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Tuesday, June 28, 2011

Call For Editor: Disability Studies Quarterly (DSQ)

Please disseminate widely
Disability Studies Quarterly

June 2011

Disability Studies Quarterly (DSQ) is the publication of the Society for
Disability Studies (SDS) and the flagship journal of disability studies
scholarship. It is a multidisciplinary and international journal of interest
to social scientists, scholars in the humanities and arts, disability rights
advocates, and others concerned with the issues of people with disabilities.
It represents the full range of methods, epistemologies, perspectives, and
content that the field of disability studies embraces. DSQ is committed to
developing theoretical and practical knowledge about disability and to
promoting the full and equal participation of persons with disabilities in
society. DSQ is published in an online, open access format and is hosted by
The Ohio State University Libraries as part of a Knowledge Bank initiative.

SDS now seeks to appoint a new Editor or Editors to replace the current
team, which will complete their term on June 30, 2012. The new Editor(s)
will work with SDS and the DSQ Editorial Board. They will closely
collaborate with The Ohio State University Libraries team, which publishes
the journal.

Responsibilities include:
* Overseeing and ensuring the timely delivery of the journal in 4 issues per
* Collaborating with the publication team at The OSU Libraries
* Chairing and leading the work of Editorial Board;
* Recruiting, managing, and editing manuscripts
* Liaising with authors and reviewers over the peer review of manuscripts
and making decisions on manuscripts;
* Appointing and liaising with Review or special section editors;
* Liaising with representatives of SDS;
* Representing DSQ at conferences and other events as appropriate.
A $5000 annual payment is available to assist with the administration and
expenses associated with the post.

Qualifications: Applicants should possess: project management skills and the
ability to meet deadlines; previous publishing and editorial experience; the
ability to recruit quality manuscripts; excellent organizational,
networking, and communication skills; and the ability to work as part of a
creative and dynamic, and multidisciplinary editorial and publishing team.
Comfort with online information management systems and collaborating
remotely is essential. SDS especially welcomes editorial teams comprised of
members with expertise in varied disciplines within disability studies to
Applicants should send a letter of application describing the
qualifications, administrative resources, and ideas they bring to the post.
Please attach curriculum vitae for all applicants.
The closing date for applications is September 15, 2011. The appointment
will be made by SDS, in consultation with a search committee and the
journal¹s Editorial Board. The new editors will be announced in December
2011. They should plan to travel to The OSU for an orientation to The OSU
Libraries Team before responsibilities commence in July 2012.
Applications and questions can be directed to the Chair of the Search
Susan Baglieri

Email (preferred):

Phone: 718.488.1387

Fax: 718.488.3472

Long Island University- Brooklyn Campus
School of Education
1 University Plaza
Brooklyn, NY

The Critical Importance Of AXIS Dance Company On 'So You Think You Can Dance'

Oakland's AXIS Dance Company () performs on So You Think You Can Dance this Thursday! Details:

In the 1980's, when I was more ambulatory than I am today, I met a humanities professor at a local chess club in downtown Montreal.  He was intrigued by my disability because I walked with a scissor-gait, aided by two wooden canes.  I told him that I was born with cerebral palsy.  After some initial discussion,  I recall that he pulled out a lined sheet of paper from his jacket and a short pencil.  He began writing a one-page essay which argued that the physically disabled were not part of the Pepsi generation. (This was when Michael Jackson was at the height of his musical popularity and shilling for that soft-drink company.)

Through the years that followed, his argument has always resonated with me because music videos—and dance shows—have largely excluded the physically disabled.  'So You Think You Can Dance', to its credit,  has featured, in past seasons, a few physically disabled contestants performing dance routines during auditions—and their efforts have elicited standing ovations, genuine praise from the judges, and even some tears of joy.  But these contestants never advanced beyond the tryouts because the 'SYTYCD' dance routines were considered too demanding and inappropriate for dancers with physical limitations.  But the real reason for their rejection, I suspect, is that the show's producers believed that their TV audience wasn't ready for such a spectacle, and they feared a major loss of ratings.

