5 minute read
Defying Gravity: Making Circus Arts Inclusive and Accessible
By Janet Jarrell
Belleville/Kingston
ErinBall discovered circus art in 2008 at a buskers festival, where ze was captivated by partner acrobatics. Ball signed up at the Toronto School of Circus Arts and later explored aerial arts. Ze spent the next few years dedicated to training, following a discipline meant for non-Disabled bodies, not knowing about zir own neurodivergence.
In 2014, Ball became a double below-knee amputee. Defying expectations, Ball kept pursuing zir passion. The transition was tough, both physically and because there were hardly any visibly disabled performers in circus arts. “I was both unlearning internalized ableism and discovering how deeply ableism is ingrained in circus arts,” Ball shared.
With support from the disability activism community, Ball faced zir internalized biases and learned to embrace zir body. Over time, Ball teamed up with disabled artists whose experiences didn’t fit the usual circus norms, creating inclusive training methods. Ze realized that marginalized communities have always been part of circus arts but are often excluded, so ze made it a mission to create opportunities for them.
As a double amputee, Ball had to rethink circus training, moving from rigid skill-based instruction to a strengthbased, individualized approach - ways “that are unique to each body.”
Understanding the power of visibility, Ball proudly showcases zir body on stage while making sure audiences have access. Ball doesn’t believe ze has to "adapt" the performances. Instead, sees the work as exploring zir body’s unique strengths. Ze uses mobility devices and prosthetics in zir acts, like specialized legs that make zir 7.5 feet tall. “Being suspended over an unsuspecting audience that had no idea what was coming. 40 feet in the air, I removed legs that appeared to be my (former) flesh legs…there were loud gasps from below.”
Now an internationally recognized performer and instructor, Ball works with zir partner, Maxime Beauregard, another disabled circus artist. Together, they started InterComplementary Journeys, focusing on slow touring instead of the usual industry hustle.
The main challenge Ball faces isn’t zir body but systemic barriers. Accessibility is often an afterthought, stereotypes linger, and ableist assumptions create obstacles. Instead of seeing these as individual problems, ze works with people who have lived experience to find collective solutions. Ball references the term ‘Nothing About Us Without Us’ - “I think working with people with lived experience is the only way to do this work. We can’t ever know someone else’s lived experience, we would just be guessing, often unsuccessfully,” Ball said.
Community support is key to zir process. Ball and Beauregard use an access rider—a living document outlining their needs—and share it with other disabled artists. Ball also pushes for access notes, pre-submitted questions, and ongoing check-ins, recognizing that needs change.
Beyond performing, Ball and Beauregard have created international courses for circus and movement coaches, tackling ableism in the arts. Their training helps unlearn biases and promote inclusivity.
Ball believes true inclusion starts with hiring disabled consultants. Ze encourages arts organizations to learn about Disability Justice, and to embrace concepts like “Crip Time, coined by Alison Kafer,” which challenges time structures that ignore disabled realities.
Ze advocates for marginalized voices in leadership, standardized access notes, and integrating creative accessibility—making sure access isn’t an afterthought but a core part of artistic projects. Ze refuses to work with organizations that neglect access, using zir privilege to set a standard for accountability. “I don't pretend to know it all, this is a life-long learning and unlearning journey. I make mistakes and this is part of the process. I strive to remain accountable and ask before offering an apology and I strive to make reparations when needed. I try to model various forms of access and accountability.”
One of zir proudest projects is InterComplementary Elements, a queer, disabled love story co-created with Beauregard. Developed with extensive input from marginalized communities, it explores creative accessibility in innovative ways. As audience member Laura Chaignon put it: "This work is proof that when accessibility is the focus, and not an afterthought, magic happens."
Ball envisions a future where disabled artists are celebrated, harmful disability perceptions are dismantled, and access needs are respected. Zir work isn’t just about representation—it’s about transformation, making sure access and inclusion are woven into the fabric of the arts from start to finish.
Learn more about Disability Justice Sinsinvalid.org
