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In December 2018, Steff Juniper submitted their major research paper for their master’s in Critical Disability Studies at York University, entitled Trans-feminist Witchcraft: A Psychiatric Survivor Narrative, an arts-based autoethnography on witchcraft as radical healing and the politics of psychiatric survival and disability justice. It merged theories of disability, mad, queer, and transgender studies, to ground discussions on the embodiment theories of phenomenology (Merleau-Ponty 2008; Ahmed 2006) and enactive cognition. Steff submitted a demo cassette tape of their drone attached to the paper, and through including creative writing, personal narrative, poetry, prose, and short story, the paper aimed to convey the emotional non-linearity of experiencing the body and language as a limited social convention to express emotion.
Steff’s drone cassette tape sits in the office at York University’s Critical Disability Studies Department for those interested in what an arts-based approach to disability studies research may look, feel, or sound like. They will be drawing on the work in their master’s thesis in the formation of their submission to elucidate how the creation of drone is a process of communication and sublimation as a neurodivergent, mad, and disabled artist. Additionally, they will explore how their identity politic grew as being foundational from the experience of ‘being a metalhead’. Their submission encompasses a phenomenological approach to their experience as a trans and disabled noise artist. Primarily, they will explore how they have used making loud noise and strong-felt vibrations as a spiritual experience and activist tool to heal themselves and empower others to use their creativity to process feelings of alienation.
Content Warnings: Gender Dysphoria, Gender-based Violence, Psychiatric Oppression, Transphobia, Suicide and Suicidal Ideation
The carnelian caught my eye, round, surreptitiously plump like a blood python. I picked it up and felt the weight in my hands, triangularly spherical, smooth points of three. It asks, how to acknowledge the weight of being alive, so that when the lightness of lightning strikes, I can notice.1
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