Heather Anne Mills, an amputee and ex-wife of rock star Paul McCartney, ably performed as a contestant on 'Dancing with the Stars' in 2007, but her prosthetic leg was always covered by a long gown, if memory serves.

AXIS is a professional, physically-integrated dance company featuring dancers with and without physical disabilities.  The time has come for the television audience to see beyond physical limitation and appreciate artistry.  Please watch AXIS Dance Company perform on Thursday's 'So You Think You Can Dance' results show.

Sunday, June 19, 2011

Andrew Latimer of Progressive Rock Band Camel Recovering From Illness(From Wikipedia)

Andrew Latimer

From Wikipedia, the free encyclopedia
Andy Latimer
Background information
Birth name Andrew Latimer
Born 17 May 1947 (age 64)
Origin Guildford, Surrey, England
Genres Progressive rock, Symphonic rock, Canterbury scene
Occupations Guitarist
Instruments Guitar
Transverse flute
Pan flute
Drum Machine
Years active 1964–present
Labels MCA Records
Camel Productions
Decca Records
Associated acts Camel
Andrew Latimer (17 May 1947, Guildford, Surrey) is an English musician and one of the original members of the progressive rock band Camel. He is mainly a guitarist and singer, but also a flautist and keyboardist.[1]
Latimer's guitar playing style is melodic, elegant and emotional. He is considered a magnificent composer, fine occasional lyricist and an emotionally effective singer by newspaper veteran Mark Challinor.[says who?] He and his band Camel have been overshadowed by the popular progressive rock bands of his period.[when?][citation needed] He has been cited as a major influence by Marillion guitarist Steve Rothery.
Latimer's most common guitar of choice is a Gibson Les Paul, but he is also known for playing Fender Stratocasters and other guitars. From the 1990s onward, he also played a Burny Super Grade, an 80s copy of the Gibson Les Paul Model. The amplifiers he uses range from Fender, Vox, and Marshall.
He established a music production named Camel Productions which released Camel's new albums: Dust And Dreams (1991), Harbour of Tears (1996), Rajaz (1999) and A Nod and a Wink (2002).
In May 2007, Susan Hoover, Andrew's wife, announced through the Camel Productions website[2] and newsletter that Andrew Latimer had suffered from a progressive blood disorder polycythaemia vera since 1992, which had later progressed to myelofibrosis. This was part of the reason why Camel ceased extensive touring.
In late 2007, Andrew underwent a bone marrow transplant. As of September 2008, he was back home and finally recovering his strength, even considering the possibility of a smaller-scale tour in the future.[3]
The latest news regarding Andrew Latimer comes via a blog from David Minasian,[4] who has directed several Camel video productions over the years. Minasian released a new album, Random Acts of Beauty, in mid August 2010. Andrew Latimer's health has progressed to the point that he contributed guitar solos and vocals to the album's opening track Masquerade.[5]

Here's "Lady Fantasy" by Camel, featuring an emotional performance by Andrew Latimer on guitar.

