Revisioning aging: Indigenous, crip and queer renderings.

In this article, we re-vision Anishinaabe, crip and queer futures of aging against and beyond dominant successful aging narratives by drawing on our archive of digital/multimedia videos (short documentaries) produced in conjunction with older/e/Elder persons and the Re•Vision: Centre for Art and Social Justice. These documentaries are directed and come from the lives of those older and e/Elder persons whose aging embodiments intra-sect with their Indigenous, disabled and queer selves. Disrupting hegemonic successful aging narratives, and specifically heteronormative and ableist trajectories of aging, these alternative renderings of aging futures offer rich, affective relationalities and cyclical timescapes of older experience that draw on the past even as they reach into divergent futurities. Anishinaabe, crip and queer aging emerge. While we discern resonances in relationalities and temporalities among and between the Anishinaabe and non-Indigenous stories, we also identify significant differences across accounts, indicating that they cannot be collapsed together. Instead, we argue for holding different life-ways and futures alongside one another, following the 1613 Two Row Wampum Treaty between the Dutch and the Haudenosaunee, in which each party promised to respect the other's ways, and committed to non-interference, as well as to the development and maintenance of relationship.

Difference Within and Without: Health Care Providers' Engagement With Disability Arts.

Re•Vision, an assemblage of multimedia storytelling and arts-based research projects, works creatively and collaboratively with misrepresented communities to advance social well-being, inclusion, and justice. Drawing from videos created by health care providers in disability artist-led workshops, this article investigates the potential of disability arts to disrupt dominant conceptions of disability and invulnerable embodiments, and proliferate new representations of bodymind difference in health care. In exploring, remembering, and developing ideas related to their experiences with and assumptions about embodied difference, providers describe processes of unsettling the mythical norm of human embodiment common in health discourse/practice, coming to know disability in nonmedical ways, and re/discovering embodied differences and vulnerabilities. We argue that art-making produces instances of critical reflection wherein attitudes can shift, and new affective responses to difference can be made. Through self-reflective engagement with disability arts practices, providers come to recognize assumptions underlying health care practices and the vulnerability of their own embodied lives.