Author: sarah

Sync Leadership – IN DANCE

A montage of different performances and repose. Kelsie Acton, Wonyoung Kim and Rita Marcalo in black and white photography. Kelsie and Won dances, Rita looks at the camera.

Kelsie Acton, Wonyoung Kim and Rita Marcalo, in conversation with Sarah Pickthall, 2026

In a recent meet up hosted by Sarah Pickthall (Sync’s co-founder), three dancer choreographers from former Sync programmes in the Canada, South Korea and the UK –  Kelsie Acton, Wonyoung Kim and Rita Marcalo – met to discuss where the programme left them/left off,  and to share what they’ve been up to since.

Sarah set out to name and nurture the ongoing body and mind fatigue that the group was feeling for different reasons. Talking about her own injury, she reflected on the weariness that comes from us being and doing our professional lives with so much impedance in the world generally.

What emerged in conversation wasn’t tidy travails but tangled and touching tales of disabled dance artists honing leadership in uncertain ground, practicing in various ways, and exploring the ecology of the body and making moves in the burning, fragile environments where our lives play out. 

Together they explored the strange and varied ways that leadership lives in movement and dance.  Despite scarcity of funding and minimal support, often living off air and the love of the form, all three of these brilliant humans have forged a path for themselves, finding support in and from others with a few strategic fights along the way. In their stories of self advocacy, there is experience here relevant to us all as we strive to uphold and live our values in our respective societies.


SYNCING

Wonyoung (Won)  shared his earlier life growing up in rural South Korea, his work in the legal profession and the transition that started around the time he first took part in a Sync programme back in 2018 in Seoul. At that time, Won questioned whether to continue to ‘fulfil his role’ as a disability rights lawyer for social change, or should he pursue a dance career? Or both? Could his desire for social change speak through dance, finding ways of being acknowledged beyond the ‘other’? That choice demanded refreshed patience and different sorts of persuasion to his legal training, challenging scepticism and a pervasive lack of physical and attitudinal access to dance spaces. Now Won is almost exclusively a dancer/choreographer/teacher, taking up space without apology and acknowledging that something about the disabled body cannot be explained through all the social theories and laws. 

Rita, originally from Portugal, came to dance already carrying a long history of being managed by medical opinion and assumption. Ballet, said Rita, was initially prescribed as physiotherapy, and the process awakened the dancer within, igniting for her a way forward. When she first encountered an early Sync programme whilst in the UK, she was turning her medical history and her other lived experiences into dance by explicitly reframing her epilepsy as “involuntary dance” and staging the possibility of her own seizures publicly. Through dance, Rita was finding a way of refuting and replacing the medical model’s account of her own body. She has worked with others to do the same through her company Instant Dissidence. 

Rita joined our conversation having battled the blazes and wild fires in France this summer as she travelled from Portugal to her home in Ireland. Her own commitment to positive action against climate catastrophe includes choosing not to use air travel. Choosing trains, Rita reframed the physical discomfort she can experience by rail as a good reminder of the planet’s pain. 

Kelsie joined Sync online from the UK at the start of the pandemic in 2020 as part of Sync Ontario. Kelsie is originally from Canada where she was co-artistic director of Cripsie, in Edmonton, Alberta. Her dual nationality enabled her to secure a place, having taken up residency at BAC as their inclusive practice manager. Sync was the catalyst for changing her thinking and letting her break out of the pre-existing mould: the one that implied that leadership in disability arts culture in Canada was all ‘in the service of’; she was able to realise that there are many different leadership styles and manifestations available to as leaders – nothing is fixed or limited.

CURRENT MOVES

Now a Post Doctoral researcher and lecturer at The Royal Central School of Speech and Drama, Kelsie is moving more fluidly between leadership styles, shaping ideas for others, and pushing the field’s thinking on access itself. She pointed to Aislinn Thomas’s Quiet Parade– a work built specifically for sensory-sensitive audiences — as evidence that “universal design” can quietly flatten real differences in need. She described her current leadership style as being less about finding the ‘one right structure’ and more about building rooms where access is a shared and ongoing responsibility, rather than a checklist of things that folks are required to put in place (and can then tick off as ‘done’.)

