Petra Kuppers reflects on her work in the crip/mad archive, which explores the work of mad, queer, and disabled predecessors in the fields of dance and performance. Kuppers consider how her personal relationship to therapeutic dance has changed (particularly therapeutic practices led by nondisabled artists such as Anne Wilson Wangh) and the importance of movement and embodiment in Kuppers’s own work—including a close description of ritual dance reenactments she conducted alongside her archival work at Lincoln Center in New York in 2021.
Anne Wilson Wangh, Raimund Hoghe, Homer Avila, Vincent Van Gogh, disabled dance, disability aesthetics, dance therapy, mad aesthetics, bodymind, bodymindspirit, Touchdown Dance, crip, mad
The text of this article is only available as a PDF.
© 2022 by David Geffen School of Drama at Yale/Yale Repertory Theatre