News / Announcements

Dark Room Ballet at “Eco Somatic readings, conversations and movement” (April 26th at 6 PM EDT)

You are invited to join tonight’s:

Eco Somatic readings, conversations and movement centering disability and LGBTIQA+ ecologies of pain and joy with the environment.

Featuring Stephanie Heit, Petra Kuppers, Krishna Washburn, Taja Will, and moira williams.

Where: Online Zoom Meeting

Zoom Registration link: Eco Somatic Registration April 26th

Access Menu:

  • Access Doula
  • Participation Guide
  • AI Captioning + ASL

Please contact for more accessibility information requests and needs

Flyer Image Description: A tree filled image with a close up of two trees and their large textured bark. Between the two trees a hand from the forearm down and palm forward spreads its fingers. It looks like a ghost hand that is filled with the surrounding forest life. The entire background image is heavily saturated with almost neon reds, pinks, yellows, blues, greens and purples. On top of the glowing forest is white text saying: Eco Somatic readings and conversations: disability ecologies of pain and joy with the environment. Stephanie Heit, Petra Kuppers, Krishna Washburn, Taja Will, moira williams. Online April 26th 6-8pm EST/5-7pm CT/3-5pm PST. Access Menu: Access Doula, Participation Guide, AI Captioning.


Stephanie Heit is a queer disabled poet, dancer, teacher, and co director of Turtle Disco, a somatic writing space on Anishinaabe land in Ypsilanti, Michigan. She is a Zoeglassia Fellow, and the author of PSYCH MURDERS (Wayne State University Press, 2022) and The Color She Gave Gravity (Operating System, 2017). Stephanie is an active member of the Olimpias; an international disability performance collective. She co-directed the Asylum Project (2015-2019); an experimental and community practice investigation into the many meanings of asylum. Stephanie is bipolar, a mad activist, and a shock/psych system survivor. Link to Stephanie’s website is HERE.

Petra Kuppers (she/her) is a disability culture activist, a wheelchair dancer, and a community performance artist. Petra grounds herself in disability culture methods. She uses eco somatics, performance, and speculative writing to engage audiences toward more socially just and enjoyable futures. She has been engaged in community dance and disability culture production since the late 80s. She continues to lead workshops internationally, in these forms as well as in disability-culture adapted social somatics. She is the Artistic Director of The Olimpias, an international disability culture collective, and co-creates Turtle Disco, a somatic writing studio, with her wife, poet and dancer Stephanie Heit, from their home in Ypsilanti, Michigan, on Three Fires Confederacy Territory, colonially known as Ypsilanti, Michigan. A link to Petra’s website is HERE.

Krishna Christine Washburn is artistic director and instructor for Dark Room Ballet, and co-directed the Telephone Film. She has an M.Ed. from Hunter College, BA from Barnard College, and is certified by the ACSM in biomechanics. She speaks regularly on self-audio description and educating blind/visually impaired dance students. A link to Krishna’s website is HERE.

Taja Will is a non-binary, chronically ill, queer, Latinx (Chilean) adoptee. They are a performer, choreographer, somatic therapist, consultant and Healing Justice practitioner based in Mni Sota Makoce, on the ancestral lands of the Dakota and Anishinaabe. Taja’s approach integrates improvisation, somatic modalities, text and vocals in contemporary performance. Their aesthetic is one of spontaneity, bold choice making, sonic and kinetic partnership and the ability to move in relationship to risk and intimacy. Will’s artistic work explores visceral connections to current socio-cultural realities through a blend of ritual, dense multi-layered worldbuilding and everyday magic. A link to Taja’s website is HERE.

moira williams is a disabled Indigenous artist, cross disability cultural activist/organizer and access doula; co-creating and weaving disability justice together with crip celebratory resistance and environmental justice. moira believes in access as art and “access intimacy” as an attitude needed to push beyond the limitations of the Americans with Disabilities Act. Their often co-creative work leads with disability, stemming from the understanding that deep-rooted cultural changes must be made in arts and environmental spaces and practices to become accessible. One part of affecting change is by placing disabled artists and activists in positions of influence to shape culture from within. Another part is acknowledging that entering positions of power is not the end goal. Instead, the end goal is to co-create an active culture where power positions no longer exist. moira’s on-going work with water focuses on access intimacy and water intimacy as ways forward to accessible waterways and joy. A link to moira’s website is HERE.