Won doesn’t reach for the word “leader” easily but quietly creates new works and now teaches in institutional spaces often ‘feeling like a guest’. Additionally he continues to make an impact through writing, research and performance. His gentle refusal to centre himself and to laud other disabled dancers’ contributions is touching. As he speaks, insistence on the inclusion of the disabled body, not just as audience, but as choreographer and even professor is striking and award winning: of particular note is his work Act on the Prohibition of Discrimination and Relief of Rights in Love and Friendship, in which he filled the stage with a solo dance without his wheelchair. 

Rita has scaled up and is now running an international project spanning Portugal, Ireland, and the UK, gathering dancers around the idea of a “dance revolution” in an open call to rethink how dance is funded, how artists relate to each other, and how the field relates to the environmental crisis. She doesn’t know exactly where the project will land, and she’s treating that not-knowing and exploration as the method, not as a gap in the plan. Leadership, in her current practice, looks like holding space for collective uncertainty instead of resolving it prematurely, and we all basked in this beautiful approach.

She also reminded us of the excitement in encountering and potentially working with dance artists who strive and inspire us to do things in dance and disability that feel ‘perilous and dangerous’ similar to Won, and she shared Diana Niepce with us all as someone who is practicing with fierce intention.

HARSH REALITY

None of this is happening in a settled context, and nobody in the conversation pretended otherwise. Won spoke directly about fear — both the erosion of human rights and ethical norms globally, and his real doubt about what artists can do that can make a difference in the face of that. It wasn’t a rhetorical flourish; it sat alongside everything else that was said as the backdrop the rest of the conversation was happening against, and it echoed in his own account of still having to justify his presence in rooms that he’s more than qualified to lead.

Kelsie’s response to that same instability has been to lower the stakes of what “staying in dance” has to look like. Long-term planning has gotten harder, and large-stage performance has, for now, given way to smaller, remote collaborations. Rather than treating that as decline, she’s trying to hold onto the joy available within the disorder — a deliberately unheroic, sustainable way of staying present in the work.

Rita’s answer has been to go bigger rather than smaller — building a cross-border collective explicitly organised around systemic change, on the theory that if funding structures, environmental relationships, and social models are all under strain at once, the response has to be collaborative and international rather than individual.

What ties all three together isn’t a shared conclusion. It’s a shared refusal to let resilience mean going quiet. We were connected by a deep Sync solidarity, appreciating each other’s values and experiences, and acknowledging the potency of Sync.

Sync’s co-founder, Sarah, closed the conversation with an eye towards carrying these threads — the body, leadership, access, and uncertainty — into future Sync gatherings. Sync gave these artists language and community at a formative moment; what they’ve built since is proof that the work doesn’t stop at the end of a programme — it just changes shape, sometimes gets harder, and, if this conversation is any indication, stays worth doing.

‘

Acting without Permission – Sarah Pickthall

ID: Hamad Samamrah performs in the show, he stands upon boxes, film footage of his fellow protesters as they receive a positive outcome at the end of their Sit-in, the words read If the Sun drowns in a sea of clouds. Sound effect: A collection of songs by Ahmed Fouad Nejjem. Singer: our beloved Palestinian Reem Al-Banna

Last week was a strange one, full of disappointment for self and others but also a week that surfaced a new sense of what disabled-led steadfastness and stealth can feel like in the fight for disability justice in all its manifestations in our respective societies today. Disappointment yes, but source of joy and impetus in so many ways.

The chance for Sync Leadership to join hearts and minds again with Shubbak Festival was compelling. We came on board to share the story of 63 Days of Sit-In – a performance and documentary film by Basta Theatre Collective based in Palestine. The showcase was at Theatro Technis in London, and it felt such an apt and a vital continuation of the work started with British Council investment in Sync Arabi through our leadership programme in partnership with ArttoHeart in person in 2023 in Jordan and the UK.

