, Auti Angel was headed on the fast track in the Hip Hop, R&B world.

"I was J.Lo before J.Lo," Auti says with a laugh, "I danced with LL Cool J. I went on tour with Rap artists and I was about to sign a record deal as part of an all-Latin female Hip Hop group. Then, the tragic car accident happened, severing my spinal cord and leaving me wheelchair bound. That was May 3, 1992, a day I will never forget. The record company wasn't willing to wait, but I told them, 'I'm still me!' The group tried to replace me, but they couldn't and fell apart. I was saddened they didn't move forward because they still needed to follow their dreams."

That record deal evaporated, but Auti's determination for success did not.

"Once a dancer, always a dancer. The spirit of dance never dies, no matter what happens to your body. I landed a gig hosting a music video show, In Motion Hottest Videos. I was interviewing high-profile artists behind the scene such as Ice Cube, Chris Tucker and everybody in the R&B urban network. So, I'd take my back brace off and sneak out of rehab to work. I shared a rehab room with six other patients. My sister would pick me up late at night after everybody went to bed. A couple of nurses figured it out," Auti says, "but it didn't stop me."

"We filmed our show in different nightclubs, so that's where I started to dance again and figured out how to manipulate the wheelchair to work for me. After I got out of the hospital, I put another group together and we started performing. People were confused by my abilities to sing and dance, yet inspired. When we tried to approach the record companies, they didn't know what to do with it. They didn't know if there was a market for a wheelchair artist, but my talents were well received by many established industry artists and entertainers. As a result, I received a performance spot with Ludacris for his 'Stand Up' song. I told God that He had a funny sense of humor."

While Auti pursued her dreams, there were still challenges to endure.

"A year after the accident, I lost my mom to liver cancer, which was devastating. I began to hang with a different crowd that introduced me to alcohol and drugs. I started to use marijuana to deal with my chronic pain from the accident. Then I was introduced to rock (crack cocaine); not realizing the dark path it would drag me to. My drug use led me to being spiritually and physically attacked. I called the police for help, but when I tried to leave the scene, I wasn't thinking clearly and I led police on a high-speed chase through San Pedro, California."

"The drugs drove me to a suicidal state," Auti explains, "I was the first woman in a wheelchair incarcerated at Twin Towers County Jail. They didn't know what to do with me so they put me in the infirmary with women who were mentally ill. I spent three months in jail and God used me to talk with the other inmates. They began to see their own possibilities. I developed a strong relationship with God and honestly, God put me back on the right road and back in the game."

The tide has turned dramatically since that time. In fact, Auti is about to release her first album this summer independently. For the past three years, she's been teaching dance workshops to kids at the San Diego Adaptive Sports Camp. Her students have different diagnoses, but most of them are wheelchair users.

"One of my students, Manny Fernandez, was nine when he first started with me. He was really shy, quiet and kind of standoffish. Manny had a T-2 spinal cord injury from a tragic accident when he was only 13 months old. Now, he is 12 years old and gets in the freestyle circle to battle me. I know he's been at home practicing. The last time I saw him, he turns his hat backwards, he's spinning his chair around and begins to get down like the best of best. I'm so proud to be his teacher. He inspires me. I told him, 'That's it, you win!' Everybody was cheering him on, it was priceless," Auti says with a smile in her voice.

"I do my best to make the kids comfortable while telling them that they can participate or just watch. Each child has a different ability, so I use a freestyle circle for the kids to encourage each other and come up with their own moves. I remember everybody's dance move, give the dance his or her name, and choreograph all the moves together. Some kids can only blink their eyes. So, I incorporate that as a dance move to include every child. Everybody begins to build this very cool dance team. It's an awesome sight to see."

Auti has also started her own non-profit organization Save A Soul Foundation to help at risk youth by using performing arts as a tool.

"It's a grassroots mentor-based program for at risk youth. My ultimate goal is to have a youth center that will provide resources, tutoring, while teaching different trades that will apply to their goals in life. It will include at risk kids who are able-bodied and disabled. Save a Soul grew out of my own experience when I was asked to speak at the Los Angeles Central Juvenile Center. It seemed to set them free to hear me and hear my story. I was moved to reach out to our at risk youth. I could hear God's voice saying, 'Save A Soul. Once you save one soul, that soul saves another soul, so it repeats itself.'"

"I don't press my beliefs on anyone because I welcome everyone with different beliefs. But, God has allowed me to go through so much; my ministry is able to speak to all walks of life. My relationship with God has saved me. Everything happens for a reason and I'm grateful for the life I have. I'm in a good place now. Last year, I married my soulmate, Eric Rivera."

Auti's offers advice to adults and youth who are facing obstacles in life.

"Learn to love yourself. Remember that God never gives us anything that we cannot handle. So no matter what obstacle or challenge may come your way; it is always 'Overcome-Able!' Find your beauty in the most raw form and you will capture and affect your inner soul. If you're not dead, there's got to be a reason why you're still here." Through her own challenges, Auti has been transformed into a true Angel on Earth by sharing a strong message of hope. "I'm still here to show people there is a reason to be here and to help people find their purpose. I am a purpose to drive you, to inspire you and to help you overcome any obstacle. I will be the first Hip Hop artist in a wheelchair. Honestly, the possibilities are endless."

Auti speaks, teaches and performs at camps, schools, churches, juvenile facilities and a variety of venues nationwide.

For more information visit www.autiangel.com.

To see Auti Angel dance, visit www.youtube.com/watch?v=rUjUhkvAyAE.

Freelance Writing for the Web

Mon, 12 May 2008 19:52:00 GMT

Freelance writing for the Web is the perfect job for many who want to make money from home. All you need is a computer and an Internet connection and you're good to go. This is why this profession appeals to everyone from new mothers to persons with disabilities. Just because you're homebound does not mean your options are limited.

Places to Start Your Freelance Writing for the Web Career
While freelance writing for the Web was barely considered a profession a quarter century ago, today there are numerous places to start looking for work in this capacity on the Web. Following are three.

AssociatedContent.com
This is one of the most popular destinations to find freelance writing work on the Web. This site appeals to many because of the following reasons:

(i) You can write on anything you want - and get paid for it. This is perhaps the number one reason so many freelance writers flock to this site. You don't have to deal with editor guidelines, due dates, rewrite requests, et cetera. You simply write. As long as your grammar is good and the material is organized, you have a great chance at being published. And paid. (Let's not forget paid.)

(ii) Calls for Content: This is where the editors put out a request for a certain topic they are accepting submissions on. The pay can range from simple performance bonus payments (they currently pay you $1.50 per 1,000 page views) on up to $25 or more. Most are in the $15 to $25 range. These are usually short, simple articles that only require 250 to 500 words. Some require more, e.g., 750 to 1,000 words, but are usually on pretty well-known topics that can be written about fairly easily.

(iii) Quick Pay: When you turn in an article to Associated Content, it is usually reviewed in about a week - sometimes much quicker. And, you are paid almost immediately upon acceptance.

Helium.com
This is another site that makes freelance writing for the Web a viable option for many. One of the best reasons to write for this site is the Marketplace. This is where publishers place their request for articles.

If your article is selected from among the ones turned in, you are paid a set fee. This can be as high as $200. Most of the marketplace offerings are in the $20 to $30 range for 350- to 500-word articles. The higher the price, the more stipulations must be met (for example, x number of professionals from a certain area or background must be quoted). The sheer variety of topics offered here - and the relatively well-paying assignments - make the marketplace a must for anyone who wants to make money writing from home.

Brijit.com
If freelance writing for the Web appeals to you, but writing long pieces intimidates you somewhat, then this is an excellent site to begin with. As described on the site, "Brijit aggregates the world's best long-form content and abstracts it in 100 words or less, providing busy, omnivorous, and increasingly mobile readers with rich, qualitative summaries as well as better guideposts for what to read, watch or listen to now."