News / Announcements

Tickets available for VIRTUAL Telephone Film Screening at the EstroGenius Festival on Sunday, April 23rd at 7 PM (Eastern Time)

The next screening of the Telephone Film  will be taking place online at the EstroGenius Festival on Sunday, April 23rd at 7 PM (Eastern Time)

As a member of the wider Dark Room Ballet community, we would like to invite you to this virtual screening (completely online) hosted by the EstroGenius Festival 2023, which describes the event as follows:

Telephone Film, co-directed by choreographer/filmmaker Heather Shaw and Dark Room Ballet Founder Krishna Washburn, is a disability arts film project that promotes radical arts inclusivity by bringing awareness to audio description for dance, an art form that allows blind and visually impaired people to be fully included in the joy of artistic expression. Telephone advocates for a new paradigm of anti-ableist artistic expression by showcasing audio description as an art form in its own right, while also providing an immersive sensory experience of dance for audience members of all sight levels. The screendance documentary is the first of its kind, featuring diverse disabled and non-disabled artists who have come together to prove that: dance is visceral, not merely visual. Join us to experience the forty-five minute film, followed by a talkback with the co-directors. The conversation will center around accessible art, creative choreographic/filmmaking methodologies, and the future of anti-ableism in the arts.

This event will include Audio Description and American Sign Language.

To attend this virtual film screening:

Tickets are available on a sliding scale, which means you can pay any amount to attend.

Once you purchase a ticket online, you will receive a confirmation from the EstroGenius Festival that will include a Zoom link to attend the event, as well as access to the Telephone FilmGoer Guide online.

Buy tickets at the link:

Ticket Link for Telephone Screening at EstroGenius Festival

Please note:

  • This event will begin at 7:00 PM (Eastern/New York Time) and will end at 8:30 PM in-person and online.

  • If you need accessibility assistance with ticket purchases, let us know and we will do our best to help.

    • For other questions regarding the event or the EstroGenius Festival, contact the festival directly at:

  • This event will not be recorded.  If you cannot attend this screening, there will be future screening events that you will be able to join! 

More information on future screenings will be available in the coming weeks and months, and we will keep you updated as it becomes available.

Thanks for your support of Dark Room Ballet and the Telephone Film!

News / Announcements

REMINDER: Pro Class Starts on April 15th!

Hosted by Movement Research, Dark Room Ballet classes are designed specifically for the educational needs of blind and visually impaired adults (though all are welcome).

NOTE: This is a FREE class, but donations are welcomed.

Dark Room Ballet Pro Class

Saturdays, April 15 – June 3, 2023

4 PM to 5:30 PM (Eastern / New York Time)

This workshop is offered online via Zoom – participants can attend any sessions.

To register, please email: and let us know which sessions you would like to attend

Who can take Dark Room Ballet Pro Class? 

If you have been studying in Dark Room Ballet Open Level class regularly, and feel confident in your use of tape for orientation and your basic ballet vocabulary, you can take Dark Room Ballet Pro Class.

If you are a blind or visually impaired professional or pre-professional dancer, or a blind or visually impaired dancer who regularly studies in ballet classes designed for sighted people, you can take this class.

If you aren’t sure if you’re ready, ask Krishna during Question and Answer time in Monday night Open Level class (odds are, if she recognizes your voice before you self-identify, she will say yes). If you’ve never taken Open Level, please come! This is a low support class. That means you will not receive a vocabulary email the night before, and the descriptions Krishna uses will rely more heavily on vocabulary than anatomical words.

What is the format of Dark Room Ballet Pro Class? 

There is a five-part barre and a two-part center, plus a ten-to-fifteen-minute lecture on how to apply blind-specific dance techniques to advanced ballet techniques. As always, there is Question and Answer time.

Here’s a list of the weeks and the lecture topics:

Session One (4/15): Fifth Position and the Challenges Maintaining Bilateral Symmetry.

Session Two (4/22): Grand Plie — Why?

Session Three (4/29): Strategies for Maximizing Balance in Center Adagio.

Session Four (5/6): Inside and Outside Turns for Dancers That Don’t Spot.

Session Five (5/13): Traveling Turns for Dancers That Don’t Spot.

Session Six (5/20): Flow State and Petite Allegro.

Session Seven (5/27): Grand Allegro and Orientation.

