Disability Arts History Australia

Items

• “Restless Dance – Annual Report 2016"
  Restless Dance Theatre Annual Report 2016- Company history, Chair's, Artistic Director’s, Dancer’s and Company Manager’s Reports, Productions including ‘In the Balance,’ ‘DEBUT 5: The Dancers Direct,’ and new work in development ‘Zizanie and ‘Elegance,’ Community workshop programs, Financials, Staff and Board, Supporters
• “Restless Dance – Annual Report 2017"
  Restless Dance Theatre Annual Report 2017- Company history, Chair's, Artistic Director’s, Dancer’s and Company Manager’s Reports, Productions including ‘Intimate Space,’ ‘Shared Visions,’ Community workshop programs, Financials, Staff and Board, Supporters
• “Restless Dance – Annual Report 2018"
  Restless Dance Theatre Annual Report 2018 - Company history, Chair's, Artistic Director’s, and Company Manager’s Reports, Productions including ‘Intimate Space,’ ‘Shared Visions,’ Community workshop programs, Financials, Staff and Board, Supporters
• “Restless Dance – Annual Report 2019"
  Restless Dance Theatre Annual Report 2019 - Company history, Chair's, Artistic Director’s, and Company Manager’s Reports, Productions including ‘Zizanie,’ ‘Intimate Space,’ and works in development ‘Seeing Through Darkness’ and ‘Rewards for the Tribe,’ Community workshop programs, Financials, Staff and Board, Supporters
• “Restless Dance – Annual Report 2020"
  Restless Dance Theatre Annual Report 2020 - Company history, Chair's, Artistic Director’s, and Company Manager’s Reports, Productions including ‘Seeing Through Darkness,’ and new work in development ‘Guttered,’ Community workshop programs, Financials, Staff and Board, Supporters
• "Restless Dance - Exposed Program"
  Restless Dance Theatre Program 'Exposed' - reads, in part “Most of us are free to make choices about what parts of our life we keep private and what is public. But for some, this choice Is often not so straight forward We need to rely on others, sometimes strangers to help us with moments in life that you might take for granted And if we are lucky, we win have people around us who we trust. Trust is built slowly over time, relinquishing ourselves to the hands of others. With our backs to !he wall creating edges and boundaries, we build a community around us to keep our fragility protected is when we feel safe enough to let our guards down, we can show the little pieces of ourselves that are our most personal To be brave, yet vulnerable, is when we feel safe and not exposed.”
• "Restless Dance - Program 2022"
  Restless Dance Theatre Program 2022 – information about works Seeing Through Darkness, Ecoute Pour Voir (Listen To See), Exposed, and Home, and promotion of tour ready works Guttered and Intimate Space
• “Tutti Arts – 10th Anniversary Report”
  Tutti Arts 10th Anniversary Report 2007 - Messages from Patron, President, and Artistic Director, information about shows ‘My Life, My Love,’ ‘The Singing of Angels,’ ‘Circles,’ ‘The Laughter Project,’ ‘Northern Lights, Southern Cross’
• "Bree Hadley (2022) A ‘Universal Design’ for audiences with disabilities? In Reason, Matthew, Connor, Lynne, Johanson, Katia, & Walmsley, Ben (Eds.) Routledge Companion to Audiences and the Performing Arts. Routledge, Abingdon, Oxon, pp. 177-189.”
  “Understanding of how to create inclusive performance experiences for spectators with disabilities remains nascent in research, policy, and practice. In this chapter, I survey the state of knowledge in this field – or, as it turns out, fields, given that specialist knowledge of sign language interpretation for d/Deaf spectators, audio description for blind spectators, and relaxed performance for neurodiverse spectators, has developed separately, without intersection. I then investigate recent efforts to create inclusive aesthetics that incorporate accessibility features into performance work, as an integral part of the aesthetic, rather than as interpretations, captions, or descriptions alongside the work. I examine why this ‘Universal Design’ approach has been embraced with enthusiasm, both by disabled producers and spectators, and by non-disabled producers and spectators.”
• Shopfront
• Riverside Theatre
• Bus Stop Films
• Al Wunder’s Theatre of the Ordinary
• RAPID (Recreational Activities for People with Intellectual Disability)
• Disability Arts Workers Network (DAWN)
• Centacare Disability Services
• Shopfront Theatre for Young People
• Adolfo Aranjues
• Alistair Baldwin
• Anna Seymour
• Breda Carty
• Bryan Phillips
• Catherine Parker
• Jennifer Justice
• Jo Caust