The pay is $5 for print media abstracts and $8 for audio and video abstracts.

It's easy to start a career freelance writing for the Web. These three sites make excellent starting points.

It’s All in the PHAMALY

Thu, 08 May 2008 22:28:00 GMT

In 1989, a group of former students of the Boettcher School for the Disabled in Denver, Colorado, became irritated with the lack of theatrical opportunities for those with disabilities and decided to do something about it. The five friends founded the Physically Handicapped Actors and Musical Artists League (PHAMALY).

“They had done theater the whole time they were in school and just loved the arts, and then they got out of school and they weren’t being cast—there were just no opportunities open for them,” says PHAMALY Executive Director Melanie Mayner.

After receiving a small grant from the Colorado Council on the Arts, PHAMALY began working on its first play, and in 1990 the newly founded theatre troupe was christened, performing the musical Guys and Dolls.

Fast-forward 20 years and 22 plays later, and PHAMALY has become a prestigious theater company known for its theatrical prowess and commitment to providing artistic opportunities to actors with disabilities. The group now puts on two plays a year—one musical and one non-musical—and also performs at various social engagements and events.

Currently, the organization is run by a full-time staff of two employees—Executive Director Melanie Mayner and Administrative Director Regan Linton—but uses the services of independent contractors and myriad volunteers to ensure its success. Another key ingredient is PHAMALY’s talented actors.

PHAMALY continues to only cast actors with physical, developmental, or emotional disabilities in its plays, giving many of its cast members a chance at acting that they might not have otherwise had. According to Linton, the talent pool at PHAMLY “spans the gamut,” from first time actors to those with long histories of involvement in the arts.

Although PHAMALY may have an atypical cast, its actors still go through the rigors of professional auditioning—and not everyone makes the cut. “It’s challenging, because if you don’t step up, you’ll never get a role. But you’ll never leave thinking that your disability was what held you back,” says Linton, who stars in the company’s upcoming rendition of Sideshow that opens on June 5th.

PHAMALY’s productions continually leave theatre critics and patrons feeling liberated. Its performances have generated numerous laudatory reviews for their theatrical power—with many reviewers quick to point out that it’s the production value and not the actors’ disabilities that leave audiences mesmerized.

“Audiences will be focused on the actors’ talent, not their disabilities. I can’t emphasize the significance of this statement enough,” said North Denver Tribune writer Craig Williamson, in response to a PHAMALY show. Other viewers have described PHAMALY performances as “sheer unadulterated magic,” “powerful,” and “joyous.”

For the company’s staff, such lavish praise spreads optimism that actors with disabilities will soon be more welcomed in other entertainment realms. The organization now frequently receives casting call information from producers looking to cast characters with disabilities. “The industry is still changing more and more and I think that film and television are trying to seek authenticity when portraying characters with disabilities,” says Linton.

But for PHAMALY, the most important goal has always been creating a positive environment where those with disabilities can grow creatively. Through the years, the company has helped build confidence in many of its actors, and once individuals participate in the PHAMALY experience, they almost always continue to be a part of the group, which is a tight-knit one.

“Everyone’s extremely welcoming, and for many PHAMALY has made their world a much better place,” Mayner says.

“You know, it’s not just a P-family, but it’s an F-family as well,” she adds.

For more information about PHAMALY, visit http://phamaly.org.

Famous Photographer with Disability Challenges Stereotypes Internationally

Mon, 05 May 2008 18:44:00 GMT

Christopher Voelker is likely the most recognized photographer with a disability. He has a great career highlighted by an incredible body of work.

Voelker has a way with the camera that transforms a still photo into a portrait with a voice. With an eye for inventive visual aspects, his creative work is reaching a new level of recognition in Hollywood and internationally. His eye magically enhances a single photo to create a story while challenging stereotypes.

Voelker's work shows intricate design that reaches far beyond a traditional headshot. Rose petals draped across a beautiful naked woman, as her wheelchair sits nearby. Mick Fleetwood tips his hat in a playful way. Robert David Hall's shadow is bigger than life. A painted woman seems to be dancing in her wheelchair. The list goes on, as each shot in the collection is new and inventive.

In his 20 years of experience, he has photographed celebrities including Mick Fleetwood, Billy Zane, Beyonce, Robert David Hall, Brandy, Dennis Haysbert, Christina Applegate, Bow Wow, Rhianna, Holly Robinson Peete, Mo'Nique and many more.

To reinforce his ability to deliver a product that speaks, Voelker has received praise from a variety of stars.

"Chris Voelker's work is filled with emotion, beauty and thought. He shadows the light and lights the dark that speaks with image, like the eye of poetry to the soul," noted actress, choreographer, and director Debbie Allen.

"Never in my life have people responded so enthusiastically to photos of me as they have with Christopher's. He knows how to capture a man's mojo with the lens," added award winning poet, playwright, and actor Lynn Manning.

Voelker has also shot national and international covers for magazines along with movie posters.

"I'm in negotiation right now to shoot a movie poster for a well-known director," Voelker said.

Voelker fell in love with photography after a motorcycle accident resulted in quadriplegia at the young age of 16.

"Six months after the accident, I saw the Rolling Stone's issue "Portraits of Power" by Richard Avedon and immediately became interested in photography. My father was into photography as well, but that moment galvanized things in a way," Voelker explained. "I bought a camera, saved coins and went back to school to take photography courses. At first, I turned my parents' garage into a studio. I started shooting friends and then expanded into actors' headshots. We'd shoot all hours of the night."

Without the accident, Voelker admits life may have been different. "I doubt I would have found my passion for photography. It opened a door as I became more interested in being an artist, the visual concepts, and I became pretty consumed with the art. When a friend of mine was doing an apprenticeship at a studio, I became smitten with being in the studio. I could see the possibilities. To me it was a canvas to fill up," Voelker said. "I had a desire to show people in certain ways using my love and fascination for photography. I was immediately enamored with the possibilities of making unique images using light as a real paintbrush."

Voelker has an extraordinary eye for the artistic depths seen in his photographs. He is now part of Hollywood, often called on for photo shoots by studios, filmmakers and high-profile actors. He is also the requested photographer for performers with disabilities because he takes the photo far beyond the wheelchair, far beyond the disability. In essence, he makes everyone shine on film in a unique way.

"I bring something else to the studio. Going through different experiences physically gives you empathy and insight into things that other people don't see. People trust me, they let their guard down, and we create something more meaningful," Voelker said. "I use movie lights as my first choice as the drama that can be created is endless as your imagination is. It brings out highlights, shadows and different textures not seen with the typical umbrella strobe approach. I really believe that you can say just as much with shadows as you can with light, one does not exist without the other. An actor called me 'Shadowman,' which was a real compliment."

Voelker's greatest influences are George Hurrell, Bill Brant, Richard Avedon and Irving Penn. Movie studios often call Voelker after they see his work.

"I did a shoot yesterday for a Universal DVD box cover. They saw my work given to them by an agent. They had no idea I was in a wheelchair," Voelker explained. "It happens a lot. I get calls saying, 'We'd love to meet you in person.' I show up in a chair and immediately it's like, 'We didn't know.' I once had a big campaign shoot planned but when they found out I was in a chair, the job mysteriously went away. It happens so many times. When people see a chair, they wonder, 'How can we trust him to create an image for us?' It's prejudicial and a lack of education."

When Voelker attended a Symposium by the Performers With Disabilities Committee sponsored by the Screen Actors Guild last year, he was impressed with the event but shocked at the response.

