Our project can be framed as a "queer oral history" following Ramírez and Boyd, in that "queer oral histories have an overtly political function and a liberating quality."[1] Our project draws meaning from embodied knowledge - meaning that emerges from bodily experience. FRAP provided space to create communities across difference and relied on participants working together to queer what counts as knowledge and community. Difference, in this space, was not only focused on disability. It also encompassed sexuality, gender identity and expression, body size, discipline, age, and race. Because of the vastly different experiences of those involved, we refused to create a singular narrative of FRAP. Instead, we found it more interesting to focus on the discontinuities, where the narrative and oral histories diverge from one another. It is in the dissonance of experience where we can learn the most about a project like FRAP. 

In our analysis of the oral histories about FRAP, we relied on Portelli's formulation of memory as "an active process of creation of meanings."[2] We wanted to consider the significance of making meaning with one's body in community with others, and we wanted to capture these experiences as they were occurring. We also used Portelli’s formulation to think about our interviews and to call attention to the ways in which meaning is co-created between the interviewers and interviewees. Through the active process of capturing and analyzing these oral histories, we wanted to showcase how FRAP was a collaborative creation of meaning, one that helped us to learn what could be possible in communities working across ability. We wanted FRAP to serve as an example of “movement pedagogy.” Movement pedagogy is a term that describes how we can learn about community, embodiment, and improvisation through movement, contact, and kinesthetic engagement. FRAP provided an opportunity to use movement pedagogy as we used AUMI, technology, and dance.[3]