By Kirsty Johnston
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Although the work has been accomplished under various project names, each led by Rose Jacobson, overall Picasso pro has been shaped by the core mission of facilitating “genuine opportunity and integration for artists with disabilities and Deaf artists in the performing and media arts. 1 Picasso pro’s Talking Movement Workshop led by Miriam Rother, September 2010. 2 Picasso pro’s Jammin’ with Josette, an Actors Lab for Deaf and allied artists led by Josette Bushell-Mingo, May 2010. Page 27 johnston cast 2:Layout 1 28 6/13/12 2:23 PM Page 28 stage tur ns project, especially as Jacobson began the work as a satellite of the Toronto Theatre Alliance (tta) Cross Cultural Caucus entitled Dis This!
6 In some cases, goals have been formalized into mandates; in others they have developed and evolved in the context of practice. Whatever the process, those companies and performers who self-identify as engaged in disability theatre seek to express a principled artistic approach. How they do so, however, has been highly varied. Toronto As Canada’s largest city, with a lively arts and theatre community, it is little surprise that Toronto has become one of the primary centres in English Canada for disability arts and culture.
47 While some companies with similar mandates have adopted the term “integrated theatre,” Boyd explains that MoMo favours “mixed ability” because they feel it is less confusing language and represents more precisely the company’s goals and process. As their website explains, MoMo aims to bring together “professional artists and prospective artists, with and without disability or ability, to explore movement, voice, instrument, theatre, dance, visual art and improvisational disciplines. 3 MoMo Mixed Ability Dance Theatre, Momentum, 2010.