What do we want from leadership?

Kate Marsh, Noa Winter, Pelenakeke Brown and Dan Daw

Saturday, 4th of September

11:00 am - 12:30 pm


Public Conversation in English spoken language with English subtitles and German spoken language and German sign language interpretation

This session facilitated by Kate Marsh and Noa Winter will explore our shared understanding and experience of leadership in the arts. Including provocations from artists Pelenakeke Brown and Dan Daw, we will ask what the lack of representation of disabled and deaf people in leadership positions means for us and our communities. Join us in the conversation to share your ideas and dreams of what kind of leadership we and our art need to thrive.

Kate Marsh, a white disabled woman with a red brown fringe lying down on her back on a black dancefloor. Her left arm is spread out in a 90 degree angle from her body. She is wearing a black shirt with the imprint „The future is accessible“ in white letters only partly visible on the photo.

Kate Marsh is a disabled dance artist-researcher with over 20 years of experience in performing, teaching and making. Her interests are centred around perceptions of the body in the arts and notions of corporeal aesthetics. Specifically, she is interested in each of our lived experiences of our bodies, and how this does (or doesn’t) inform our artistic practice. Her PhD focusses on leadership in the context of dance and disability and draws strongly on the voices of artists to interrogate questions around notions of leadership, perceptions and the body. Kate is a research fellow based at C-Dare (Centre for Dance Research) at Coventry University.

Noa Winter, a white, queer, disabled and chronically ill person with dark brown hair. They are lying with tucked up legs on their back, the green eyes looking headfirst into the camera. They are wearing a black skirt and a black shirt with the partly visible imprint „Access is Love“ in white capital letters with the O of Love is replaced with a red heart.

Noa Winter is a queer, disabled and chronically ill curator and dramaturg with a focus on disability arts and anti-ableism. They work as project leader for Making a Difference, a Berlin-based project that seeks to empower disabled and deaf artists, and as an independent researcher and consultant. Their main interests are the self-determined working methods of disabled, deaf and chronically ill artists, aesthetics of access and questions of anti-ableist curating. Most recently they co-curated the symposia Making Theatre Accessible – Be prepared to make mistakes and Exploded Times, Mad Spaces – Disability Arts & Crip Spacetime.

Black-and-white photograph of Dan Daw, a white, disabled, queer man with distinctive dark eyebrows and a beard. He wears a black shirt that is inseparably fused with the background and wrinkles his forehead while direcly looking into the camera.

Dan Daw is Associate Director of Sydney-based performance company, Murmuration. Working in partnership with Sarah-Vyne Vassallo to commission, develop and produce new work by disabled artists, Dan plays an integral role in the development and delivery of Murmuration’s artistic programs and community activities. Made in collaboration with theatre director Mark Maughan, performer Christopher Owen and a larger creative team, his next piece The Dan Daw Show tours from Autumn 2021. Dan continues to work at the forefront of collaborative performance making in Australia and the UK evidencing his ambitions as disabled artist to impact and lead the conversation on dance and disability.

Pelenakeke Brown is an interdisciplinary artist, curator and writer. Her practice explores the intersections between disability cultural concepts and Sāmoan cultural concepts. Her practice investigates sites of knowledge that hold both and she uses technology, writing, poetry, and performance to explore these ideas. She has performed and exhibited her work in the US, UK, and Germany. She has been recognized with a Pacific Toa award at the Creative New Zealand Pasifika Arts Awards in 2020 as well as receiving the Dance/NYC’s Disability Dance Artistry Award in 2019. Her non-fiction creative work has been published in The Hawai‘i Review, Apogee Journal, and the Movement Research Performance Journal.