Camel - Lady Fantasy 


Saturday, June 18, 2011

Call For Papers — Special Issue: Cripistemologies

Centre for Culture & Disability Studies  

Call for Papers

Special Issue: Cripistemologies
General Issues
Book Reviews
Special Issue: Cripistemologies
Guest Edited by Merri Lisa Johnson and Robert McRuer
“Does having a disability in itself give a person a particular point of view or a less distorted and more complete perspective on certain issues?  No. . . . But I do want to claim that, collectively, we have accumulated a significant body of knowledge, with a different standpoint (or standpoints) from those without disabilities, and that that knowledge, which has been ignored and repressed in non-disabled culture, should be further developed and articulated.”
-Susan Wendell, The Rejected Body: Feminist Philosophical Reflections on Disability
“A queer phenomenology might involve an orientation toward what slips, which allows what slips to pass, in the unknowable length of its duration.  In other words, a queer phenomenology would function as a disorientation device; it would not overcome the disalignment of the horizontal and vertical axis, allowing the oblique to open another angle on the world. . . . Queer would become a matter of how one approaches the object that slips away, a way to inhabit the world at the point at which things fleet.”
-Sara Ahmed, Queer Phenomenology: Orientations, Objects, Others
From foundational statements in feminist disability studies to more recent meditations at the intersection of queer theory and disability studies, the idea of what we might term cripistemology—a theory of knowledge based in crip embodiments, a theory of analysis predicated on crip deconstructions—is poised on the tip of our tongues, called for, yearned for.  What new forms of knowledge might be produced through cripistemology?  What are crip perspectives and phenomenologies, and how might theorists in the humanities come to know differently from a crip perspective?  What epistemological innovations, as well as epistemological problems, arise from cripistemological standpoints?  Following Sara Ahmed—whose work on queer phenomenology bears the implicit imprint of the crip body as it slips or refuses to overcome disalignment, the crip mind as it becomes disoriented and allows the oblique to open another angle on the world—might crip as a critical positionality not also produce new horizons of thought about objects, orientations, and others?
In asserting a crip analytic—one that is as contestatory and playful as the best queer theory—do we risk losing our grip in a tug-of-war with medical authority?  Do identification and disidentification work the same way in crip theory as they do in queer theory and in disability studies more generally?   How do we invoke labels of disorder, illness, and stigma without also making ourselves subject to the structural inequalities that produced them?  How might crip theory avoid becoming ‘respectably crip’ (to redirect a phrase from Jane Ward)—contained, in other words, by neoliberal rhetoric about diversity and corporate multiculturalism? How might attention to cripistemologies forge a path out of the ruts of conservative and liberal ‘options’ for thinking about disability (and about difference in general)?   What are some other routes of thought apart from difference good, difference bad?  What would move us towards a radical reconfiguration of the question beyond the bigoted formulation of difference as despised and the neoliberal formulation of difference as the superficial skin covering everyone’s inherent sameness?
With such questions in mind, the co-editors seek essays that articulate a philosophy of crip epistemologies or phenomenologies, and invite proposals on an array of topics related to the task of defining ‘crip’ as standpoint or horizon, which include (but are not limited to) the following:
  • standpoint, sitpoint, and crippoint theory
  • thinking crip, thinking black
  • crip subjectivities—beyond ‘managing’ the spoiled identity
  • cripping disidentification
  • revealing the intersicktional, or cripping intersectionality
  • cripping the Parsonian sick role
  • cripistemologies of ignorance
  • crip dis/orientations
  • insult and the making of the crip self
  • disabilinormativity and cripping the queer call to defy ‘diversity as usual’
  • crip affect—beyond the binary of crip pride/crip shame
  • crip utopianism, crip nihilism
  • memoirs as named or unnamed sites of cripistemological innovation
  • crip ruralities and rural cripistemologies
Discussions of specific literary and cultural texts are invited, but consonant with the philosophical flavor of this issue, preference will be given to projects that use individual texts as vehicles to address broader cultural debates and theoretical inquiries.  A one-page proposal and a one-page curriculum vitae should be emailed to and by August 1, 2011.  Finalists will be selected by November 1, 2011, and full drafts of articles are due on May 1, 2012.

General Issues
The Journal of Literary & Cultural Disability Studies adopts the MLA referencing system. The extent of an article submission should not exceed 7,000 words, including an abstract of no more than 200 words and a list of works cited. General submissions are always welcome and should be sent directly to the Editor, Dr. David Bolt (  

Book Reviews
The journal reviews books about the literary and cultural representation of impairment and disability, as well as those that represent impairment and disability. The extent of submissions in this category should not exceed 1,500 words. Interested reviewers, publishers, and authors should contact the Book Reviews Editor, Dr. Simone Chess, Department of English, Wayne State University, 5057 Woodward Ave, Detroit, MI 48202 USA - .

Thursday, June 16, 2011

AXIS Takes It Outdoors!

Read on for: OutBound, 'Shaking' from Annika, Board Member & Intern profiles, & AXIS on Tour!
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June 2011
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AXIS Takes It Outdoors!