Session Eight (6/3): Blind Dancers, Artistic Identity, and the Difference Between Bravado and Brio.

What makes Dark Room Ballet Pro Class different from Dark Room Ballet Open Level Class?

Krishna says…

1. There is a greater assumption of prior knowledge. In addition to the assumption that students will know the complete vocabulary set of Dark Room Ballet Intro, students should also recognize the following ballet vocabulary terms: pas de cheval, penche and fondu penche, sous-sous, grand battement, glissade, jete, assemble, temps levee, fouette tendu and fouette degage, couru, detournet, soutenou, pique step, faille, developpe through passe, and should be comfortable combining promenade with other movements. 

2. The mark for the exercise is quicker. In Open Level class, we mark by practicing a complete side of the exercise at a tempo that is similar to the music. In Pro Class, the mark is much more minimal. If the pattern is en croix or through alternating legs, the pattern might not be marked at all! You might find that the exercises in Pro Class are not actually more difficult than those in Open Level, but they require you to use your logical thinking more and your memory more. This is the case for Pro Classes for sighted people as well, in case you were curious!

3. The verbal description is simpler. In Open Level class, we’re used to hearing Krishna saying as much as she possibly can: anatomical words, body sensations, and ballet vocabulary all mixed together. Krishna’s descriptions are going to sound much more like the descriptions that she, herself, hears in technique class: mostly ballet vocabulary, with certain specific anatomical cues. She will sound less like a computer assistant and more like a human, but she promises to never, ever shut up!

4. You’ll have more chances with certain exercises. For most exercises, you’ll have two chances to master (same across two classes), but there will be other exercises that will carry across three classes.

5. You get a mini lecture on a specific advanced ballet movement concept as it pertains to blind dance technique specifically! 

News / Announcements

APRIL WORKSHOPS — No Diagram Anatomy: The Distal & Proximal Arm Complex (ARM CLASS)

Hosted by Movement Research, Dark Room Ballet anatomy workshops are designed specifically for the educational needs of blind and visually impaired adults (though all are welcome).

NOTE: This is a FREE class, but donations are welcomed.

No Diagram Anatomy for Dancers in the Dark Room:

➣ The Distal Arm Complex (April 1)

➣ The Proximal Arm Complex (April 8)

4 PM to 5:30 PM (Eastern / New York Time)
This workshop is offered online via Zoom – participants can attend ONE or BOTH sessions.

To register, please email: and let us know which sessions you would like to attend

Workshop Description

In this two-part workshop on the complete arm complex, we will use movement, touch, and conversation to not only cultivate scientific knowledge related to the shoulder, arm, and hand, but also initiate a higher degree of body awareness and neurological learning in this area. Evolutionary history and the marvels of human variation will also be addressed in this workshop.

No prior knowledge of human anatomy, dance, or self-audio description are required to participate, but all students will come away with deep anatomical knowledge, reduced movement anxiety, and tools to start learning how to talk about movement in a visceral way. Let’s get right down to the real nitty gritty!

Material covered in these two workshops will include:
  • The skeletal structure of the shoulder, arm, and hand
  • The locations and functions of musculature of the shoulder, arm, and hand, and their relationships to commonly known dance vocabulary
  • The nerves and nerve plexuses of the shoulder, arm, and hand, and what it means to cultivate neurological connection to this part of the body
  • The connective tissues (fascia, tendons, cartilages and ligaments) of the shoulder, arm, and hand.

All students will receive the complete script of the workshop two days beforehand, and the script can be reviewed either before or after the workshop. Although these two workshops are meant to be taken together, students are allowed to register for one or the other and they can both stand alone.

This workshop is designed for the educational needs of blind and visually impaired people and does not use diagrams.

About No Diagram Anatomy Workshop Series

No Diagram Anatomy workshops are in-depth dancer’s anatomy workshops that de-center sight and are designed for the educational needs of blind and visually impaired people. Participants will learn about their bodies’ layered anatomy from the outside-in using a combination of guided audio description, imagination, touch, and movement experimentation, and will also be given opportunities to practice talking about how the movement feels in the body (self-audio description).

