Disability Arts History Australia

Items

• Jen ‘Wart’ Waterhouse
• Rosalie Garland
• Natalie Papandrea
• Natalie Papandera
• Lisa Havilah
• Keith Twartz
• Jacqy Phillips
• Jacqui Phillips
• Jacquy Phillips
• Frances Buring Pichler
• Dorothy O'Brien
• Carol Young
• Banjobe Hunt
• “Arts Access Victoria - Arts Access Society Inc. - EASE Entertainment Access Service Newsletter October 1991”
  Arts Access Victoria EASE Entertainment Access Service Newsletter October 1991 - Note that EASE is distributing approximately 1200 tickets a month, information about audio described shows, information about shows at Victorian Arts Centre
• Linda Murrow
• Janice Jenkins
• ”Hadley, Bree, Paterson, Eddie, & Little, Madeleine (2022) Quick Trust and Slow Time: Relational Innovations in Disability Performing Arts Practice. International Journal of Disability and Social Justice, 2(1), pp. 74-94.”
  "Despite a range of policies, plans, protocols and funding programmes to support disabled artists and collaborations between mainstream producers and disabled artists, the statistics – at least in our context in Australia – suggest most disability art still occurs outside and alongside an industry that struggles to include these artists. In this article, we draw upon findings from a series of workshops with disabled artists around Australia, conducted as part of the ARC funded Disability in the Performing Arts in Australia: Beyond The Social Model project – known colloquially to its collaborators and participants as ‘The Last Avant Garde’ project (https://lastavantgarde.com.au) – to propose a new approach. We find that while provision of logistical access (ramps, hearing loops, interpreters) and ideological access (stories, characters, discourse and language) is critical, so is methodological access, which embodies disability culture in training, rehearsal and production processes. Disabled artists use crip culture, along with relational space and time to negotiate what happens in disability arts and culture production practices and work through desire, fear, vulnerability and reciprocity to rapidly establish trusting collaborations."
• “Accessible Arts (NSW) established”
  Accessible Arts (NSW) was established in 1986. "the peak arts and disability organisation in New South Wales. We advance the rights of, and opportunities for, people with disability or who are d/Deaf to develop and sustain professional careers in the arts and have equitable access to arts and culture across NSW".
• “Inaugural High Beam festival in 1998”
  High Beam was a biennial community-based disability arts festival. It was a joint initiative of SPARC Disability Foundation and Arts In Action (through the direction of Tony Doyle). (Arts in Action later became Arts Access SA.) The 10-day event was the first of its kind in the Southern hemisphere, attracting around 20,000 people at each festival. The festival showcased theatre, dance, comedy, and music. Some celebrity artists included Adam Hills and David Helfgott. The inaugural festival (1998) invited Swedish Disability Theatre Company Mooms Teatern to perform; the company also conducted workshops with a disability-led Australian theatre company, No Strings Attached. This first festival was also the site of Tutti's first public performance as a choir.
• "Maree Roche, Ben Whitburn (2019) Mate, You’re Crippin’ Us Out: Biopolitics of the Arts Curriculum in Australia and the Swinging Identities of Dis/abilities. Journal of Literary & Cultural Disability Studies.13(3). https://doi.org/10.3828/jlcds.2019.25"
  Reads, in part "The article explores arts curriculum in Australia as developed in the contexts of schooling, community organizations, and higher education for people with disabilities and mental health concerns. Motivated to explore whether or not students provided access to modified arts curriculum are engaging in education or receiving therapy, the aim is to address a dichotomy that is seemingly present in educational institutions, but extends well beyond the school gate and informs organizational responses to arts in the lives of people with disabilities. Resourced with the theoretical contributions of dis/ability studies for its concern for the biopolitics of disability, the authors weave personal experiences through the discussion of participation in arts throughout their lives. The article concludes with a theoretical discussion of how arts provision in the Australian context might develop the social and political value of art in the lives of people with dis/abilities and for all, on the basis that its educative value is emphasized over its therapeutic one."
• "Accessible Arts - Arts Activated Conference 2010 - Program"
  Accessible Arts - Arts Activated Conference 2010 - Program - reads, in part "Welcome to the second Arts Activated Conference. Arts Access Excellence. For those passionate about the arts and disability, the Arts Activated Conference provides an opportunity to come together to explore, debate, discuss, and connect ideas and practice. The conference will also celebrate the accomplishments."
• "CreativeAustralia/AustraliaCouncil - Website - NameChange 2023"
  The website reads “On Thursday 24 August 2023 the Australia Council became Creative Australia; a bigger, bolder champion and investor in arts and creativity”
• "Bree Hadley, Gerard Goggin, Petra Kuppers, Colette Conroy, Meagan Shand, Donna McDonald, Martin Paten, Norm Horton, Sarah Moynigan, Veronica Pardo, Caroline Bowditch, Morwenna Collett, Kerry Comerford, David Doyle, Pat Swell, Clark Crystal, Peter Stuart (2019) The NDIS and disability arts in Australia: Opportunities and challenges. Australasian Drama Studies, 74, pp. 9-38."
  "In Australia, disabled people’s participation in the arts has historically been afforded by means of direct-to-organisation grants that arts, community services or disability services arms of government award to arts organisations, charities or disability service organisations, who then deliver programmes. The introduction of the National Disability Insurance Scheme (NDIS) is creating wide-reaching changes for disability arts practice in Australia. We undertake a first step in addressing the need for research into how the NDIS will alter the landscape of disability arts practice in Australia. We highlight a set of questions that all performing and creative arts industry stakeholders will need to respond to, in order to ensure that the excellent work done in disability arts in Australia to date can continue in the new climate that the NDIS brings."
• "Tutti Arts - The Magic Flute - Media Release"
  Tutti Arts 'The Magic Flute' 2011 Media Release - reads, in part "South Australia's leading community arts organisation, the award winning Tutti Inc., will embark on one of its most ambitious collaborations to date with State Opera of South Australia (SOSA) and Cirkidz to present a new adaptation of Wolfgang Amadeus Mozart's The Magic Flute."
• "IndelabilityArts - AnnualReport 2021"
  Indelability Arts Annual Report 2021, with information about Indelability Arts Point Of Difference – stated as “indelabilityarts pushes boundaries and expectations with its artists and audiences to think outside the box of what is attainable” – Goals, Achievements in performances, community engagement and workshop series, Statistics, Partners