AXIS is taking it outdoors this summer as we present two works in OutBound, our first everLuizaSilva8296_web Outdoor Performance Season!  And why would we want to perform outdoors on concrete, grass and at the whim of the elements? For one, works that we create for stage are impossible to replicate on hard surfaces, so designing site-specific outdoor work is new terrain and stretches us as artists. Also, our work gets exposed to large numbers of people that have never seen AXIS before, or anything like us for that matter. These performances will be free to the public and are AXIS’ opportunity to give back to the community. OutBound adds something new and different to our season.
Don’t miss find way to fall II at Yerba Buena Gardens Festival on Saturday June 25th from 1-3pm. Choreographed by SonsherĂ©e Giles, this work is made in the garden and features AXIS dancers with 30 dancers from our fabulous AXIS community. Live music will be composed and performed by Caroline Penwarden and Jennifer Harper.  This piece was a hit at last year’s festival and you will want to be there!
You’ll have four opportunities to catch our second outdoor work The Dislocation Express that brings AXIS and artists from Dandelion Dancetheater together. Directed by Eric Kupers with a script and songs by Kimiko Guthrie, this extravaganza looks at questions of fate vs. randomness, the possibility of love at first sight, obsession and longing, and the role of social media in our present-day lives. Catch a ride with us at BART stations throughout the Bay Area.  Details below!

by Judy Smith

Save These Dates - See AXIS Live! 

find way to fall II
Sat. June 25th, 1-3pm, FREE
As part of the Yerba Buena Gardens Festival on the Esplanade
Meet & Greet at Jillians at the Metreon - Join Dancers and Community Members for this post performance no host drinks meet & greet. 101 4th St., San Francisco, CA 94103 at 3:15pm.
** Make a Day of It! Scroll down to see the other shows AXIS recommends on this same day.

The Dislocation Express
AXIS Dance Company with Dandelion Dancetheater
July 24, 27, 29, 30 at 6pm, FREE
All performances begin at the Ed Roberts Campus (connected to the Ashby BART Station) in Berkeley and then performers lead the audience to a new location via BART trains. For up to date information visit our Performance Page.
AXIS 2011 Home Season Performance
Fri. & Sat. Oct. 7 & 8, 8pm
Sun. Oct. 9, 2pm
Malonga Casquelourd Center, Oakland, CA
See the world premiere of Full of Words created for AXIS by UK-based Choreographer Marc Brew.

Popping & Shaking
by Annika Nonhebel

interaction with children_Ilona_Sturm It rarely happens that we get to perform our youth assembly program for a predominantly adult audience, but last Friday during AXIS’ Open Rehearsal and Silent Auction we did. And it was so much fun. We wanted to give AXIS’ supporters a look into our youth education program and what better way than by showing some pieces and asking them to participate.  We performed Bounce Back, a piece created by our own Janet Das, which teaches kids about creating dances. During a short skit Janet taught the audience a phrase to dance with us from their seats: “Shoulders up, shoulders up, tilt head right, left, right, wink one eye, wink the other, wave your right hand and say “hello” and wave your left and say “hola.” From the wings I could see all the shoulders popping, the heads shaking and the hands waving. So much fun!

But the highlight of this Education Demonstration was Stone Soup: our way of showing what dance improvisation means. During Stone Soup I invite the dancers on stage to create a connected group shape, I start the music and give them descriptive words to inspire their movement. After I tell the dancers to freeze, it’s time for some volunteers to come on stage and join us. And on this special night we had our teens Alison, Annie and Michelle join us. The girls have been taking dance classes with us for years and it was so much fun to have them dancing with the dancers on stage. Proud moms and radiant young ladies were the result. What else can one wish for?

To learn more about the different components of our education/outreach program visit our website.

Intern Profile: Kristin Rooney

KristinRooneyStarting my summer (or ‘Juneuary’ as Judy refers to it) in the AXIS office has been both a pleasure and a welcomed challenge.  As a dancer, I am grateful for the opportunity to learn about the business of running a dance company and AXIS is a great model.

I have to say, I love the location of the office.  Not glamorous by any means but communal, pleasant and family oriented.  Nearly every person I have passed on Alice Street has given me a smile, a ‘good morning’ or a ‘hello’.  I have seen parents playing with their children on the sidewalk and just yesterday I witnessed the cutest pug I have ever seen running circles of joy around her laughing owner.  I can’t quite put my finger on what it is about Alice Street, but it makes me smile.

