Disability Arts History Australia

Items

• “Activism leads to a Disability Royal Commission”
  Decades of activism led to a 2019 Senate motion calling for a Disability Royal Commission. The first public hearing of the Royal Commission took place on 16th September, 2019 at Brisbane’s Convention and Exhibition Centre. The Commission resulted in a report in 12 volumes. Several volumes include Volume 3: Nature and extent of violence, abuse, neglect and exploitation, Volume 6: Enabling autonomy and access, Volume 7: Inclusive education, employment and housing, Volume 9: First Nations people with disability, and Volume 10: Disability services. Overall, the Commission presented “222 recommendations on how to improve laws, policies, structures and practices to ensure a more inclusive and just society that supports the independence of people with disability and their right to live free from violence, abuse, neglect and exploitation.” In 2023, the final report of the Royal Commission into Violence, Abuse, Neglect and Exploitation of People with Disability was published with 220 recommendations for a more inclusive nation to reduce exploitation, violence, abuse and neglect of people with disabilities.
• "Bree Hadley (2017) Disability, Sustainability, Austerity: The Bolshy Divas Arts-Based Protests Against Policy Paradoxes. Centre for Sustainable Practice in the Arts Journal 18 Spring. http://www.sustainablepractice.org."
  "In this short article, I want consider some of the ways theatrical artists, activists and advocates in Australia are tackling the paradoxical relationship between sustainability and austerity discourses, and, as a result, some changes this may be starting to produce in disabled people’s aesthetic prerogatives. For the last 30 years, artists, activists and scholars in Australia and beyond have avoided casting disability in terms of trauma, crisis, catastrophe and disaster. Accounts of the way disability theatre challenges stereotypes , as well as analysis of disability signifiers in screen, stage, and social performance , have expressed concern about deploying disability as a metaphor for disaster, or defining disabled people as monstrous, tragic, stoic, or inspirational, the way the medical model of disability traditionally defines us. Instead, modern disabled artists and the scholars who analyse them have advocated for work that deploys live art, performance art, and performative intervention in public space to challenge stereotypes, oppressive institutional systems, and other factors the social model of disability sees as the cause of disability oppression .In the last few years, though, there has been an increase in work that does associate disability with trauma, tragedy and disaster, in what seems to be a response to austerity, accountability and economic sustainability agendas that call for cuts to disability services spending to make our societies more sustainable going forward."
• "Australia Council - Disability Fact Pack 1998"
  The website reads “Outlines a variety of issues for arts organisations regarding people with disabilities including access, attitude, employment and discrimination” - Noelene Gration
• "Morwenna Collett, Gill Nicol (2024) Building Strong Foundations: Research on arts and disability needs and opportunities, Creative Australia, 2024."
  "This report is a summary of an arts and disability needs and audit conducted in 2023 for Creative Australia. Through desktop research and consultation with d/Deaf and disabled artists and creative workers, peak bodies and broader arts and cultural organisations, this research provides insights into needs and opportunities in the arts and disability ecology in Australia."
• "Radha O'Meara, Laura Dunstan, Anna Debinski, Catherine Ryan (2023). Disability and Screen Work in Australia: Report for Industry 2023. In Disability and Screen Work in Australia: Report for Industry. Melbourne Disability Institute, University of Melbourne."
  Disability is a key vector of inequality in Australian society. The screen industry has the potential to create meaningful change, in our workplaces and working practices, for our colleagues and our audiences. We need to pay more attention to disability and take more action to include disabled people in our industry. Disability equity, inclusion and accessibility training tailored to the screen industry can make a significant impact. Consultation, innovation and funding can transform industrial structures to create a more inclusive and sustainable industry for all screen workers. We must normalise talking about and providing access requirements to support disabled workers. The findings of this research reflect the need to build greater understanding, transparency and accountability in order to fully include disabled workers in the Australian screen industry.
• "Chris Brophy, Kim Dunphy, Nick Hill, Petra Kuppers, Indrani Parker, John Smithies, John Toumbourou (2008) Picture This: Increasing the cultural participation of people with a disability in Victoria, Office for Disability in partnership with Arts Victoria and Disability Services Division"
  Reads, in part "The Cultural Development Network undertook a research project examining ways that the participation of people with a disability in the arts, as artists and as audience members, can be increased. The project was commissioned by the Office for Disability and partners, Arts Victoria and Department of Human Services. The report and literature review have now been published."
