Hey, Kemi here –
I’m at Theatre Passe Muraille as the Associate Producer, Access. I’m an arts administrator and Theatre artist, my practice is Theatre of Critical Care, my work takes from abolitionist principles in care and disability justice in order to resist formal inclusion.
This blog post will be about my time learning circus in Moh’Kinstsis, and some of the measures and access tools that were provided by the facilitators. I’m hoping from this blog, readers are able to take some space to think about access in a way they have not yet before, and to learn more about the disability rooted work that is happening in the arts.
I just spent a little over a month in Moh’Kinstsis, colloquially (colonially) known as Calgary, Alberta, Treaty 7 Territory participating in a Circus residency led by Erin Ball (ze/zir) and Maxime Beauregard (they/them). The residency was a space created for Deaf and Disabled individuals to learn circus arts, without the pressure of a final performance.
Accessibility, Disability Justice, and Abolition are values that were apparent in the work Erin & Maxime do and the spaces they facilitate. The residency unofficially started with an email expressing all the possible information participants would need for informed participation in the residency. Some items were expected such as the number of individuals participating, details on what the residency is, location, dates, access notes and rates. Additional introductory notes I have not seen commonly used / at all in the past were notes on their ethics and values, content notices on Genocide and the state of the world, as well as their identity-based descriptions.
Self identification was a constant throughout the residency to support low-vision participants, and also served as a reminder for who and where participants were on that day. There were many access points provided such as compensation for participation, snacks, ASL interpretation, stim-toys, harm-reduction materials, “access people”, live captioning, free masks available, and daily rapid testing. Access people were individuals who were in the space to support participants, and our facilitators in what was needed for the day, this involved but was not limited to giving rides (Major s/o to my new bestie Morgan who gave me a ride everyday). The residency was so special, not just for the environment for learning, but in the community that was fostered because of it.
This residency was the second time it occurred in Moh’Kinstsis, and the two of them are hoping to have one inTreaty 13 territory, colloquially (colonially) known as Toronto Ontario in December 2025. For this version, Maxime and Erin dedicated Monday’s to Disabled racialized participants. This dedication was in order to prioritise multiply marginalized individuals as per the learnings from Kimberlé Crenshaw, considering the barriers of an intersectional identity on a person’s access to circus arts. With a smaller group (3-4 of us rather than closer by 10) I was able to receive more 1:1 instruction, and felt that I could take my time with an apparatus. There was never any pressure to complete a sequence, and there was always an offer for some sort of alternative. Circus is hard! But there are some things that are easier, for your body and your needs. There is always an alternative, working with the hard metal structures or the more malleable silks; you could hoop on your arms or your body or even on the floor; you could learn poi* or juggling; you could do beginner acro – either as a fly or a base.
The various options allowed us to try many different styles, or to complete a move with somebody who has more skill or experience. My experience in Moh’Kinstsis was rooted in access and Disability Justice, not just from the residency, but also from the community I have started to build because of it. I attended a few local arts events, one of them being Iconic+ featuring one of the artists in the residency. Still in an experimental stage, the performance offered Deaf Interpretation, stim toys, and integrated closed captioning. I learned so much, and have items that I would want to integrate into my own practice, especially coming into the role as Associate Producer (comma) Access here at TPM. Moving forward, when working with institutions I want to keep these teachings;
Things we can learn from Maxime & Erin
It’s always worth it to take time: There was never any pressure to complete a move or to master an apparatus. Participants were encouraged to do what worked for them, and sometimes that meant turning the silks into a hammock.
Stand firm in your beliefs: Unwavering, every session we started slow, we started with a check in – we made sure everybody came into the space they needed. There were references to the ongoing genocides in the world, there was a video out to their friend Youssef who is a circus artist going through hardships at the moment. There was always care, and a vehement stand in Accessibility, Disability Justice, and Abolition as upheld by Maxime and Erin.
“F- around and find out”: In this case, we’re learning into alternatives that are specific to the body and comfort. Don’t get me wrong, almost all of aerial is uncomfortable – but maybe if your hands are unable to hold you up it can be your elbow or your armpits, maybe your feet if you’re bold enough.
Maybe if you’re bold enough, a true artistic practice rooted in disability justice is possible. There is so much more to learn from Erin and Maxime, as well as from your community and neighbours. I know it’s not only about doing the work, there’s also the fact of the society we live in. But it’s possible, accessible spaces are possible!!!
About Erin and Maxime
🌈 Who we are:
🦿 I am Erin, my pronouns are ze/zir (if you need time to practice you can use my name instead of pronouns). I am a white double below knee amputee, AuDHD human who identifies as Mad, demifemme/agender; I am feminine presenting.
⚠️Content notice: mention of various topics that can be intense
🚂 Part of my past lived experience: I rode freight trains, was unhoused, representation and solidarity is important 💖
🌎I was born on the traditional territory of the Missisaugas of the Ojibway, which is part of the Dish With One Spoon treaty, called Katarokwi or colonially, Kingston, Ontario. I am pretty nomadic these days.