"The studios were all invited to attend, but none of the networks showed up to the event. It's weird that people with disabilities are not included in Hollywood. Being a disabled photographer, I know it would be the last suggestion for any photographer who was a quadriplegic to work in the entertainment industry. But, why?" Voelker said. "I photograph a lot of African Americans because I understand the lighting and the dynamics of photographing black skin. I finally have come to the conclusion that there's something synonymous about being disabled and being a minority because the prejudicial aspects are the same."

Voelker's cutting-edge magazine layouts, like nothing you have ever seen before, have caught attention internationally because they offer beauty rather than focusing on the disability.

"I'm grateful for my magazine work. I did a year of covers for the Italian magazine Mobilita www.voelkerstudio.com/MobilitaCovers.jpg and it was a great experience. My style of photography is accepted in Europe because it's different. I just want to be viewed artistically and to be in a place where I can be recognized for my work. Great work will always be great work," Voelker reminded. "I work with digital format, but I also have my own dark room and use film. There's something organic to holding film in your hand and knowing your pictures will last 200 years."

Voelker is working on two books. One is titled Portraits of Ability showing people who have done something extraordinary, but happen to be disabled. The second book project will be focused on abstract nudes.

"I did a shot of a woman who is a painter and writer. They wanted a picture of Spring. My wife is a makeup artist and she painted the woman´s body as Spring. I shot her nude in her wheelchair and it's a beautiful shot. It was a great opportunity," Voelker noted. "Working with me, people know they're not going to be exploited or made to feel peculiar. My book of nudes will be inclusive of all shapes and sizes filled with images that are beyond the typical."

Voelker is willing to reach out and help others achieve their dreams. Currently, he is helping a Canadian gentleman with multiple sclerosis that has an interest in photography.

"It's cool to infuse the disabled community with my approach to photography. A lot of disabled people want to get into photography and I've become a mentor, helping them to find what kind of equipment would be advantageous for them. I'm willing to help," Voelker added. "I have a really cool life, I go places, I have a great occupation, and I work with my wife Melanie Manson, when she is not booked on other gigs, as she is a very accomplished and in demand makeup artist. I know that I have to compete with the best photographers in the world. As a freelance photographer, it's like applying for a new job every day. But, I love my work, so no sad violin music for me!"

To see Christopher Voelker's photography visit www.VoelkerStudio.com.

Pictured: A self-portrait of Christopher Voelker.

Alliance for Inclusion in the Arts: Celebrating Two Decades of Artists with Disabilities

Sat, 03 May 2008 00:20:00 GMT

"Things are opening up in film, television and theatre with respect to issues of disability—there has been progress. At the same time, the surface has barely been scratched," says Sharon Jensen, executive director of the Alliance for Inclusion in the Arts.

Based in New York City, the Alliance, formerly the Non-Traditional Casting Project (NTCP), is a national nonprofit established in 1986 to address and seek solutions to racism and exclusion in theatre, film, and television; Jensen came on as executive director in 1989. Three years in, NTCP expanded its mission to include artists with disabilities. "When I first came on board, I tried to raise cultural awareness," Jensen says. "I routinely asked casting directors, 'Would you consider an actor with a disability?' Nine out of 10 times they said, 'No, not this time,' or 'Maybe, later, which seldom came.' Now, one out of three casting directors will say, 'What an interesting idea.' I hadn't thought of that. Let me think about it.' "

Today, because of its ongoing commitment to full inclusion, the Alliance is considered an established leader in the arts and entertainment field with respect to these issues.

An early environment of cultural diversity shaped Jensen's interest. "My parents had a global view," she says. "They recognized there were many cultures in the world, many ways to think, approach life, and contribute. We often had guests from different parts of the world whom my parents had met on their travels who would stop by to visit and stay in our home, which could barely accommodate our nuclear family, in my small hometown in Michigan—one gentleman stayed for six weeks! Living in a multicultural environment was the norm for me. I went to college with a girl who had cerebral palsy. In my 20s, I made friends in the deaf and hard-of-hearing community and learned sign language," Jensen explains. "One thing built upon another. Prior to coming to the Alliance, I had either worked for or led nonprofit arts organizations for 17 years. When this opportunity came along, it was a perfect fit."

Jensen believes "education—the earlier the better—is critical to understanding the lived experience of disability" and Christine Bruno, Disability Advocate for the Alliance, agrees. Bruno, who has cerebral palsy, understands the hurdles faced by artists with disabilities and the trepidation of decision makers such as producers, directors, and casting directors.

"In addition to my work with the Alliance, I'm also an actor and teaching artist with an M.F.A. in acting and directing. As such, I have an inherent understanding of the challenges performers with disabilities face and am able to answer their questions and help address their concerns," Bruno explains. "I'm also a direct liaison between disabled performers and decision makers, who often have limited knowledge of disability. A large part of my job as Disability Advocate is to guide, support, and educate decision makers through the process of working with disabled artists, from initial consultation through performance."

"As a teaching artist, I visit New York City schools with a team of other artists. We promote disability awareness using a variety of tools, including puppets, monologues and scenes, and theatre games to introduce mostly nondisabled children to disability. With the older kids, I share my personal story and facilitate question-and-answer sessions. The best part is that all my jobs—Disability Advocate, actor, and teaching artist—feed into one another and each influences the other in a positive way," Bruno says.

"What we've found," Jensen explains, "both with respect to artists of color and those with disabilities is that before you can have real change, you need a sensitized environment in which change can occur." To that end, the Alliance works with every sector of the industry and at every stage of the process, from initial idea through production.

Jensen says, "One of the Alliance's strengths is bringing professionals together around these issues. Our goal is to expand thinking that will then lead to a change in practices. Therefore, on an ongoing basis, we invite casting personnel, directors, writers, union and guild representatives, producers, artists, disability experts, network executives, and educators to participate in a variety of discussion formats, from small roundtables to large resource events." Jensen explains. "The feedback has been incredibly positive, including comments that range from 'eye-opening' to 'life-changing.' Unless industry professionals have had a direct experience with disability, most haven't considered the options or thought about it before. People are open to new experiences and to change, but we have to talk about it."

In 2006, the Alliance launched Disability in Entertainment and Arts Link (DEAL)—a direct result of bringing industry professionals together around the issue of disability. "DEAL was specifically born out of two events: The first, a collaboration of the Alliance, Columbia University Seminar on Disability Studies and Columbia University Arts Initiative, focused on theatre and casting practices and was held in 2005 at the Public Theater in New York City. We invited leading disabled and nondisabled artists and decision makers to participate in an open discussion about issues of disability," Jensen explains. "One hundred-thirty five professionals—performers, producers, writers, directors, casting directors, and educators—attended. Following that symposium, a highly respected theatre and television writer suggested we hold a similar event specifically for writers. Partnering with The Dramatists Guild of America, Inc.; New Dramatists, Writers Guild of America, East; and the WGA, East Foundation, Written on the Body: A Conversation About Disability (full transcript available on the Alliance website) was held in April 2006 at HBO in New York City."

DEAL is a collective of arts and entertainment professionals dedicated to the full inclusion of people with disabilities in all sectors of American arts and entertainment whose mission is to help artists and decision makers in every sector of the industry develop projects that reflect the changing landscape of disability, introduce provocative ideas about disability, and put forth a more authentic representation of what it means to be a disabled person in the 21st century. Utilizing the expertise, talents, and access to resources and information of each of its members, DEAL was expressly created to aid industry professionals at every stage of the creative process—from development of the initial idea through production, marketing and public presentation.

The growth that has taken place over the last decade, Jensen and Bruno stress, has been a joint venture. "It's taken like-minded people and organizations with common interests working for change, such as the Tri-Union Performers with Disabilities Committees and the Media Access Office in California. Our mutual efforts have increased opportunities for the available talent pool of disabled artists, and we hope, provided role models for younger, aspiring disabled artists to demonstrate that a life and career in the arts is possible," Jensen says.

