DANIELLE PEERS is a community organizer, an artist, and an Assistant Professor in the Faculty of Kinesiology, Sport, and Recreation at the University of Alberta.
They have made seven activist-oriented films, co-curated three art shows, and co-founded two arts collectives (KingCrip Productions and CRIPSiE). They have co-choreographed three dances, and have performed for eight years as a dancer with CRIPSiE, The Good Women Dance Collective, as well as dancing for choreographers Lindsay Eales and Alice Sheppard.
Danielle is the Director of the Media in Motion Lab, which supports creative methods for producing and sharing knowledges about human bodies in motion. DaniellePeers.com
ALICE SHEPPARD took her first dance class in order to make good on a dare; she loved moving so much that she resigned her academic professorship in order to begin a career in dance. She studied ballet and modern with Kitty Lunn and made her debut with Infinity Dance Theater. After an apprenticeship, Alice joined AXIS Dance Company where she toured nationally and taught in the company’s education and outreach programs.
Since becoming an independent artist, Alice has danced in projects with Ballet Cymru, GDance, and Marc Brew in the United Kingdom. In the United States, she has worked with Full Radius Dance, Marjani Forté, MBDance, Infinity Dance Theater, and Steve Paxton.
As an emerging, award-winning choreographer, Alice creates movement that challenges conventional understandings of disabled and dancing bodies. Engaging with disability arts, culture and history, Alice attends to the complex intersections of disability, gender, and race by exploring the societal and cultural significance of difference. http://www.AliceSheppard.com
INCLINATIONS began as a moment of ‘crip’ play. Alice Sheppard and Danielle Peers finding themselves on a 90-foot ramp on “social street”: the main entrance of the Kinesiology building at the University of Alberta. After a lifetime of climbing awkward, ugly ramps hidden away behind buildings with barely enough room for one chair user, this wide-open slope-scape sent us both literally somersaulting over the rails in our wheelchairs for nearly an hour.
Drawing on Sheppard’s work more broadly, the disabled body, enabled by the ramp, becomes a source of creative movement. Dancers can move in ways that they cannot move on flat surfaces and the ramp itself becomes an artistic object, transformed albeit temporarily into an environment that reveals connection, trust, beauty, and desire.
Choreographed, directed and shot from disability perspectives, this dance-on-video delves into the playful connection enabled where disability, community and ramp meet, as well as the institutional histories and discordant inclinations that lurk just below the surface.