Deaf, disabled and neurodivergent leadership and community building often have activism as a core construct. It is all too familiar to be left with no choice but to take to socials and the streets to protest at the inequity of life and opportunity, over access to health insurance and care, travel and transport, buildings, education – arts and culture, access – all of it.  We are left out of so many decisions about our lives and leadership, it feels unfathomable at times. As one of the Palestinian ‘fighters’ in the documentary so poignantly shared, if we are included in our society, ‘we complete each other’.

Sync worked alongside Willie Elliott. 16 years ago this month, Willie was a key protagonist in the audio description at the opening of the London 2012 Paralympic Games – an unforgettable spectacle which Jenny Sealey (a Sync Alum) co-directed. It still stands as a testament to the energy and joy felt in the fusion of arts, access and activism! Telling our stories often feels like activism or acting up in some way and there’s power and celebration in that. And laughter too – where would we be without that?

Willie also shaped the live AD for 63 Days of Sit-in, both its performance and the documentary film.  I mentioned disappointment in my opening sentence: when the lead actor, Hamad Samamrah, became ill during rehearsals last week in London and was unable to perform, the impact was felt deeply by us all. 

Despite this the audiences still joined us and were able to connect with this powerful piece of activism through a touch tour of the set and an accessible film screening. It left us feeling closer to Hamad, even in his absence, and to his life’s work, and to the fellow disability rights activists who protested inside the Palestinian Legislative Council during the COVID-19 pandemic. We also bore witness to the incredible allyship of Hussam Ghosheh and Basta Theatre has brought to this important protest in history. We were lucky that Hamad could at least join us for the Saturday Q&A, and it’s fair to say that our lives were changed by his story and contribution and those of his co-conspirators.

It is crucial to tell our stories, and these stories emerging from the region and in Gaza – areas of exponential disablement – are more profound than we ever thought possible. As disabled people we must not shy from talking about what is happening, acting without permission to get these voices heard.

Another story perhaps more widely known is the soon to be screened Being Heumann – a film focusing on the better known life of Judith Heumann whose activism paved the way for others often described as of the ‘Mother’ of the Disability Rights Movement in the US’. The film is to be premiered at the Toronto Film Festival (10th Sept) and it features other Sync alum and associates, namely Alex Bulmer (our Sync Leadership co-facilitator) and Yousef Kadoura, who supported our Sync podcasts and promotional films in Canadian projects over several years. Our very own Ruth Madeley takes the title role as Judy, a UK export on the back of her portrayal of the brilliant Barbara Lisicki in the BBC, 2022 drama ‘When Barbara met Alan’.

But back to our Sit-In week. Alia Alzougbi CEO and Artistic Director @Shubbak in rounding up the Q&A on Friday, spurred us on with 3 crucial pieces of advice: occupy, don’t ask for permission, laugh a lot. Sublime advice for all of us! Let’s find the laughter in amongst the disappointment and challenge, and experience the empowerment solidarity brings.

63 Days of Sit-In was developed with the support of the Disability Under Siege (DUS) Network, University of Birmingham and British Council Palestine through the Jerusalem Creative Spaces programme with the London presentation supported by British Council, Wijhat (an initiative of Al Mawred Al Thaqafy – Culture Resource), SyncLeadership and Dais Hale.

Reflections from Connection – Kristina McMullin

work in progress collage
work in progress collage

Work in progress mixed media collage

Kristina McMullin, 2026

When Sarah invited me to join the Sync team a few months ago, I was thrilled!! I participated in Sync in June of 2020. A time, for many of us, myself included, defined by disruption and isolation. The five day intensive was like a buoy in a vast ocean, the cohort that gathered quickly became a safe, nourishing, and encouraging community. The five days, and the lessons I gained from them, guided the next chapter of my professional and personal life.  

Two years later, I joined Sync Twilight as an action learning coach. While I had spent much of the past two years putting into practice what I had learnt during Sync, Twilight coincided with a turbulent season of my life, again the program and the community became a buoy. I had assumed serving as a coach for Twilight would not return the same community I had prior, but, of course, I was wrong. The small group I was in became a tight knit community almost instantly, after a few sessions, we were all sharing things with one another we wouldn’t normally share. That safety emboldened us to take bold next steps in our professional journeys. 