• "Interview with Paul Constable Calcott"
  Uncle Paul Constable Calcott is a proud Wiradjuri man and artist living with a disability on Gubbi Gubbi country….. Uncle Paul uses his art to share stories of his journey as an aboriginal gay man living with a disability in urban Australia. Interview Summary Uncle Paul Calcott is a proud Wiradjuri elder and disability advocate who contracted polio as a child. During the interview, Uncle Paul discusses becoming an artist later in life through the encouragement of his husband and influenced by the storytelling of his culture. He embraces his identity as an Aboriginal, gay man living with disability. He talks about his artwork aiming to celebrate the achievements and contributions of people with disabilities, using traditional symbols to tell new stories, particularly about disability within Indigenous communities. Although there has been increased visibility and acknowledgment of disability arts in Australia, Paul notes that there's still a long way to go in terms of policy, funding, and public recognition. Uncle Paul says art can reflect political and social issues, and he proudly identifies as an artist with a disability and believes in the significance of diverse stories being told through the arts.
• "Interview with Kate Larsen"
  Kate Larsen (she/her) is a writer, consultant, leader and advocate with Australian and international experience in the arts and disability sector. Interview Summary Kate Larsen (she/her) is a recognised arts and disability advocate who emphasises the importance and inherent politics of self-expression and access in the arts. A non-disabled ally, Kate was influenced to pursue a career in the sector by the profound impact of learning about the social model of disability, which sparked a commitment to creating opportunities for and by disabled individuals. Larsen's work has involved fostering leadership among disabled artists and arts workers, advocating for disability-led organisations, and driving systemic change within Australia’s arts and cultural sector. She hopes to see continued progress towards equity and representation in the arts, with the NDIS playing a crucial role, and an increased presence of disabled artists, arts workers and leaders in mainstream organisations.
• “‘Arts and Disability: A Research Report’ published in 1995”
  In 1995, ‘Arts and Disability: A Research Report’ was published. Des Walsh and Juliet London were commissioned by the Australia Council to prepare the report. However, they found little information that was relevant to the theme of the report. In addition to a review of existing literature, they met with people involved in arts organisations, disability organisations and organisations dedicated to both, as well as funding bodies. Walsh and London outlined the different ways that disabled people interact with the arts: as artists, consumers, and through art therapy. They also recognised the “negative or unduly limiting notions attached to arts in relation to disability” (12). Overall, they found “no conclusive evidence […of a] widely shared, articulated concept of a ‘disability arts’ movement in Australia” at that time. The report was intended to inform meaningful policy going forward. They made recommendations related to buildings and physical barriers, leadership, education and training and action plans.
• Kath Duncan
• "Jung Hyoung Yoon, Caroline Ellison, Peggy Essl (2020). Shifting the perspective from ‘incapable’ to ‘capable’ for artists with cognitive disability; case studies in Australia and South Korea. Disability & Society, 36(3), 443–467. https://doi.org/10.1080/09687599.2020.1751079"
  Reads, in part "This study examined four inclusive arts organisations in Australia and South Korea, providing creative services for artists living with cognitive disability, including autism, intellectual and mental disability. This research study focused on exploring what support inclusive arts organisations and society have provided for artists living with cognitive disability to pursue professional careers."
• "Margaret Cooper (1999) The Australian Disability Rights Movement Lives. Disability & Society, 14(2), 217–226. https://doi.org/10.1080/09687599926280"
  Reads, in part "The Australian Disability Rights Movement is surviving despite funding threats to advocacy programmes. The integral relationship of advocacy funding to the Australian Disability Rights Movement is outlined. A brief history of the Australian Disability Rights' Movement is given, and whether this is a new social movement, or not, is discussed. The role of Women With Disabilities Australia is outlined."