Krishna's Thoughts

Krishna’s Mailbag #4: Flow State

(Originally recorded July 2021)

These thoughts were recorded a while ago, but they are on a topic re-visited during a recent Monday night Open Level Class

Listen to Krishna discuss her feelings on the Flow State in this audio recording (transcript available):

Audio file of Krishna speaking about Flow State, on SoundCloud

Transcript (work-in-progress):

Hello, everybody. It’s time for another edition of Krishna’s Mailbag. So this is the lovely little occasional program where I check in the mailbag for Dark Room Ballet and I answer interesting questions. So let’s check in the mailbag and find out what I have to talk about today. Let’s see what we’ve got. Oh, this question is really great. It asks, “Hey Krishna, what is the flow state? I’m a new dancer and I’ve heard about this, but I have no idea what they’re talking about.” Well, let me tell you about something. People who study education and who study learning about 10, 15 years ago, started to really pay a lot of attention to this special moment in a person’s life which is called the flow state.

The flow state is a moment of activity in which a person is just on the edge of the maximum difficulty that they can execute without losing confidence. They’re just on the edge. Oftentimes these moments require great focus, but also create great focus in the person. I find that the best way to explain a flow state is to describe moments of flow state that I myself have had. Flow state in dance for me happens a lot, a lot when I’m studying with other teachers, when I am developing work for my students. Flow state happens a lot for me. In fact, it happens while I’m teaching class a lot. It is a really intense experience. Pretty much every brain cell feels like it’s firing and nothing in the world could distract me from what I’m doing at that moment.

I’ve had moments working with particular dance teachers where I’m really on the edge of my capacity to learn something new and something becomes apparent to me while I’m learning it. And I understand how I’m going to work through the movements that I’m studying. Something becomes more clear, something becomes more obvious, but it’s brand new for me still. So I have to put every ounce of focus into what I am doing. I think oftentimes about work that I have done with a dance teacher here in New York City. A contemporary teacher, her name is Bethany Perry and I would oftentimes experience flow state in Bethany’s class because I’m ballet dancer. I stay up upstanding, I stay up tall, but in contemporary always changing levels, always changing direction.

And Bethany like many contemporary choreographers did not work with an eight point compass, but with a 12 point compass like a clock. So I was always changing direction and the precision of my direction had to really be taken into account. For a blind dancer that’s really, really hard, but what it was for me was really finding the memory capacity almost a preliterate like hunter gatherer kind of memory capacity. Remembering where I was, remembering where I’m going, rotating, keeping my body in space, keeping aware of it. And I always know that I’m in the flow state because my breathing changes a lot. I become very aware of it, I breathe really, really deep and really, really slow.

My heart is beating like a butterfly’s swings so fast, but my breathing is really deep and it’s really slow. And I almost feel my skin vibrating, I feel like every nerve in my peripheral nervous system is just on fire, [inaudible 00:05:28], vibrating. It is such a special experience. Now, that might sound like something you might want to experience yourself as someone on their dance education journey. Here’s some tips for me if you really want to allow yourself to enter the flow state. Here’s some things that you can do. You can make it really more accessible for yourself, you can’t force it to happen, but there’s things you can do to make it more accessible for yourself.

Number one, number one, remember that you have the capacity to learn the thing that you are studying. Do not psych yourself out. If you psych yourself out, no flow state for you. You have to go into it with the understanding, okay, I am here learning this thing and I have the ability to learn it. That’s number one. Number two, feel good and comfortable about the space where you are dancing. Before you start dancing, check everything, feel comforted that you know how much space you have, that you know all of the textures on the floor, that you know where your sound sources are, that you know where other sources of sound might be coming from. Take the time before you start dancing to really get to know where you are dancing. So you’re not going to get surprises from your space, you’re going to feel comfortable where you are.

Number three, allow yourself to enjoy dancing. I know that, that sounds like really ridiculous, but some people, they have this internal critic which is like, “Oh, I’m not doing it right, I’m not going to get it as the way that I want it to be.” If you have that little voice going on, that’s like, “Oh, I know that I didn’t point my foot as hard as I could have, oh, I lost my balance for a split second there, oh, I’m not moving my hand in the way that I know that I should.” Those things, those little critical voices in your mind might be preventing you from learning something much more exciting and allowing yourself to be excited in the moment. Those small things that we work on in technique class, sometimes you need to let it go and go towards a bigger goal of being fully immersed in what you’re doing.