Now, in summer 2026, we are not in the early days of a pandemic, and my home and personal life is devoid of chaos and turbulence, and Sync has found me again. The gift of this position is perspective and curiosity. I have been able to look back at who I was and where I was and how the lessons of Sync have changed me. With this perspective, my curiosity turned outward to the rest of the Sync community. 

When in people’s lives did Sync find them? 

How did Sync integrate with and influence their lives? 

What lessons and learnings have they brought with them?

What more can be done in service? 

How can I learn and grow from this wisdom? 

I have had the opportunity and privilege to speak with a few alumni of Sync, some who I know well, some I’ve crossed paths with, and those who I met for the first time on our zoom call, all who brought a level of generosity to our conversation that has been both a gift and teacher. 

Sync has a funny way of finding people in very specific times in their lives, whether that is while completing a different residency, while busy and not in the best place, and while delving deeper into an arts practice. Wherever one may be, Sync will meet you there, and how you arrive will be welcomed, desired, whole, and enough. 

When it came time to delve into what folks had learned about themselves through Sync, 

Laura, an alumni of Sync Atlantic, called her leadership style symbiotic and patient while Louie, an alumni of Sync Alberta, called theirs bravely authentic, Seeley called hir leadership style adaptable, creative, curious, passionate, patient; naming that Sync’s process allowed hir to look inward to name these traits. 

What these three leadership styles signal, is a generosity to self and community. Community and generosity are central to Disabled leadership, how those materialize in each of us, is a unique art form. 

For each of them, Sync has offered both a community and proof that strong Crip communities can be formed when we centre honesty, intentionality, and accessibility. We carry our communities and the truths we know into our work, our relationships, our futures. 

Like my first introduction to Sync in June 2020, these conversations have been transformational for me. An offering to look inward to guide my path forward. 

Through every conversation I’ve had, a few things remain steadfast: Disabled folks know, intrinsically, how to build and maintain community, Disabled leadership is as multifaceted as our community is, there is purpose and meaning to the things that come into our lives, true magic occurs when we are supported wholly.  

In 2020, my leadership metaphor was a microscope able to zoom in or zoom out, but hazy in the in-between. Six years later, I’m no longer looking for a crisp image, faulting myself for not finding it, I’ve found magic is found in the haziness, found in the journey, and the looking itself. 

Sync can be of service, a place of creation, reflection, wisdom. 

A wisdom we can all grow from. 

This is what Sync is, this is who we are.


‘

Reflections from the Twilight Zone

Belinda Locke stands next to Kristina McMullin. Belinda wears a seajade dress, she smiles and her dark black curly shoulder length hair frames her face. Kristina has her hair hair pulled back. They both wear lipstick.

Belinda Locke and Kristina McMullin

Belinda Locke stands next to Kristina McMullin. Belinda wears a seajade dress, she smiles and her dark black curly shoulder length hair frames her face. Kristina has her hair hair pulled back. They both wear lipstick.
Belinda Locke and Kristina McMullin – Sync Twilight Facilitators

Meeting in person together in Summer 2023 when Sync was in Toronto, Sync Leaders, Belinda Locke and Kristina McMullin reflected on the Sync Twilight a programme they both had trained in and delivered on in Winter 2022 and Spring 2023 online.

I’m Kristina McMullin (to the right in the picture) and my pronouns are she, her, and I’m a white, cis gender, visibly disabled woman, who works in the arts, largely disability arts, alongside academic research and a few other things here and there.

My passion in life is community building and connection. An introvert by nature, I like being challenged by people and my work and the ultimate challenge is community building because it makes me less of an introvert. And I like being less than an introvert! I like to do projects that feed my soul, and make other people feel seen, heard, and desired in community spaces. My mission statement as a human being, is to disrupt systems while being gentle with humans, to tell the truth in a way that is regenerative, to honor imperfect process and to leave room for joy and laughter. And try to do better, always.

That’s why I came to Sync because there’s an alignment of values there. I had met Sarah and Jo in the summer of 2020. It was on the first fully remote Sync coaching in training leadership, which I did from my home in Toronto, where I felt a true sense of alignment in this desire to create community, create spaces, be a disrupter while remaining true to those principles of care and support Sarah so beautifully demonstrates.