"Often our work is behind the scenes and under the radar. We get involved, not only in New York City where we are based, but all over the country." The Alliance has consulted on such projects as Academy Award–winning There Will Be Blood and NBC's Law & Order: Criminal Intent. "We worked with the executive producer of Law & Order: Criminal Intent on the episode "Silencer," which was about a murder on a deaf campus," Jensen explains. "They employed 51 deaf actors for that episode, seven as principals and 44 background actors. That's unprecedented."

"Nationally, the entire talent pool of performers with disabilities is between 900 to 1,000 and that includes actors with years of experience and training, background actors, and actors who are just starting out," Bruno explains. Comparatively, the combined membership of SAG, AFTRA, and Actors' Equity is approximately 150,000. (According to an article in the March 3 issue of Variety, an estimated 40,000 actors hold dual membership in SAG and AFTRA.) Those numbers and the fact that just 1.5% of SAG members identify as having a disability and of that 1.5 percent, just half of one percent has had speaking roles (according to a 2005 UCLA report), are a pretty clear indication that "this profession is lagging behind other professions, because so much of it is about the visual representation of what we see on stage and screen," Bruno says.

Given those odds, how then has this four-person nonprofit become nationally recognized for its 20-year commitment to inclusion in the industry? Jensen explains, "We're a small organization, but we can both initiate and respond to issues quickly. We try to reach people where they are, whether they are new to the issue or more advanced. We try to help them take next steps. Every day we learn something we didn't know before, and we're reminded there's always further to go and more to be done."

For more information on Alliance for Inclusion in the Arts, visit www.inclusioninthearts.org.

VSA Arts Announces Groundbreaking New Media Exhibit

Thu, 01 May 2008 22:11:00 GMT

A groundbreaking new media exhibition was been announced in February 2008 by VSA arts, the New York-based international arts organization founded in 1974 by Ambassador Jean Kennedy Smith to create a society where all people with disabilities learn through, participate in, and enjoy the arts.

Making its premiere at the World Financial Center Courtyard in New York City, Renascence is an internationally juried exhibition of works by artists with disabilities. Artists were charged with using new media to convey personal experiences—and Renascence does exactly that by displaying startling new ideas from international talent that will likely change perceptions of disability as well as the role of new media in the traditional art world.

"Renascence is the first new media exhibition that captures the disability experience," said Soula Antoniou, president of VSA arts. "We're excited to bring this dynamic exhibition to New York, a city long known for redefining artistic boundaries."

Utilizing digital formats that are accessible by everyone, the exhibition allows all artists a platform for personal expression. Digital media opens up a tremendous and vital new avenue for artists with disabilities to express themselves in unique, non-traditional ways.

Highlights include: New Yorker Leon Lim's four-part multimedia installation, “Silent Story.” Lim uses a video format to test the boundaries between the hearing and the deaf world by flashing contrasting images from the two different communities. Video, photography, and a blog depict artist Hans Bernhard's life with a mental disability in “Psych/OS cycle.” Mary Behr's interactive sculpture, “MOVE!” is a powerful response to the invasive nature of airport security checkpoints for those with artificial joints.

The anchor piece of the exhibition is Lihua Lei's 40-foot installation, “Phantom Pain.” Transparent, butterfly-like wings float over glass casts of the artist's own legs. Lei, who has polio, was recently named a 2008 National Women's History Month honoree and won the 2007 Newhouse Award for artists of excellence.

“Renascence” will be showcased as part of the World Financial Center program, an innovative series of free performances, exhibitions, installations, and festivals created to showcase emerging as well as established artists. The Courtyard Gallery is located at 220 Vesey St, between West St. and the Hudson River. Gallery hours are from noon to 6 p.m. Tuesday through Friday and from 1 to 5 p.m. Saturday and Sunday. For more information, please visit http://www.vsarts.org/renascence.

Theater By the Blind Changes Name to Reflect an Enhanced Scope

Thu, 01 May 2008 18:18:00 GMT

February 4, 2008 - For 29 years, the internationally recognized Theater By The Blind has worked to develop blind and vision-impaired talent for the theater, television, and film. But the company, while maintaining its commitment to vision-impaired artists, is breaking down some metaphorical walls. And its new name is clear evidence that they’re doing exactly that. Now dubbed Theater Breaking Through Barriers, Ike Schambelan, Co-Artistic Director, said, “We must include all artists with disabilities in our work.”

He added, “As baby boomers age, more and more Americans will be dealing with disability. 52,000,000 already do.” Schambelan went on to note that only two percent of characters on television exhibit a disability—an obviously disproportionate representation. But he has a viable solution. TBTB is going “to get the reality of our rich, independent lives in front of an audience.”

And they’ve already been hard at it. Last year the theater produced A Midsummer Night’s Dream featuring an actress in a wheelchair. The New York Times didn’t just notice, they suggested that “a most delightful extra layer of meaning in the production” was added. TBTB also produced Rules of Charity, written by a disabled playwright, John Belluso. Again, the Times called it a “dark, scalding play (in) a sharp New York premiere.”

TBTB’s goal is to become the home-base theater for all people with disabilities, including actors and audiences. They’re well on their way and, as the adage goes, the best is yet to come.

Partner Wheelchair Dancing

Fri, 25 Apr 2008 16:16:00 GMT

If you’ve been sitting in your wheelchair watching Dancing with the Stars and yearning to sweep gracefully across the dance floor or longing to join your friends in a night out on the town, dream no longer. Across the globe, dance studios offer people with disabilities the opportunity to learn this socially and physically beneficial activity. If you’re a person with a competitive side, you might even find yourself competing regionally or internationally some day.

First begun in 1972, wheelchair dancing integrates disabled and able-bodied individuals in a variety of dances and helps people with physical impairments restore a sense of normalcy in their lives. Depending upon your tastes, you can learn waltz, tango, Viennese waltz, slow foxtrot, quickstep and Latin-American dances like the samba, cha-cha-cha, rumba, paso doble, and jive. While any dance that progresses around a floor, such as waltz and fox trot, is easier to accomplish in a wheelchair than some of the basically stationary dances, such as the cha-cha-cha and swing, with a good teacher, patience, and persistence, any dance can be mastered.

In wheelchair dancing—also known as adaptive dancing—the wheeler propels the wheelchair while the able-bodied dancer leads. Both partners concentrate on keeping time to the music and both take an active role in what happens on the dance floor. Other styles of dance include duo-dance, which features two wheelchair dancers together, and group dance, which includes wheelchair users and able-bodied individuals dancing in synchronized formation, as well as participating with free-style movement to the music. Individuals with varying levels of ability in either manual or power chairs can participate.

Besides helping to build confidence and reduce the sense of social isolation that sometimes impacts wheelchair users, researchers have shown that dance offers many health benefits. Mayo Clinic researchers reported that social dancing helps to reduce stress, increase energy, improve strength, increase muscle tone and coordination—especially of the arms and shoulders—and maintain flexibility. The National Heart, Lung and Blood Institute (NHLBI) reports that dancing can lower your risk of coronary heart disease, decrease blood pressure, and help you manage your weight.

Other touted benefits of dancing include building and increasing stamina, developing the circulatory system, and helping release toxins via sweating. Dancing’s social aspect helps you develop strong social ties and leads to less stress, depression, and loneliness. Because dance also requires memorizing steps and working with a partner, the activity provides mental challenges that are crucial for brain health—including reducing the risk of developing dementia and Alzheimer’s disease, according to researchers at Albert Einstein Center.

Once you become competent with social dance, you might be tempted to take it to the competitive level. Competitive wheelchair dancing has been around since 1977 when the first international competition in Wheelchair Dance Sport took place in Sweden. The first World Championships took place in Japan in 1998, the same year that Wheelchair Dance Sport became an International Paralympic Championship sport, though it is not currently part of the Paralympic program.