Sometimes the most impressive things that come to us being able to hold big balances, being able to really change direction and not get lost, not forget, being able to access core muscles that we’ve found difficult to access. Having those feet alive with electricity, those hands alive with electricity, maybe it’s overcoming vertigo which plagues a lot of us blind dancers. Sometimes you need to let go of the small little critics voice and let yourself be in the bigger moment of what you’re doing. There’s always time to perfect the little things, but if you sense something is changing inside you that day, that you might be moving into somewhere new, somewhere important, let it go, let the excitement take you.

Go for it and trust that you can learn and that you can be in the thing that you are doing and the world will change, and you will change. When I think about what I’ve just shared right now, it is such a marvel to me that there have been people in my life who’ve discouraged me from following my path as an artist, following my path as a dancer, because how could I live without this kind of experience? How could I live bereft of this kind of excitement? This kind of joy that I so, so love and I so, so need deep in my heart, deep in my psyche. That’s who you are too, that’s who you are too. Always find joy in your dance practice and if you feel yourself teetering on the edge of something special, something important, dive in. It’s going to be great.

News / Announcements

Dark Room Ballet Introductory Classes for Blind and Visually Impaired Adults — New Cycle Begins Saturday, January 21st

Beginning Saturday, January 21st from 4:00 PM – 5:30 PM (Eastern / New York Time)

NOTE: Sponsored by Movement Research, this class is designed specifically for the educational needs of blind and visually impaired adults.

About Saturday Introductory Level Class:

This is a FREE class!

This class is suitable for people with no prior knowledge of ballet. This repeating series of eight classes introduces students to the most common ballet vocabulary that they would need to know in order to participate in Open Level Dark Room Ballet Class. The class introduces students to necessary anatomical concepts like turnout, torso stability, foot sensitivity and mobility, sightless balancing, and the use of a taped floor for orientation.

Classes are taught by Krishna Washburn, a blind ballet dancer and dance teacher, and take place on 8 Saturdays online via the Zoom platform; there is also the option to call in via phone.


Please note that Dark Room Ballet Introductory Level Classes now operate as a scholarship program for new blind and low-vision students.

Learn more about the Dark Room Ballet Intro Level Scholarship Program.

The next Intro Level cycle begins on Saturday, January 21, 2023.

If you are a blind or visually impaired individual interested in learning ballet remotely, you MUST contact us by no later than January 14th, so you can complete the intake process to register for this class.

To register, email to begin the intake process

You can also reach Dark Room Ballet by phone at (929) 367-0025

If you have some ballet experience, you may also qualify to join the ongoing Dark Room Ballet: Open Level Class on Monday nights; please contact us if you are interested.

Returning students are welcome to re-join intro level classes, as well as encouraged to join Dark Room Ballet: Open Level Class. Please let us know if you would like to re-join intro class as a returning student.

If you work with an organization that serves blind or visually impaired people, please share this information with people who may be interested in registering for this class.

If you are NOT a blind or visually impaired student, you may qualify to join the ongoing Dark Room Ballet: Open Level Class on Monday nights on a select basis; please get in touch with us to explain your interest.

Other Classes in the Dark Room

In addition to online Introductory and Open Level ballet classes for blind and visually impaired adults, Krishna often teaches workshops on related topics open to everyone, including anatomy, improvisation and audio description.

Learn more about past and upcoming online workshops: Dark Room Ballet Workshops

News / Announcements

WORKSHOP: Audio Description for Traditional Ballet Performances (Saturday, December 17th)

Hosted by Movement ResearchDark Room Ballet is designed specifically for the educational needs of blind and visually impaired adults.

NOTE: This is a FREE class, but donations are welcomed.

Dark Room Ballet Presents:
Audio Description as an Art Form

Audio Description for Traditional Ballet Performances

Saturday, December 17th , 2022
4 PM to 6 PM (Eastern / New York Time)

NOTE: This is a 2 hour class

This workshop is offered online via Zoom

To register, please email:

Workshop Description

Using the framing device of Act 1, Scene 1 from Giselle, participants will develop a different set of expectations for audio described traditional ballet performances, and will co-create a manifesto for ballet audio description for wide-spread dissemination among traditional arts presenters.

Note: this is the last workshop in the Audio Description as an Art Form series, sponsored by Movement Research.

More audio description workshops are planned for 2023!

News / Announcements

WORKSHOP: Forming Effective Audio Description Partnerships Between Dancers and Describers (Saturday, December 10th)

Hosted by Movement ResearchDark Room Ballet is designed specifically for the educational needs of blind and visually impaired adults.

