Disability Arts History Australia

Items

• "Janice Rieger, Jasmien Herssens, Megan Strickfaden, Marianella Chamorro-Koc, Bree Hadley (2019) Vis-ability Exhibition."
  "The United Nations Convention on the Rights of Persons with Disabilities (UNCRPD, 2016) foregrounds the importance of cultural participation to realise human rights for people with disabilities. The creative industries play a critical role in supporting and shaping these social attitudes towards inclusion. Through the theoretical foundation of Design for All (EIDD Stockholm Declaration, 2004) new engagement processes involving a transdisciplinary team from Australia and around the world converged at QUT to co-design more equitable and collaborative forms of knowledge and practice around inclusion. International universities, the EU Commission and the European Institute for Design & Disability collaborated and presented Design for All for the first time in Australia, positioning QUT leadership in this field and as the first non-European member of EIDD-DfA. Co-design methods were employed through, Vis-ability workshops, Making Visible workshops, tactile artefacts and audio description work in the VisAbility Exhibition. Innovative practice was through the Inclusive Film Screening and Wondrous Googles technologies. An innovative model of engagement was created through the DfA Week program and events across sectors. Knowledge was disseminated through academic articles."
• Disability Arts History Australia Launch 2025 - Archiving Report
• Disability Arts History Australia Launch 2025 - Industry Report
• Disability Arts History Australia Launch 2025 - Archiving, Access and AI Report
• "Arts Project Australia - Annual Report 1991"
  Arts Project Australia - Annual Report 1991 - includes Aims and Objectives, President's Report, Program Director's Report, 1991 Exhibition Report, Scenes from the Studio Workshop, Financial Reports, Acknowledgements and Thanks - reads, in part "Arts Project Australia began in 1974 as an arts based advocacy group for people with intellectual disabilities. A major reason for the formation of "the Art Project" (as it was then known) was the insight on the part of its members that many people who have an intellectual disability displayed aptitude and talent in the visual arts, and that the flexible conventions of these arts forms could provide access to a variety of means of expression and communication, even when more common forms, particularly linguistic, were difficult for them to utilise."
• Australian Council for Health and Physical Education
• Disabled Persons Regional Council
• Dandenong Ranges Music Council Inc
• "Access Arts Annual Report 2016"
  Access Arts Annual Report 2016 - Brisbane Outsider Artists (BOA), First Nations Projects, Visual and Performing Arts Programs, Community Workshops, Professional Development, National Disability Insurance Scheme (NDIS), Grants and Awards
• "Access Arts Annual Report 2017"
  Access Arts Annual Report 2017 - Undercover Artist Festival, Brisbane Outsider Artists (BOA), Exhibitions, First Nations Projects, Professional Development, Grants, Awards, National Disability Insurance Scheme (NDIS)
• "Sprung!! Integrated Dance Theatre - River Stories"
  Page reads, in part, "River Stories is an inclusive and accessible workshop bringing First Nations contemporary culture and disability culture together, drawing on the yarns of Bundjalung Elder Julia Paden and led by local First Nations artists Mitch King (Yaegl/Bundjalung) and Jade Dewi Tyas Tunggal (Aust/Java)."
• Andrew McNicol
• "Greetings!"
  "Greetings!" One page review of highlights for Arts in Action in the year 2000.
• Morwena Collett
• Eyre Arts Action Inc
• Arts Action Inc
• Susan Maley
• Awakenings Festival
• "Janice Rieger and Megan Strickfaden(2019) “Dis/ordered assemblages of disability in museums.” In The Routledge Handbook of Disability Art, Culture, and Media, edited by Bree Hadley and Donna McDonald, 48–61. London & New York: Routledge."
  "Museums are spaces of power and care. They are institutions that present assemblages (Deleuze & Guattari 2002), which are reconstructions and representations of history and societal values, and thus are partial realities that curate human existence. These assemblages cannot ever represent the totality of human existence because it is never possible to do so, and yet these assemblages are embedded with power because choices are made about what ought or ought not be represented within museums (Ott 2013; Bennet 2017). The nature of partial realities is that, at their centre, these are still representations that tell stories of what one would imagine to be the most significant events related to a place (nation, city), with a particular focus on a societal event or issue (war, art, sports, nature, human rights, etc.) and peoples (e.g. immigrants, migrants, First Nations or Indigenous peoples, etc.). Persons attending museums rely on the expertise of historians, curators, archivists, conservators, and exhibition designers to present materials within the museum that focus upon and represent societal values. Most museum visitors are not aware of the power that museums hold, although more and more museum visitors push against narratives which they do not feel to be adequate representations of the places, events, issues, and peoples of society (Hooper-Greenhill 1992, 2000; Anderson 2004; Janes 2009, 2010). Where there is power, there is also care. Historians, curators, archivists, conservators, and exhibition designers take great care in how they assemble materials within museums."