So whether you want to learn to dance for a wedding, special event or parties, to compete, or for pure pleasure, if you have the desire to dance, go ahead and live your dream.

Resources
American DanceWheels (includes video clip)
http://www.americandancewheels.com

Atrium Dance Studio
http://www.atriumdance.com/DanceLessons/AdaptiveBallroom.php

International Paralympic Committee
http://www.paralympic.org/release/Summer_Sports/Wheelchair_Dance_Sport/

Wheelchair Dance Sport USA
http://www.wheelchairdancesportusa.org

One Woman's Mission to Include Performers With Disabilities in Film and Television

Mon, 14 Apr 2008 16:42:00 GMT

The moment you start talking with film, television and theatre actress Diana Elizabeth Jordan, her positive spirit is infectious. She makes you a believer that good things are happening all the time.

"If you believe in something, everything is possible. Look at how far performers with disabilities have come. We've come a long way, but we still have a long way to go," Jordan says, "but I don't look back. You can choose to sit around and be frustrated, but I choose to focus on where we need to go. That's what motivates me."

In fact, Jordan has been motivated to reach her dreams her entire life. Born with cerebral palsy, she had a love of acting since childhood. After earning a bachelor's degree in Theatre and Media Arts from the University of Kansas, she began her acting career in Chicago where theatre offered opportunity. Her love of the theatre grew.

"I never wanted to sit around and say 'What if? What if I had gone to Los Angeles?' Life is not about regrets. So, I applied to the California State University at Long Beach to further my education and have another tool so I could teach while being closer to Los Angeles," Jordan explains humbly, "I was accepted into the program."

She not only was accepted, but she made history when she became the first actor with a disability to obtain a Masters of Fine Arts degree at Long Beach.

In 1999, she accepted a position at Performing Arts Studio West, which provides professional hands-on training, career management, and on location support for performers with disabilities.

"Diana has worked with us for nine years. She was extremely important in the very early stages of what we were creating," says John Paizis, Performing Arts Studio West Founder and Director. "As an acting instructor and on-set coach, she provides a tremendous amount of insight as she understands the challenges and helps performers work through them. She has been instrumental in getting our actors prepared."

While she sees her work as part of a team effort, Jordan has probably helped hundreds of students who have taken classes at Performing Arts Studio West over the years. But, her own dreams continue as she's performed on the WB's 7th Heaven, in several independent films, and on stage in many productions including The Glass Menagerie at the Steppenwolf Theatre.

Jordan has had an especially warm relationship with the critically acclaimed Cornerstone Theater in Los Angeles as she prepares to perform in her fourth show with the company.

"Cornerstone is dedicated to diversity. I performed in my first show with them while I was in graduate school. I'll never forget that call," Jordan remembers. "They worked around my graduation and finals schedule. They were very generous."

Jordan is now rehearsing for another Cornerstone show that features characters with disabilities.

"Playwright Julie Marie Myatt wrote a part with me in mind for 'Someday.' An ensemble piece, it's about a single woman with cerebral palsy who fights to adopt an abandoned baby, while a middle-class couple struggles to conceive. It's a universal story and Julie understands that. The fact that a playwright thought enough of me to develop something with me in mind is amazing," Jordan credits. "The majority of the stories in the disabled community are also stories that are universal. We get married and divorced; we have hopes and dreams; we have children; we deal with families; and we live life. My disability is a part of who I am, but it doesn't define me."

In writing the part of a woman with disabilities, Myatt embraced the character's added dimensions as she conducted research for the play.

"Upon meeting Diana in the Cornerstone interviews, I found her honesty about her life and desires for motherhood very engaging and compelling. I was moved. And, I feel motherhood and disability are so rarely talked about in the conversation about reproductive rights. It is certainly, rarely if ever, talked about on stage. It's high time to talk about it," Myatt reinforces. "Diana brings the same depth and honesty in talking about her own life to her acting, and I felt I wanted that lovely quality and voice at the heart of this play."

As a member of the Screen Actors Guild Performers With Disabilities Committee, Jordan envisions an inclusive environment in the entertainment industry.

"I want to create opportunities for other performers with disabilities. We need to see diversity. We need to see people who are wheelchair users. We need to see people with cerebral palsy and people with Down syndrome. I want our voices to be heard," Jordan emphasizes. "This is about authenticity and equal opportunity. The doors are starting to open and Hollywood is slowly changing. We do have great success stories. Actor Robert David Hall is a great example. On 'CSI,' his character is part of society, he's a coroner, while the disability is just incidental."

Jordan makes a point to find acting opportunities. She is currently appearing in an original series for the Internet "Hollywood Acting Class," created by John Walcutt, produced by Fabiola Prieto, and executive produced by K.J. Bowling. She appears in the upcoming film Rule of Three, written by Rhoda and Eric Shapiro, directed by Eric Shapiro, and scheduled to premiere at Fangoria's Weekend of Horrors at the LA Convention Center April 25 - 27. She also performs in the soon-to-be-released film The Young and Evil, written and directed by Julian Breece.

Throughout her life, Jordan has used her enviable ability to set goals and achieve them. Of course, every time she reaches a goal, she sets the next bar higher.

"I would love to make a living as an actress and teach night classes. My long-term goals are to work in more film and television projects. Theatre is a great avenue as it offers opportunity to create a recognition of our universal talents and abilities," Jordan notes, "but I believe there's more change ahead. I'm a positive thinker who is very blessed and I find a way to focus on my blessings each and every day. But, this is a team effort and our work has just begun."

For more information on Diana Elizabeth Jordan, visit www.DianaElizabethJordan.com.

To view the online series "Hollywood Acting Class," visit www.tooniceguysproductions.com/hollywoodactingclass. Jordan appears in episodes 1, 5, 6 and 10.

For information on Performing Arts Studio West, visit www.PAStudioWest.com.

Someday will be performed at The Bootleg Theater, 2220 Beverly Boulevard, Los Angeles, from May 29 – June 22, 2008. For more information, visit www.CornerstoneTheater.org.com.

Fangoria's Weekend of Horrors at the Los Angeles Convention Center will be held April 25 - 27, for more information visit, www.www.fangoria.com.

To read about other Performers with Disabilities, visit www.PerformersWithDisabilities.com.

University Showcases Artwork Expressing Values of Deaf Culture

Wed, 09 Apr 2008 21:29:00 GMT

Through April 17, 2008, Lamar University in Texas will showcase an innovative art exhibit called “Deaf Artists in the Community and Schools” that was five years in the making. The 40 pieces of art showcased range from realistic to abstract and express certain elements of deaf culture, including sign language, the joys of deaf bonding, communication breakdowns, the discovery of language, community, and the history of deaf people. Paintings, graphic art, and even wooden gourds are among the pieces.

At a panel discussion about the project, Jean Andrews, professor of deaf studies and deaf education at Lamar University said, “Artists typically work in isolation. This exhibit provides a forum for deaf artists to discuss their work with each other as well as discuss deaf art with an audience from the university and local community, including the deaf community. It will also involve K-12 students—both deaf and hearing—viewing the work.”

That’s right, even the American Sign Language (ASL)-impaired can enjoy all of the elements included in the series. Lamar interpreter-coordinator Brenda Mendoza has worked hard to ensure that each element of this truly collaborative project leaves no interested person behind.

Visitors can watch, listen, read text, or see ASL so that everyone is accommodated. Each panelist is projected on a screen so everyone can see them signing. Voice interpreters will interpret signing into spoken language for the hearing/speaking community, and a screen will provide a closed captioning-type experience.

The panel discussion is one of three components of the Deaf Artists in the Community and Schools project. Another part of the project is presentations during which the artists involved discuss their works with the varied members of the audience. This is intended to give the public the chance to learn and ask questions about what it’s like to be a deaf artist using visual art to share an experience with the world. DVD production is the third component, and perhaps has the most far-reaching educational implications of all of the showcase’s elements.