Sync Twilight (which brought Kristina and Belinda together) seemed like an obvious next step. I’ve never worked with anyone really outside of Canada and the UK, and I think that it’s great to build these like hyperlocal communities but that disabled folks are always part of the larger global community.

I’m Belinda Locke, pronouns she and her.  I live in Melbourne, Australia on the land of the Boon Wurrung people of the Kulin Nation. I’m a white, cisgendered woman. I identify as disabled. I’m a theatre maker and Director, and create multidisciplinary work where I collaborate with people from lots of different art forms. In all of the work that I do, I’m looking to create opportunities for other people to share their work alongside my own.  Sometimes I’m curating a festival programmme, or sometimes, like I’m going to be doing next month I’ve got a show opening but I’ve also commissioned other artists to create work on the same theme. I think it’s really important to show different perspectives from people with varied experiences of disability as well as different cultural backgrounds.

I did the Sync leadership programme way back in 2014, and it was so important for me.

I was early on in my career and I was definitely the baby of the group! It really helped to spur me on in a direction where I was able to work with the community in Australia, and Brisbane in particular, to set up a national disability arts festival called Undercover Artist Festival. That was really enriched from my experiences with Sync and from the Sarah Pickthall’s coaching, and the work that I did in person with Jo Verrent.

When I heard about Sync Twilight and this opportunity to co-facilitate a group with you, Kristina, I leapt at the opportunity.

I would say Sync Canada was my first experience of online training.  Having that kind of experience and being so supported with such care and flexibility. I loved it,

Kristina McMullin

I would say Sync Canada was my first experience of online training.  Having that kind of experience and being so supported with such care and flexibility. I loved it, and have always kind of judged other online development courses against Sync because it was so responsive.  It made it possible to tell the truth and be vulnerable.  My biggest goal with Sync and with Sarah, has been like, how do I or how do disability identified folks be vulnerable, while still staying safe?  Sheryl Sandberg and Brene Brown talk so passionately about the value of being vulnerable, but they’re two women who have oodles and oodles of financial privilege, career privilege, able bodied privilege, white privilege: you know, Sheryl Sandberg isn’t becoming the CFO of Facebook by like, disrupting systems!

Yes, it’s a different position to be in, to our experience. And, you know, when I say our experience there are many different experiences within the disability community, but often, I think you’re viewed as vulnerable to some extent, automatically. And so, the decision to harness that and to find strength in vulnerability is a different kind of process.

12 people in Zoom: Smiling, thinking, 4 facilitators from Sync Canada and 4 from Sync Australia working alongside ASL and Auslan interpreters with co-founder Sarah Pickthall
Sync Twilight Facilitators – Group Training session 2022

As co-facilitators in Sync Twilight, we both went through this process of facilitating sessions with a small group of people. Disabled folks from Canada and from Australia online. And we did this particular kind of coaching, using action learning. Which, in essence, I would describe as being about one of our peers coming to the meeting with an issue that they’re having in their professional life. Then the rest of the group really probing with questions that are open and not leading, and helping the person themself to find the answer to the issue that they have.  So, I’d love to know, Kristina, what you think you learned from going through the process? What did you like about it? What didn’t you like about it

It’s so interesting. I’m someone who doesn’t like seek out advice, but when I do I don’t want to have to self reflect, I just want you to tell me!  That was kind of like my immediate reception to like coaching! So I learned through Sync that job of the coach is to empower me to make my own decisions.

I have produced a podcast, so I like to think of myself as someone who can ask good questions. But I ask leading questions: I have an overarching goal. So now, how do I train myself into asking these open-ended questions? How do I make people feel the way that Sarah made me feel even if in the moment, it is a little bit frustrating?!  So Sync Twilight was like, a toe in the water and something that I knew was the right next step, to challenge myself so I can be vulnerable, and really build that confidence for this next step of my career.