Upon entering the office, I am again greeted with warm smiles from the tremendous group of women that work here.  Mollie, Annika, Christy and Judy have welcomed me without reservation and it’s nice to feel like I can be myself in a new environment. Read more on the AXIS Blog...

Donate your Frequent Flyer Miles to AXISDo you have miles built up that you could donate to AXIS? Your miles will help get our dancers on tour, bringing our valuable performance and education programs to communities throughout the US. They'll also
help send our dancers and staff to important professional development opportunities. Contact Mollie McFarland,
Board Profile: Deirdre Spencer

DeirdreSpencerFamily_web I am a graphic designer with special expertise in marketing design for web and print. For several years I worked in house creating websites and marketing collateral for visual effects companies, including the company that won the Oscar for the Matrix Trilogy, before moving on to working for small marketing agencies, where I could use my abilities to help a wider range of clients.

About nine years ago, I started volunteering for the Taproot Foundation, an organization that brings together teams of marketing professionals to create and deliver pro bono designs to meet the marketing needs of worthy non-profit organizations, such as AXIS Dance Company. It was my third Taproot project that brought AXIS into my life. I was asked to volunteer my design skills to develop a brochure promoting their wonderful Dance Access/KIDS! Program, “a unique program that introduces youth of all abilities to the joy of dance  — through education about dance, disability, and creative collaboration.”

I had not yet had the pleasure of seeing AXIS perform, but in pouring through the myriad letters from children bursting with enthusiasm and awe over what they’d experienced in participating in AXIS’ programs, I was very impressed indeed. Working with Judy Smith, AXIS’ Artistic Director, and her dedicated staff was a lovely experience, and some months later when... Read more on the AXIS Blog...

Catch AXIS on Tour!

AXIS at the Ford Amphitheater in Hollywood
Sat Jul 9, 2011, 10 am
AXIS dancers bring our fun Youth performance as part of their Big!World!Fun! Family Series.
Tickets: Full Price $5, Under 12 years - Free. Reservations required. Tickets & Info

Walking Distance Dance Festival, produced by ODC's InnerState Touring Project
Th, Fr, Sat, Aug 11-13, 2011 at 7 & 9pm Join AXIS this fun Festival in Willits, CA. Part of Innerstate Touring.

** AXIS Recommends these Performances at Yerba Buena Gardens on Saturday June 25th: 

San Francisco Ethnic Dance Festival:

Novellus Theater, 2 & 7pm
Dance and Music from 10 Different Cultures from all over the world!

Yerba Buena Forum, 3pm
Solstice Celebration - Featuring four world dance companies with unique opportunities for audience participation.

Yerba Buena Forum, 9:30pm
Dance Party with live music by Makru and  performances by Ballet Pampa Argentina, Navarrette x Kajiyama Dance Theater, Melissa Cruz, and El Tunante. Also a cash bar and complimentary chocolates and desserts.

For more information and tickets visit: or call 415-978-2787

Photo 1: John Spicer, Photo 2: Luiza Silva, Photo 3: Ilona Sturm, Photo 4: Deirdre Spencer, Photo 5: Kristin Rooney
Tel: (510) 625-0110
Fax: (510) 625-0321

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1428 Alice St.
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Oakland, CA 94612
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Wednesday, June 15, 2011

Letter of Thanks From The Family Of Betty Fox

Darrell Fox to me
Dear Samuel:
We wish to thank all those who have sent their love and get well
wishes to Betty Fox following our statement last week that shared that
she is not well.   We were reminded of the love and affection
expressed to Terry over 30 years ago when reading the thoughtful
messages received.   We have shared a number of your emails with Betty
(Mom)which have lifted her spirits and she has been touched by them

Betty remains committed to furthering Terry's dream of eradicating
cancer once and for all and is sincerely thankful to each and every
Marathon of Hope and Terry Fox Foundation supporter for moving cancer
research forward.
With our sincere gratitude,
Rolly, Fred, Darrell and Judi Fox