“We’re going to videotape the panel discussion, and our artists are also going to talk about their work in interviews with us,” Andrews said. The footage will be edited into a documentary that includes the exhibits and speeches. The resulting DVD will then be shared, at no charge, with 60 schools for the deaf and 1,000 mainstream programs for their art education curriculum. Following the exhibition, the organizers also hope to share some professional writing about the exhibit to add to the world’s understanding of deaf artists.

The exhibit is presented in part thanks to a $9,000 grant from the National Endowment for the Arts (NEA), along with money from Lamar University (Beaumont, TX). Andrews, along with Lamar University’s Dishman Art Museum Director, Lynne Lokensgard, say they applied for the NEA grant the first time two years ago and have been rejected twice before this most recent success.

Lamar University will present “Deaf Artists in the Community and Schools” in the lower gallery of the Dishman Art Museum. Admission is free. For more information please call (409) 880-8141.

Exploring Lincoln Center

Thu, 03 Apr 2008 17:23:00 GMT

Two years ago my sister-in-law bought tickets to the New York Philharmonic. My family would enjoy a night of beautiful music at Lincoln Center. She had called ahead to establish that we needed accessible seating. The box office staff said this wouldn’t be a problem. More on that later.

Lincoln Center for the Performing Arts, Inc. was incorporated in 1956. In 1959 President Dwight D. Eisenhower broke ground for the first building, Avery Fisher Hall (originally called Philharmonic Hall). Since then, eight more buildings have been erected. The campus is now home to 12 performing arts-related organizations.

From the beginning, wheelchair seating and accessible restrooms were part of the architectural plans. But, it’s interesting to note that it wasn’t until 1985 that the Department of Program and Services for People with Disabilities was established.

Since its inception, the department has encouraged people with disabilities to become involved in the Center’s activities. Staff members get intensive sensitivity training, and strive to find new ways to make services and performances accessible. An outreach program keeps the community aware of services offered. Another program brings performances to hospitals and nursing homes. A third offers children the opportunity to attend performances and meet artists of varying ilk.

Despite all these efforts, I had a problem inside Avery Fisher Hall. My family and I were escorted to seats we were told were wheelchair friendly. This turned out to mean that I could either sit in my wheelchair in an empty space some distance away, or transfer into a seat and have my chair taken outside the auditorium. I transferred and pulled my chair next to me in the aisle. A heated argument ensued. I was told I was creating a fire hazard. I explained that, in the event of an emergency, I needed my chair near me. Would staff members think to bring it while other patrons were rushing out? Security officers threatened to remove me.

Finally, during intermission, one bright young man removed a seat at the end of the aisle my family occupied. I was now able to park next to my mother. After the show, staff members apologized, explaining that they were new and no one had informed them of the removable seat.

I suspect my incident was a rarity. I’ve since spoken to the director of the Department of Program and Services for People with Disabilities, Bobbi Wailes, who profusely apologized for my troubles. I’ve learned that most auditoriums have the ADA prescribed number of removable seats (Alice Tully Hall is currently undergoing reconstruction and the New York State Theater has an empty space for wheelchairs in the orchestra section). For every performance, large-print and Braille programs are available. And, assistive listening devices are available throughout the campus. For people who wish a tour of Lincoln Center, sign language interpreters and a map of the campus, in Braille, are available.

A visit to Lincoln Center should be on everyone’s to-do list. Check out the Web site here.

To order tickets, contact the box office (www.lincolncenter.org or 212-875-5030). For best results, confirm reservations the day before. Mention your seat number, so the staff can be notified if a seat removal is needed. Then log onto the website. Check for construction details, because the Center is undergoing a major renovation.

Never Say Never

Fri, 15 Feb 2008 18:41:00 GMT

Energetic song and dance man Ben Vereen has been a busy man of late. After completing a role in Wicked and his show Vereen Sings the Music of Sammy Davis, the talented 59-year-old dashed to Chicago in May to portray a homeless person in the upcoming comedy Tapioca. His lightning-charged lifestyle lies in stark contrast to a horrific time 14 years ago when Vereen fell victim to the adage “Bad things happen in threes.”

On June 9, 1992, Vereen had a very unlucky day. First, he crashed into a tree while driving along the Pacific Coast Highway, striking his head on the roof of his car. As Vereen tells it, “I was in my car and a tree ran out and hit me.” A short while later in Malibu, Vereen had a stroke as a result of that blow. The stroke disoriented him and he stumbled into the road and was hit by a van. His injuries were so severe that some doctors predicted he would never walk again. But this legendary superstar of movies, television and the Broadway stage was not one to let this life-threatening crisis keep him down. Just 10 months later, he was already back on Broadway performing in Jelly's Last Jam.

Vereen gives credit for his quick recovery in large part to the great outpouring of love from his fans, friends and family as well as the care from his nurses, doctors, aides and therapists. But equally important was his deep spirituality and belief that recovery was his own responsibility.

“As I lay there immobile, a formerly active person unable to move my body, feed myself or walk, I never thought about the fact that I 'could never' again. I realized the situation, but then my thought was, 'This is temporary — I can.' Not I can, but that the divine power within me can, if I get out of the way.”

Physically, Vereen had a lot of recovery work to do. He had suffered head and internal injuries and a broken leg, right side paralysis and a temporary loss of speech. Mentally, the performer had to reach deep within himself to gain the strength that would help him heal. But first, he had to accept what happened.

“I was in a place where I said, if I never dance again, if I don't come back fully, then I have to be okay with it and find what the blessing is inside here,” he recalled in a recent interview. “I had to come to an agreement with the universe — okay, you put me here, so let's go. Then I do the work from here. I don't give up, I don't lay back. I bless it.”
Vereen worked hard with therapists daily, and had acupuncture and rolfing (intense massage therapy) three times a week. “The idea of rolfing was so I could feel the pain,” he says. “If I felt the pain, oh man, I knew it was comin' back.”

And when the therapists left for the day, Vereen kept working. “I knew it was my job to work on what they had given me on the inside, to project and visualize it going to the outside of me.” He even would talk to his paralyzed right side each night. “I'd love that side, and tell it, 'You know what to do — I love you, I love you, I love you. I'm here for you.' I had to constantly talk to my body like that.”

Vereen's faith in himself no doubt arose from his humble beginning. He was born in Brooklyn to mother Pauline, a maid and wardrobe mistress, and father James, a factory worker. As a young boy, he loved performing in local churches and choirs. He wanted to dance, too, so he enrolled in New York's High School of the Performing Arts and Emerson College.

His talents were noticed immediately and, at age 18, he made his off-off Broadway stage debut in The Prodigal Son. In the '70s, he played Judas in Jesus Christ Superstar resulting in a Tony nomination. In 1972, Vereen was nominated for best supporting or featured actor in Jesus Christ Superstar. By 1973, he'd won the Tony Award as best actor in Pippin. His credits include I'm Not Rappaport, Sweet Charity, Hair, and Chicago. He played Chicken George in the television miniseries Roots and his film credits include All That Jazz and Funny Lady.

For Vereen, the debilitating stroke was just a temporary setback that only made him more firm in his spirituality and his belief in the healing love of others. “Prayers came in from all over the nation while I lay in the hospital bed, and the outpouring of love was amazing. I had no idea I had touched so many people in my life. It was then I realized I had a responsibility to respond — to tell my body, 'I'm all right, I can do this.'”

Ten months later, Vereen says his greatest triumph was walking down the ramp in Jelly's Last Jam on Broadway and giving back to the audience who had prayed for him. “That's why I go through life giving. Everything comes back.”