I think it’s a really generous process to ask open questions that really, you’re not directly inputting experiences that you’ve been through or saying, oh, I’ve been there before. It’slike this whole group is giving their entire focus to that person. And it’s powerful. I saw ideas come to light that maybe the person wouldn’t have come to, on their own sitting mulling over the issue, but with a group of people who are asking things in this really generous kind of way they could find their own answers, and come to perhaps a different answer, but one that’s really fits right for them.  I remember, thinking back to Sync Australia initially, how Jo made it really clear that we were all responsible for ensuring access for the whole group and how that turned a switch on in my brain so I definitely became much more aware of other people’s experience and the barriers from their perspective.

Working at Tangled was my first job in disability arts: I’d never like really lived within the disability community up until then. I just was kind of like, over here, I never identified publicly as disabled and then I came into the world with a disability and realised there’s such a need for this kind of work in the arts. It needs to be public. It needs to be more loving. It needs to be more fun; it needs to be more joyful. But yes, as you and I developed in our practice, we realise that that’s not possible to create access for everyone all the time. What is someone’s access need is another person’s distressing environment. So we can aim to be access centred, and I think that’s what I liked so much about Sync. I think the fact that Sync understands the value of access standards and meets and exceeds them in every single meeting and engagement sets such a good example, and means I can do what I want to do which is build community and challenge myself and support my friends.

So, I think my key takeaway from Sync Twilight is that the knowledge is in us, and can come to light through the effort of others. And you can feel at ease in the process, to chill – that’s what I learnt from you!

So often I can like perform authenticity or I can perform vulnerability. And I think with Sync I don’t feel that pressure. So that feels nice to hear that like that comes across, that true authenticity and vulnerability where it isn’t a performance, and there is inherent value to that. I think my key takeaway is that you can redirect someone deliberately, in a careful way,  full of care, and that redirection doesn’t need to be a critique. It can just be an offering.

One of the most important things about these Sync spaces is their difference in allowing that authenticity. 

Belinda Locke

Yes! One of the most important things about these Sync spaces is their difference in allowing that authenticity.  Right or wrong, a lot of the time in my life I’m kind of keeping up a bit of a façade you know, because the structures and attitudes in the world out there mean that I can’t be how I am in my body in a way that’s comfortable for me and stay within a social standard.  In Sync it allowed me to give myself permission to come along and be like, hey, if I tell people I’m going to need to sit on the floor for a bit or turn my camera off for a bit, its fine. That even there’s no need for explanation, we get it. And isn’t that liberating?

And I love how the structure enabled us to be interchangeable in that kind of role, how we shared the leadership and support. There was I think something really beautiful about being able to use our lived experience in a way that’s not about advice giving and so it wasn’t like having to be in this mentorship role but we were still supporting other people’s growth.

Yeah – I think what I learned the most from Sync Twilight is that like we as human beings can fill multiple roles.  if everyone’s needs are being taken care of and the overarching intention is there, so our skills, our expertise, our interests can be malleable, depending on capacity and needs for that day for us and the desire, capacity and needs of the group. And that’s so liberating!

The unacknowledged rollercoaster of being disabled-led: Jo Verrent

A black and white photograph of a rollercoaster with winding tracks in the air set agains a clear evening sky.
Picture Credit: Kristin Kokkersvold

It’s not enough for disabled people to make art, the context they make it in matters too. 

I’m the director at an organisation called Unlimited which commissions disabled artists to create exceptional work. At Unlimited, we describe ourselves as ‘disability led’. That means our staff, our board, our core decision making processes are all made by people, groups and teams that are as a minimum 51% disabled people. 

We are proud, delighted and determined to be (and to stay) disabled led – it matters hugely. It’s not enough for disabled people to make art, the context they make it in matters too. 

Any art making by disabled artists can, of course, be brilliant. Historically however there has been distortion, censorship, control and coercion within some contexts where disabled artists have made work – think of all the collections of work that exist from hospitals and asylums that are named after the doctors of patients. Where the artists are unknown, the doctors or institutions own the work, gain the credit and the cash. Think that’s in the past? I can name a large number of directors, choreographers, curators and collectors who are non-disabled and still working from this model – all far more prominently acclaimed (and well paid) than the disabled people they collaborate with or whose work they benefit from.

But this isn’t just about why it matters, it’s about what it costs – not only in cash terms.