• "Interview with Simone Flavelle"
  Simone Flavelle is a producer and consultant to artists with disability and the arts and film sectors. Interview Summary During an in-depth discussion about disability arts, Simone Flavelle outlined their career trajectory, emphasizing early work at Rocky Bay, involvement with Disability in the Arts Disadvantage in the Arts Australia (DADAA), and noted milestones in the field, including the impact of the NDIS on choice and control for artists. She discussed the evolution of public perception towards disability arts and the ongoing challenges with inclusivity and accessibility in various spaces. Simone also touched on the politicization of art by disabled artists, the complexity of identity among these artists, and the spectrum of how disability pride is embraced.
• "Interview with Morwenna Collett"
  Morwenna is a leader, consultant and facilitator in the arts, government, not-for-profit and university sectors and is passionate about helping arts and cultural organisations to include everyone in their work. Interview Summary Morwenna Collett is a consultant in diversity, access and inclusion and during the interview discusses her vast experience in the disability arts sector including time in the Australia Council where she played a key role in creating the first targeted funding program for artists with disabilities. Morwenna notes that while disability arts is gaining some awareness with mainstream audiences, there are still issues regarding how people think about the quality of art created by artists with disabilities. Morwenna highlights the NDIS as a significant milestone for disability arts in Australia, though she believes that there is much more potential for arts organizations to engage with it. Morwenna also emphasizes that the decision for artists to identify with their disability is a personal choice and it is becoming increasingly safe to disclose this identity, demonstrating progress toward inclusion in the arts.
• "Arts Access Australia appoints Emma Bennison (2012) and Megan Shand (2017) as CEO"
  Prior CEO Kate Larsen statesin 'Disability Leadership: If You're Gonna Talk the Talk .... ABC: Ramp Up, 30 March 2012' - "Now, I love my job. I'm good at it. I think that I've been useful here. But on the same day I accepted the position last February I also did something else. I gave notice of my resignation, and undertook to hand over the organisation by the end of 2012. The reason? Because I believe that Arts Access Australia should be led by a person with disability."
• “Arts Access Australia releases the report Making the Journey: Arts & Disability in Australia”
  In 2005, Arts Access Australia commissioned a survey of the disability arts sector nationally. This survey resulted in the report, Making the Journey: Arts & Disability in Australia. The report was written by Mary Hutchison. It details 12 case study disability arts organisations.
• “Screen Australia commissions the reports ‘Seeing Ourselves’ (2016) and ‘Seeing Ourselves 2’ (2023)”
  In 2016, Screen Australia commissioned a report "Seeing ourselves: Reflections on diversity in Australian TV drama". The report highlighted the lack of characters on TV with a disability. When characters with a disability were part of the story they were played by actors without a disability and were portrayed as either unemployed or retired. Screen Australia commissioned a follow-up report in 2023 called "Seeing Ourselves 2 - Diversity, equity and inclusion in Australian TV drama". This report shows that, while diversity is a global conversation and there is an increase of disability representation, it remained significantly lower than the actual disabled population.
• No Strings Attached
• No Strings Attached Theatre of Disability
• Eddie Paterson
• "Commonwealth of Australia (2024) Equity: the Arts and Disability Associated Plan"
  "Equity: the Arts and Disability Associated Plan (the Plan) was released on 14 November 2024. The Plan is a four-year roadmap of activities to build the foundations for equity for artists, arts workers and audiences with disability across Australia, with an $8.1 million investment in actions to drive change."
• "Queensland Government (2024) Arts and Disability Plan. 25 September 2024. https://www.arts.qld.gov.au/projects-and-initiatives/arts-and-disability-plan-web"
  Reads, in part "The Queensland Government acknowledges the rights of people with disability to participate equally in the state’s cultural life and to have the opportunity to develop and use their creative, artistic and intellectual potential, as recognised in the United Nations Convention on the Rights of Persons with Disability."
• “Australia Council - People with a disability - attendance at cultural events 2008"
  Australia Council - People with a disability - attendance at cultural events 2008 - reads, in part "A 2003 survey by the Australian Bureau of Statistics showed that over 40 per cent of people with a disability went to the cinema. According to the 2003 Survey of Disability, Ageing and Carers, one in five people in Australia reported that they had a disability which restricted their everyday activities and which had lasted, or was expected to last, for at least six months."
• ”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."
• "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."