🎪 I have been doing circus for more than 17 years and teaching for more than 14 years. I am mainly an aerialist but I dabble in numerous disciplines. I spent 7 years doing circus as a non-Disabled human (or so I thought!) and it’s now been more than 10 years as a Disabled person. I prioritize accessibility in circus because it’s something we are not typically taught and I hope for more Disabled people to be welcomed into circus arts.
🌻 I am Maxime, my pronouns are they/them, I am a white francophone transgender nonbinary human who experiences chronic pain, chronic fatigue, and tics. I am a joyful Autistic+ person who uses forearm crutches some of the days.
🌱I was born on the traditional territory of the Abenaki/W8banakiak peoples called Wigw8madensisek (colonially, Saint-Hyacinthe, Quebec), but am nomadic now.
🤸 I have been doing circus for more than 3 years and have been fortunate to start learning through a lens of accessibility. I have been a contemporary dancer for more than 8 years, and I also am a drag king! Erin and I are partners both in life and at work; we work in interdependent and complementary ways to bring more access to movement practices and beyond!
📚What we believe in – Ethics & Values:
We both strive to live and work through the action-based principles of Disability Justice created by Sins Invalid and Patty Berne. We believe in Land Back (by Arnell Tailfeathers), Collective Liberation (unknown), operating on Crip Time (by Alison Kafer), Abolition (by W.E.B. Du Bois), Transformative Justice (by Mariame Kaba), and dismantling systems of oppression. It is important to credit and remember/honour lineages of knowledge when possible, especially of marginalized folks. We strive for open communication, addressing conflict as it arises, doing our best, and respecting our access needs.
⚠️Content Notice: Genocide and state of the world
🇸🇩🇨🇩🇵🇸 We acknowledge the duality of multiple genocides and political turmoil occurring while we continue to work and take care of ourselves. We do think it is important to find joy, stay connected to community in addition to taking action for a Free Sudan, Congo, Palestine, Haiti, Tigray, Turtle Island, etc.
End Content Notice.⚠️
Maxime and Erin are raising funds for their friend Youssef in Gaza, donations can be made here if you are able.
You can find Erin @erinballcircus on instagram, Maxime & Erin’s joint account is @intercomplementaryjourneys
Video ID: A video of Kemi and Erin in the studio performing a double cartwheel, this involves Kemi supporting Erin as Erin completes the cartwheel. The two raise their hands up to celebrate at the end. A double cartwheel is a partner acrobatic trick where one person (the base, Kemi in this instance) stands and the second person (the flyer, Erin) performs a cartwheel while being supported by the base”
Picture ID: A group photo with all the participants posing, everyone is wearing face masks. Some individuals are holding circus hula hoops, one individual has a walker, all self descriptions can be found below.
Top row: Morgan, Amìì, Crystal, Ebony, Tiffany, Cece, Kemi
Middle row: Oliver, Jenn, Adora, Maxime
Bottom row: Beethoven, Erin, Gordon
Missing: Kathy
Top Row people self descriptions:
Morgan Roves (they/he) White settler. Trans masculine, Non-Binary. ADHD, dyslexic. Reconstructed ACL and recovering tennis Elbow. Occasional ligament injury/ inflammation. Parent of 4 kids.
Amìì (they/them), A disabled non-binary woman with several leg tattoos, medium length brown hair with bangs, and is a person who uses drugs.
Crystal (they/she). A plus size average height femme human with short brown hair, wears pink glasses and has a lip piercing on the center of their bottom lip. Crystal navigates the world while living with ADHD and multiple mental illnesses.
Ebony Gooden (She/any) Black woman with a tattoo of One Piece on her upper right shoulder. Her current hair style is half cornrow and half single braids sweeping down her back.
Kemi King She/Her. Back femme, queer, Aries. Her Natural hair is short and in twists for the photo, she wears glasses and has two arm tattoos. Kemi is Diabetic, the robot parts can be seen often on her upper arm and hips.
Middle Row, people self descriptions:
Oliver Cormier (they/them) white non-binary autistic being with glasses, curly hair, and many tattoos, who experiences full-body chronic pain, and uses various mobility aids including canes, walkers, and a power chair.
Jenn MacFarlane (she/her) White woman, 5 ft 2, with brown shoulder length hair, nose ring, and tattoos on both upper arms.
Adora (any pronouns). Giant-sized Black African-Carribean, fem-presenting person. Surviving racism, chronic pain, mental, visual and processing disabilities, often with a smile.
Maxime Beauregard (they/them). White trans nonbinary joyful Autistic + human who experiences chronic pain, tics, and sometimes uses forearm crutches.
Bottom Row people self descriptions:
Beethoven (he/him). Comfortable with posting. A tan, 25 year old, stuffed dog who can fit in a cup holder and loves dancing.
Erin, ze/zir, white double below knee amputee, AuDHD, feminine presenting, agender human. Leggies, legs, nubs or nubbies please. (No stumps)