Reprinted with permission from the National Stroke Association

All the World is an Accessible Stage

Fri, 15 Feb 2008 18:35:00 GMT

The lights go dim and the spotlight is pointed stage left. There you are; rolling out just about to utter your first line. Think this couldn’t be you? Think again. People with physical, hearing, and visual impairments are slowly becoming accepted into the world of theater. Workshops and classes are sprouting up all over the country to help actors with disabilities develop their acting and singing skills. With adaptations and an open-mind, you could be just as talented as any Broadway star. And other than gaining notoriety, theater is also a great way to build self-confidence, meet new people, and develop your social skills.

Act I: Beginners
If you’re a person with a physical disability and are interested in getting involved in theater, whether it be recreationally or professionally, research local theaters in your city to see which of them are accessible. Getting cast in a local play is a great way to jump head-first into this exciting art form. Many local theaters don’t expect you to have any theatrical experience. And as long as you go in with a desire to learn, more times than not, directors will give you a chance. Don’t expect to get cast for the lead role. Start small and just be happy to get a part as an extra or a behind the scenes role. Watch others as you begin to fine-tune your acting skills.

If you want to get more serious about developing your skills, try to find a school or theater in your area that offers workshops or classes on singing and acting skills. The National Theatre Workshop of the Handicapped in Belfast, ME, http://www.ntwh.org/index.html, is a theater and school that is exclusively for actors with physical disabilities and teaches them techniques to overcome their disability. Yes these theaters do exist! The following list is of other theaters that specifically cater to disabled actors. There are about two-dozen theater companies in the United States alone that exclusively feature disabled actors. These theaters usually provide training as well: US and International Theatre Companies with Performers with Disabilities - http://nadc.ucla.edu/theatre1.html

Act II: Auditioning Tips
The Express Theater Northwest, a theater for disabled performers in the northwestern part of the United States, gives some helpful hints on auditioning for disabled performers. Here are some tips that you could apply to your first or even one hundredth audition:

One of the best things you can do for yourself is read the script ahead of time. Many theaters actually loan out copies for this very purpose. If you use a wheelchair, don’t let plays dissuade you if the character you’re auditioning for doesn’t use a wheelchair. There are many open-minded directors our there who want to make their plays more diverse.
Wear something appropriate to the feel of the story. That does not mean to wear a costume. However, if you’re a woman auditioning for a part in To Kill a Mockingbird, wearing a dress or skirt would be appropriate for the timeframe of the play. This will allow the director to better visualize you in the role.
If you are “called back” to a second audition, wear the same clothes you wore previously. This helps the director remember who you are and why she wanted to see you again.
If the audition notice calls for you to prepare a monologue, pay close attention to the time limit. Watching yourself in the mirror is a great method of critiquing your own performance.
Project your voice. You don’t have to yell, but you do have to make sure that you can be heard in the back of the auditorium. This is not the time to be timid!
Finally, make definite choices with your character. If you are reading a sentimental scene with another person, you might choose to put your hand on his shoulder when you speak. There are a million things you could do in a given scene, pick one of them, and follow through with it.

Act III: Deaf and Blind Theater
Actors with visual or hearing disabilities are also highly involved in theater. For actors with hearing disabilities, there are deaf theater companies such as the National Theater of the Deaf, http://www.ntd.org, which is based in Hartford, CT, and Amaryllis Theater Company, http://www.amaryllis-theater.com/index.htm, which is based in Philadelphia and specializes in translating classic plays like Shakespeare into ASL. Deaf theater actors use a technique when singing is required called sign singing.

Sign singing is translating the lyrics of songs into ASL. It’s called “visual poetry” and deaf actors gracefully sign the song by putting emotion into the movements. A sign singing group called Hands in Harmony offers deaf actors the chance to learn this beautiful skill. Deaf actors use signing to say their lines as well as using universal gestures and movements during the rest of the play. You can visit the sign singing website to learn more about the craft and learn how to get involved at the following link: Hands in Harmony-http://www.handsinharmonywy.com/about_us.html

Blind actors also have theater companies that exclusively showcase visually impaired actors. Theater By The Blind in NYC, http://www.tbtb.org/, is just one of these theaters.

Being disabled can sometimes feel like a limitation when it comes to dabbling in art forms like theater. But those with disabilities should let go of other people’s misconceptions about them and let their souls shine. Be brave, prepare you monologue, and go out and audition. You’ll have fun and maybe meet some new friends along the way.

Tiffiny Carlson is a C6 quad and a freelance writer residing Minneapolis, Minn.

Dance Your Heart Out

Fri, 15 Feb 2008 18:27:00 GMT

Dancing has become popular among all types of disability groups. It is easy to learn basic dance techniques, whether you have a mobility, hearing, or vision impairment.

Dancing from your wheelchair
Dancing from a wheelchair might seem impossible to some, but whoever said you have to use your feet to be able to dance? In the professional ranks of the wheelchair dancing world, there are a plethora of techniques and rules when learning the how-to’s of wheelchair dance. Professional wheelchair dance, a sport featured in the Paralympics, has several dance categories: Combi dance (a partner dance with one partner in a wheelchair and the other able-bodied); DUO dance (partner dance with both partners in wheelchairs), Group dance (a group of more than two wheelchair dancers with or without non-disabled partners), and Single dance (a wheelchair-user dances alone).

The partners do traditional dances such as the Waltz, Tango, Vienna Waltz, Samba, and many others. Organized recreational mixed-ability dance troupes also perform square dancing, ballet, line-dancing, hip-hop, and jazz.

How do they do it? Well, it involves a lot of imagination and hard work.

• Spinning the wheelchair in timed circles with the beat of the music is a common move you’ll see these dancers perform.
• Pushing the chair in different movements, weaving at times, is also a common move.
• A more obvious way to dance from your wheelchair is by using your upper body. There are thousands of dance moves professional and recreational wheelchair dancers can perform by using their upper body.
• Watch what other dancers are doing and try it yourself. You never know, you might just be able to pull it off.
• Music along with movements is very important in competitive wheelchair dancing. Just like in “regular” dancing the couple should be two as one. The emotion and interpretation of the music should be shown in the movement of the dancers.
• And lastly, professional wheelchair dancers can perform the same dances as “normal” dancers. Let your wheels become your legs.

And to really shine on the dance floor, make sure you lose any self doubts or feelings of self-consciousness you may have lingering in your head. A confident dancer is a beautiful dancer.
”I think of my chair when I'm dancing kind of like ice skaters think of their skates. It's an accessory for me to use, to glide and to do beautiful spins and so for me, it's a beautiful tool to interpret dance,” said Alana Yvonne Smith, a wheelchair dancer.

Dancing without music
Gallaudet University catapulted the sport of “deaf dancing” in 1955 after creating a dance troupe at the school called, The Gallaudet Dance Company. The company consists of 15 dancers who are either deaf or hard of hearing. When many people first hear of deaf dancing they usually do a double-take. The most common response is, “How can they dance if they can’t hear the music?” “Hearing” the music is no requirement at all when it comes to dancing. On the dance company’s website they give a plethora of common-sense ideas for the deaf or hard of hearing individual who wants to learn how to dance.

• Practice is their number one piece of advice. Practicing to the chosen song for your routine, over and over again, enables the deaf dancer to get an inner sense of timing for the song.
• If you have residual hearing, try to pick up cues from the music to help you know where you’re supposed to be in your routine.
• Also, a song with good bass will help deaf dancers “feel” the music.
• And for instructors, counting visually through the steps and creating a sign for each move will also help you teach the routine.

For recreational deaf dancers, look at how the “hearing” dancers are dancing to find the beat of the song. Follow the inner beat and rhythm of the song. Once you get the gist of the song’s beat, dance away and have fun.