NOTE: This is a FREE class, but donations are welcomed.

Dark Room Ballet Presents:
Audio Description as an Art Form

Forming Effective Audio Description Partnerships Between Dancers and Describers

Saturday, December 10th , 2022
4 PM to 6 PM (Eastern / New York Time)

NOTE: This is a 2 hour class

This workshop is offered online via Zoom

To register, please email:

Workshop Description

Audio describers can create their best art when they can form real partnerships with dancers that have self-audio description skills. Whether you are a dancer who wants to hone your self-audio description skills or an audio describer who wants to learn the questions to ask when developing descriptions (and what to do with the answers), this crucial teamwork will be cultivated here.

Note: this is the second to last workshop in the Audio Description as an Art Form series, sponsored by Movement Research

News / Announcements

Support the Telephone Film and Dark Room Ballet on #GivingTuesday!

Cyber Monday is coming to a close, which means that tomorrow is Giving Tuesday!

You may have heard about the Telephone Film project before. 

Description in caption

3 photos of Krishna side by side. In each she is holding a cordless phone to her ear in a playful pose, in front of a doorframe. She also wears one of her handmade Dark Room Adorned bracelets on her wrist.  The left photo is tinted with a blue effect, her expression coy. The second photo is tinted to look like a sepia mosaic, and she is making a surprised face. The right photo shows Krishna laughing, edited in watercolor style pink, purple and red tones.

If you haven’t, here is some more info:

The first of its kind, Telephone is a work-in-progress short film bringing awareness to the important art form of audio description (AD) for dance. Audio description allows blind and visually impaired people to be included fully in the joy of artistic expression.

Co-directed by Dark Room Ballet founder Krishna Washburn and choreographer Heather Shaw, Telephone is the first screendance film created specifically with a visually impaired audience in mind, while facilitating an immersive sensory experience for audience members of all sight levels.

Created during the global pandemic, the film features diverse disabled and non-disabled artists from across the globe, demystifying and legitimizing AD, not just as an access tool, but as a beautiful, rich art form in its own right.

Telephone is at the forefront of a completely new approach to audio description. Most of what is considered “best practice” for AD is meant for television or film. A neutral AD voice describes the visuals and does not express emotional content. In television and film, the performers’ voices (layered over the AD) inform the audience of the emotional themes. However, in dance, performers rarely speak. Is the neutral AD voice really the best choice for dance? How do those listening to the AD connect with the emotional content of the performance?

The audio describers of Telephone are reshaping the world’s perception of AD, adding emotional context and allowing their words to dance in the same way a dancer’s body moves. The result is a beautiful merge of poetry and movement, proving that:

Dance is visceral – not merely visual.

You can help!

Telephone is now holding initial screenings!

But we need to raise funds which will go directly towards the fantastic team of artists we have on board, as well as to cover costs to produce the film. Our original goal was met (covering initial costs) and we are now fundraising to cover post-production needs such as editing, accessibility providers, composers and more.

  • Interested in making a one-time donation? You can do so on Ko-Fi. 💰
  • Have you had a chance to buy a bracelet made by Krishna at DARK ROOM ADORNED? There are over 60 to chose from, like BLINDING LIGHTS. 💎
  • And don’t forget, there are 3 Dark Room Ballet tote bags left! You can buy one to support TelephoneHeels like Magnets (thanks to JazeluCreations on eBay) 👜

Before you go…

And if you just can’t stop thinking about telephones, watch the Yip Yip Martians discover a telephone on Earth and try communicating with it using different animal sounds they know on Sesame Street!

Thank you as always, for supporting the missions Dark Room Ballet and the Telephone Film!

News / Announcements

Help Telephone Film reach its goal of 15k by Nov 15th!

Help Telephone Film reach its goal of 15k by Nov 15th! (on YouTube, captions available)

Support disability justice and arts access – help Telephone Film reach its goal of 15k by Nov 15th!

Funds raised will go directly towards the costs of post-production, bringing this important screendance documentary to the finish line.

No donation is too small and we appreciate all of your support.

Donate on Ko-Fi:

Video description: Split screen Zoom recording of Telephone co-directors Krishna Washburn and Heather Shaw.

Follow Telephone Film!

On Facebook:

On Instagram:

On Vimeo and Ko-Fi, too!