The Beauty of Spaces Created for and by Disabled People

The setting described is a dim theater with a comfortable temperature.
The author expresses anticipation for the upcoming dance piece called "Descent" choreographed by Alice Sheppard in collaboration with Laurel Lawson.
The moment before a performance is highlighted as the best part where barriers between the audience members dissipate.

Alice Sheppard and Laurel Lawson perform intricate dances using their bodies and wheelchairs, engaging with the music and lighting designed by Michael Maag.
An audio describer enhances the experience by providing a rhythmic narration of the performance.
The author senses a sacred atmosphere during the performance, leading to profound feelings of belonging.

Disabled individuals often feel marginalized; however, the performance fosters an intense sense of belonging for the author.
The space feels exclusive and welcoming, suggesting ownership and communal identity: "This space is for me."
Observations of the audience reveal a shared experience among disabled attendees, characterizing the performance space as a authentically inclusive environment, marked by visible disabilities and assistive devices.

Reflections on the longing to share such spaces with other disabled individuals, emphasizing a collective desire for participation and belonging.
Collective memory of spaces that welcome disabled people, which are often clinical in nature, as opposed to celebratory or culturally affirming.
The author elaborates on memorable moments in settings that are havens for disabled individuals, referred to as "crip space."

Crip space is defined as a unique setting where disability is both celebrated and embraced.
Represents radical acceptance and defies societal norms that often stigmatize disability.
Offers a contrasting environment to the often isolating clinical settings that disabled individuals frequent.

Discussion around the need for spaces specifically designed for marginalized communities, facing opposition from advocates for inclusivity who argue that separate spaces can be divisive.
Proponents of crip space argue for its necessity for intra-community dialogues and creating a safe haven for addressing complex issues.
The space also allows for empowerment of disabled individuals, fostering an identity and sense of community.
Nondisabled individuals are not excluded but rather find that the designed experience pushes them beyond their comfort zones, enhancing their understanding of disability.

During the post-performance Q&A, dancers interact with audience members including an ASL interpreter, highlighting community dynamics.
The atmosphere during audience queries is characterized by a blend of excitement and nervousness from both disabled and nondisabled individuals, creating a shared discourse on the performance.

A nondisabled audience member comments on the design of the ramp, revealing their hesitance and the challenge of stepping into a space for disabled individuals.
The experience highlights the access divide and offers insights into the capabilities of performers using wheelchairs.

Those in power often perceive crip spaces as exclusionary, prompting discussions about the need for such spaces to prevent hostility and encourage a sense of community.
Acknowledges the complexity of belonging in these spaces as they often exclude certain experiences within the disabled community.

There is a notable paradox in crip space regarding inclusion and exclusion; how to foster an inclusive environment while respecting the diversity of experiences within disability.
The challenge of creating spaces for radical acceptance without dismissing diversity in experience and identity.

Crip spaces are likened to fragile natural habitats, emphasizing the need for protection while remaining open to evolution and change over time.
Protection of such spaces may require confrontations and challenging dialogues, but it's necessary for communal wellbeing.

The conclusion of the performance results in attendees dispersing back into a world that remains less accommodating.
The left theater setting in the Tenderloin is described as a juxtaposition between diverse and marginalized spaces.
Encounters on their way home highlight societal perceptions of disability and the barriers re-emerging outside the supportive environment of crip space.
Mention of real-world accessibility issues, such as out-of-order elevators at the BART station, reinforces the ongoing challenges for disabled individuals.