• NuunaRon
• “Tutti Arts – Tutti Choir - Broadway Spectacular 2018 – Promotional Program”
  Tutti Arts – Tutti Choir ‘Broadway Spectacular’ 2018 Promotional Program – reads, in part “Taking its name from the musical term 'tutt', meaning everyone, Tutti is South Australia's only multi arts organisation where artists with a learning disability create visual art, theatre, music, film, new media and installations for a growing local and international audience. To further the organisation's vision of taking the work of disabled artists to the world, Tutti offers disability-led collectives like Company AT, The Sisters of Invention and Sit Down Shutup and Watch Film & New Media Festival a rare opportunity to work in an artistic and administrative environment. This supports artistic growth, audience reach, and industry recognition.”
• "Katie Ellis, Gerard Goggin (2015). Disability media participation: Opportunities, obstacles and politics. Media International Australia, 154 (1), pp. 78-88."
  This article discusses participatory media from a critical disability perspective. It discusses the relative absence of explicit discussion and research on disability in the literatures on community, citizen and alternative media. By contrast, disability has emerged as an important element of participatory cultures and digital technologies. To explore disability participatory cultures, the article offers analysis of case studies, including disability blogs, ABC's Ramp Up website and crowd-funding platforms (such as Kickstarter).
• ”Racheal Missingham, Bree Hadley (2022) Oppression and allyship in Australia's Deaf Arts. Australasian Drama Studies, 80, pp. 304-332.”
  "In this article, we investigate the history of Deaf theatre in Australia, through the lens of oppression and allyship. Through a review of the to date limited academic, industry, and media literature, in conjunction with survey and interview research with Deaf theatre practitioners, this research sheds light on Deaf theatre makers’ perceptions of the ways in which ally support can operate to create both social benefits and barriers, and how this has impacted on the non-linear development and recent decline in Deaf theatre companies in Australia. It finds that, in developing a framework to scaffold stronger allyship relationships with d/Deaf and hard of hearing artists, it is critical to consider the accessibility and cultural requirements not just in relation to theatre methodologies, but in relation to arts management practices, which support continuing company production, too."
• "Accessible Arts - Avenues into Creativity for People with Disability 1986- Report"
  Accessible Arts - Avenues into Creativity for People with Disability 1986- Report - PANEL ON 'WHY THE ARTS - Joan Hume: Why the Arts? An overview of the Need; - Lydia Fegan: Citizen Advocacy INFORMATION EXCHANGE - Who's Who - What's Happening SPECIFIC PROJECTS - Jo Caust: Arts Access Society Melbourne; - Angelika Pechloff: Good Time Junk Machine; - Laura Hastings-Smith: Adolescent Medical Unit Children's Hospital, Camperdown ON ART - Pam Fairburn: Cromehurst Special School OPEN SESSION: COMMUNITY GROUPS- Rozelle Arts and Drama Group: Sue MacDonald; - Art Reach: Melissa Lee VIDEOS - Linda Dyer: Activities Research Department, RNSH- Arts with the Aged: Jana Cattanach; The Ward Game- Laura Hastings-Smith: Adolescent Medical Unit; Children's Hospital, Camperdown; ENTERTAINMENT: 'Finger Ballet' - Chin Yu; PUTTING IDEAS INTO ACTION - Jana Cattanach: Artist in Residence, Tweed Shire Council; - Margot Currey: Community Artist/Sculptor; - Nan Bosler: Co-ordinator of the Narrabeen Community Learning Centre & Northern Beaches Creative Leisure Movement; ACCESS: OBSTACLES AND SOLUTIONS! - Ellen Bynum: Accessibility Consultant; - Lis Pack: Royal Blind Society; - Wendy Miners: Recreation Project Officer, AAMR; INTEREST GROUPS - Drama & Movement - Alison Lee; - Computer Art - Duncan Wallace; - Music - John Broomhall, Wollongong; - Silkscreen - Nina Angelo; - Craft - Branka Kringas
• "Bree Hadley (2021) What's in a name? The politics of labeling in disability performance. In Rai, Shirin, Gluhovic, Milija, Jestrovic, Silvija, & Saward, Michael (Eds.) The Oxford Handbook of Politics and Performance. Oxford University Press, New York, NY, pp. 531-543.”