Follow your heart, if you can’t follow with your eyes
The blind and those with vision impairments can also join in on the expressiveness and beauty of dance. ”I think blind people may worry that they are doing something odd when they dance, but in this class you don't feel like that, you feel normal. It's great,” says Catherine Chappell, teacher and advocate of mixed ability dance in Auckland, New Zealand.

After the idea of mixed ability dance emerged in Britain and the U.S. in the mid-80s, a dance form called Contact Improvisation emerged. Contact Improvisation is a form of dance that relies on touch between two or more dancers. This style of dance specifically enables blind dancers to develop their sense of space and movement. ”You don't need to see to do it,” says dancer and Royal New Zealand Foundation for the Blind member Rhonda Du Toit. ”All you need is to have balance, feeling and a lot of imagination.”

Other advice for recreational blind dancers:
• Tactile instructions help blind dancers learn the moves.
• If you’re new to dancing, chose to do a partner dance to a slow song or try something upbeat like the Tango or Swing. Having a partner will greatly help you as you learn the moves and it’ll help you to know where you are on the floor.

Dancing is a sport, an art-form, a way of life for some; anyone—no matter their disability—can participate in this centuries old form of expression. Chappell sums up this idea exquisitely: “To me, movement is dance and if people are present in their bodies, expressing themselves through movement, then it’s dance. “

Wheelchair Dance Resources
Wheelchair Dancing Overview: http://www.exploredance.com/wheelchairdanceinvite.html
Wheelchair Dance Sport Rules and Regulations:
http://ed-web3.educ.msu.edu/kin866/spwheelchairdance.htm
Axis Dance Company (a mixed-ability troupe): http://www.axisdance.org/

Deaf Dancing Resources
Dance Techniques from Gallaudet University: http://depts.gallaudet.edu/dance/techniques.html
Common Ground Sign Dance Theatre: http://dspace.dial.pipex.com/common.sign/
Other Disability and Dance Resources
Dance as a Force for Empowerment: http://www.artslynx.org/heal/dance.htm

Tiffiny Carlson is a C6 quad and a freelance writer residing in Minneapolis, Minn.

Breaking in a New Pair of Dancing Shoes

Fri, 15 Feb 2008 18:23:00 GMT

In October of 2008, Kitty Lunn will celebrate 50 years of dancing. She’s done it all: modern, classical ballet, partner, solo, group, starting a dance company, teaching, learning.

When Kitty was in the Washington Ballet at age 15, she agonized over her body. Many professional dancers stand at 5’8” or taller, while Kitty’s head barely scraped the tape measure at 5’2”. Agnes De Mille was an artist and resident where Kitty studied. After Ms. De Mille would teach, she would sit the girls around her and talk to her adoring students. When Kitty expressed her vertical limitations and spoke in measures of bone implants, Ms. De Mille stopped her, took Kitty’s face in her hands and said, “Kitty dear, you have to learn to dance in the body you’re in.”

Fast forward the tape 20 years. Kitty Lunn, while rehearsing for her first Broadway show, fell on a set of icy steps and broke her back. Kitty didn’t know that she wouldn’t walk again until three years and five spinal surgeries later. Finally, after living in the hospital for three years, Kitty was released, only to face her next challenge: one-on-one, in-home physical therapy for five hours a day, five days a week, for five years.

Shaw Bronner, Kitty’s physical therapist, was also a dancer. “Because she was a dancer, we had a common vocabulary.” Kitty was very motivated to work hard in physical therapy and Shaw was equally creative. Never focusing on a list of can or can nots, Shaw modified her dance routines to help Kitty succeed, giving Kitty the ability and confidence to accomplish not just her dance moves, but also the activities of daily living. From her dancer’s perspective, Kitty’s wheelchair became a tool to enhance her abilities and gain independence, rather than a negative reflection of what she couldn’t do. “When I was able to go get the mail by myself, I knew I’d be able to eventually get outside. It was like a light bulb went off and I knew, I can do this.”

Kitty admits that she had some “seriously down days.” But her support team was unflappable, her dancer’s spirit continued to be nurtured by Shaw, her psychotherapist helped her work her way through a tangle of emotions, and most importantly, she had an unflagging, supportive partner in husband Andrew. Kitty and Andrew had met one month prior to her accident and were married only months after she left the hospital. “Our courtship took place almost entirely inside the hospital,” laughs Lunn. Andrew, an actor, saw Kitty’s distress at losing her identity as a dancer and spoke frankly to her: “If you want to dance, what’s stopping you?”

Andrew’s words struck a chord and off went light bulb number two: Kitty realized that the only thing stopping her was her own fear of the unknown and of failure. Kitty set a target date for herself to get back into a mainstream dance class. Shaw and Kitty’s psychotherapist worked with her to get mind, body, and spirit prepared, while Kitty dealt with her mixed emotions of fear and excitement.

Finally, she was ready, or at least ready to try – she had given herself permission to leave the dance class and try again if it was proving difficult. And in fact, when she walked into the dance studio, she was incredibly self-conscious about the stares she garnered, “like I had sprouted two heads.” But in she rolled. She was immediately encouraged when dancers Paloma Herrera and Vladimir Malakhov made room for her at the barre. “That’s when I knew I’d be okay. I could figure out how to transpose what I knew about classic ballet and modern dance to work for me in a chair. And if I could, I could teach others as well.”

Shortly thereafter, in 1995, Kitty founded Infinity Dance Theater, a non-traditional dance company that welcomes everyone, regardless of age or ability. Since its founding, Infinity has and its dance troup has toured the world, changing people’s perspective of what dance means.

Kitty’s progress was not without the occasional hitch, however. For example, after a short while she found that the chair she was using was hindering her movement. Undaunted, she and Andrew developed a plan to remedy the problem. She would rent a studio to practice privately, while Andrew would lie on his stomach to watch the pattern of the wheelchair’s movement. Kitty would comment on what wasn’t working and Andrew would note where the problems seemed to occur. Based on their notes, Andrew then developed a lightweight chair made specifically for Kitty to dance in. Explains Kitty, “Over the last 20 years, we’ve figured it out. It’s rare to find a married couple together twenty-four-seven, but we work very well together. I couldn’t do half of what I do without all that he does.”

Today, Kitty teaches classes in which there is a mixture of abilities: some students are in power chairs, some in manual chairs, some on leg braces, and others able-bodied. “Whether I work with children who were born with a disability, young adults, or older students—we’ve all learned that dancing doesn’t have as much to do with legs as it does with the soul and the spirit.” Talking about a student she had four years ago whose disability was so severe that she could only blink her eyes, Kitty pointed out “Everyone participates at their full potential. If you can only blink your eyes, then you’d better do that the best that you can.” This student participated on stage with a group of students who covered the spectrum of ability. “It’s so profound to watch young people experience motion and movement in a way they never thought possible. I’ve learned more about joy and focus from my students than I could have ever known on my own.”

Kitty describes dancing in a wheelchair as akin to dancing in different shoes. Dancers use tap and point shoes to achieve different expressions; in Kitty’s class, rubber wheels are just another vehicle in which to convey emotion with movement of the body. Kitty taught a dance class at an elementary school in which the special education students were kept separate from the rest of the students. When Kitty brought them together in her class, she witnessed a remarkable thing: “The kids broke down stereotypes and started playing on the playground together. Once they had an opportunity, they learned from each other and made friends.”

Kitty found it difficult to give advice for people just recovering from a disabling accident, because she feels that “disability is not a one-size-fits-all, like tube socks. It’s all personal and unique. If you’ve made the choice to live, you need to have faith that the sum total of who you are hasn’t been injured. Each day we have the opportunity to put into practice what we learned yesterday. It takes an adjustment to surrender to our right to be offended by our own perfections. Whatever it is that you do or want to do, today is a good day to start again.

“That’s all I know.”