But let’s start with the money. We recently calculated that ‘in the last six months alone Unlimited has spent over £20k ensuring meetings and processes are accessible for our 93% disabled-led board and our 83% disabled-led staff’. That’s £20,000 more than an organisation that didn’t involve disabled people would have to spend, and that’s only half the year.

And those access solutions don’t just magically get put in place – there is labour in the determining, contracting, briefing and supporting access providers and organising other access support. The figure above doesn’t include that labour.

And there’s more work internally too – such as ensuring the team all have access riders if they need them and that they have space to adapt to what other team members need, or ensuring everyone who works with us has disability equality training so we share a common base level understanding and terminology.

There’s the work on policy adjustment. Most organisations don’t really look in detail at how policies impact on disabled staff. We do. For example, at how in the UK sickness absence policy terms and conditions are different from disability related absence (which doesn’t have to come from your sick leave allocation). We’ve had to work through and improve our policy and to determine different levels for all our disabled staff. We take one policy a month – our expenses policy, our access policy, our data policy, our flexible working policy… basically all our policies need to be seen through a disability led lens and adjusted. 

All the above is easy to write about – the rest less so.

..It’s not the bruising interactions with external ableist structures, painful though they are, it’s the cumulative impact of those interactions.

Reflecting personally here, the biggest adjustments aren’t the internal ones, they are taking our disabled-led organisation into the world and meeting the ableism of others, which I wrote about recently here. And even then, it’s not the bruising interactions with external ableist structures, painful though they are, it’s the cumulative impact of those interactions.

It gets to me. It makes me doubt myself. The number of times one hits barriers, it would be easy to assume that ‘they’ are right and you are wrong. It starts to nag that surely if barriers should be removed and they aren’t then it’s because somehow, they are needed or necessary? Now intellectually I know that barriers exist because people setting up systems don’t have the knowledge, time, resources or care to make them accessible. They don’t think about it and they take short cuts. Often the damage they create isn’t deliberate. Morally, and often legally (in the UK), I know that I am correct to push for reasonable adjustments, adaptation and change in line with the social model, to make the world more accessible to all. Emotionally, I start to internalise that feeling of being too much, asking for too much, being a burden.

If I’m already exhausted, this can quickly spiral into a ‘I’m not good enough’ or ‘I can’t do this’ narrative which can be damaging. And I’ve never been more exhausted trying to run, let alone develop an organisation whilst the world burns around me.

Austerity, a pandemic, war, a political system (UK and worldwide) in disarray, cost of living increases off the scale, reduced access to healthcare and access, energy crisis and so much more pile on top of each other making everyone scared, unsure and nervous. Add to that a label of ‘clinically extremely vulnerable’ to covid 19 (like myself and a number of my colleagues have), the UK’s decision to forget covid is even here and just carry on ‘as normal’ despite raging numbers of both covid and those experiencing long covid symptoms, and perhaps it’s easy to see where the exhaustion comes from. 

A salvation is finding comradeship within and amongst our disabled led peers and allies –  people who ‘get it’, places where I – and they – can take off the armour we need to work within the world and simply be without apology or excuse. 

We see a mistake and we go for the attack, even with those in our tribe, often publicly calling out rather than privately calling in. 

Although even in those safe places, its sometimes impossible to truly relax and take all our guards down. We are human after all, and everyone is tired and taut. We see a mistake and we go for the attack, even with those in our tribe, often publicly calling out rather than privately calling in. It’s easy to allow feelings of envy or jealousy to bleed into snide comments or backchat, especially when budgets and opportunities are squeezed and panic starts to rise. We set ourselves impossible standards – and we expect them of others too. Life is hard right now.

I have to remind myself often to first be kind. This was something that previously would have been second nature but something the last three years seems to have stripped away, grating a slither more empathy off me with each new challenge to face.

First be kind – as we never know what others are facing. Second be kind – especially to my disabled kin who are as exhausted as I am as we face more barriers now than ever, including the re-emergence of many we thought we’d already removed. And third be kind – because it’s the best, fastest and most positive way to make change in the world. 

It is always a choice. You can water the seeds of fear and anger if you want, but I want to choose to water the seeds of compassion, understanding and kindness where I can.