Editorial

The two-issue series of the journal Maska , titled Cripping Performance , was conceived last year by Pia Brezavšček and Saša Asentić, both non-disabled persons. In deciding on a double issue, they followed the concept of crip time and sought to support all contributors to work in accordance with their temporal capacities and needs. In the previous issue, Aidan Moesby reminded us that it is not possible to get everything right on the first attempt, and that change often begins with small actions. It seems that over the past six months these actions have accumulated to the point where they have moved beyond theory and have begun to take shape in the practices of some organisations. In the Slovenian performing arts field, one can thus detect at least a subtle shift in accessibility – particularly in terminology, the use of plain language, the cripping of temporality, and the introduction of audio descriptions for blind and partially sighted audiences.