Disability Arts History Australia

Items

• Jung Yoon
• Jung Hyoung Yoon
• "DADAA - The Lost Generation Project"
  DADAA - The Lost Generation Project 2007 - reads, in part "The project was conceived from a partnership between DADAA and the WA Disability Services Commission, which began in 2002. After working on 15 small projects, the partners decided to develop a large-scale project in 2007 to continue developing arts and cultural interventions with and for people with intellectual disability living in supported accommodation across the Perth metropolitan area. The project's rich CACD strategy has seen numerous successful workshops, exhibitions and related projects come to fruition in partnership with local governments and other community arts organisations.?
• "ArtsHub (2013) Cultural Policy fails people with disabilities-Arts Access Australia is running a campaign to get a better deal for people with disabilities from the National Cultural Policy. 20 Mar 2013, ArtsHub"
  Reads, in part "By now you will have heard that the National Cultural Policy offers little for Australians with a disability. Not only is there no funding for the National Arts and Disability Strategy, but instead, the policy calls for a culture of tolerance towards people with a disability."
• "Tutti Arts - Tutti Voice Newsletter February 2009"
  Tutti Arts - Tutti Voice Newsletter February 2009 - "A new year, a new creative opportunity. Welcome to 2009 and the new look Tutti newsletter where we remember the highlights of 2008 and alert you to two exciting events coming up in the near future. The official launch of Tutti Kids in partnership with Novita Children's Services by the Honourable Jennifer Rankine, Minister for Disability, is on February 14th at the Odeon Theatre. In March, Tutti presents the Australian premiere of Richard Chew and Orlando Gough's radical community opera The Shouting Fence at the State Opera Studio for the Adelaide International Fringe Festival."
• "Australia Council - Annual Report 2008-09"
  Australia Council Annual Report 2008-09 - discusses letter from chairman, year in review, from the CEO, How we achieved our outcomes, About the Australia Council, Governance, Organisation, Accountability, Workplace and Financial statements but no longer listing grants of organisations or individuals however discusses the DADAA WA radio play “The Proper Shoes” - a series of stories written by young women with a disability, was first broadcast nationally on ABC Radio and then invited to tour the play as part of the TRASNA Festival of Inclusive Theatre.
• Katya Petetskaya
• “Arts Access Victoria - Arts Access Society Inc. - Access Newsletter December 1992”
  Arts Access Arts Access Society Access Newsletter December 1992 – P-art-ICIPATE Expo'92, Cultural Exchange Program with China, Executive Director message, national DADAA conference, Arts Access studio – able to be hired, updates – resource centre, projects, Publication – “Rewind - Strategies for Integration in the Arts”, EASE staffing changes, membership.
• "Australian Theatre of The Deaf - Company Report - August December 1987"
  Australian Theatre of The Deaf Report August December 1987 - Rehearsal for performance of "DON QUIXOTE” at Belvoir Street Theatre, performance of schools show "BEHIND THE WINDOW" (our High School production) in the Martin Place Amphitheatre for Deafness Awareness Week, continuation with workshops, BEHIND THE WINDOW" for High Schools, "THE MOON BETWEEN TWO HOUSES" for Infants and Primary Schools, plans for Summer School
• "Australia Council - Annual Report 2015-16"
  Australia Council - Annual Report 2015-16 - discusses year in review, strategy, funding, and key facts, including "18% identified as Aboriginal or Torres Strait Islander 6% identified as experiencing disability", and running Sync Leadership Program for artists with disability
• “Arts Access Victoria - Arts Access Society Inc. - EASE Entertainment Access Service Newsletter December 1989"
  Arts Access Victoria EASE Entertainment Access Service Newsletter December 1989 - Venue notes for Melbourne Town Hall, Updated venue notes for National Gallery of Victoria, FEIPP Programme Free and low-cost entertainment events in public places.
• “Arts Access Victoria EASE Entertainment Access Service Ticketing Update December 1992"
  Arts Access Victoria EASE Entertainment Access Service Ticketing Update December 1992
• “Arts Access Victoria - Arts Access Society Inc. - Access Newsletter December 1989”
  Arts Access Arts Access Society Access Newsletter December 1989 – reads in part: “Projects including Moomba, the Paintings Prints and Poles and 'Closing the Gap' exhibitions, the Taste of Crime performances at Fairlea, the opening of the ACCESS Studio, the Sails project at the Austin Hospital and the production of the kit "Making The Arts Work for Everyone", new studio space, 'Making the Arts Work for Everyone' publication, visiting director of Arts for Health from Manchester led seminars, and the Victorian Orchestra for the Disabled was being established.
• “Arts Access Victoria - Arts Access Society Inc. - EASE Entertainment Access Service Newsletter December 1991”
  Arts Access Victoria EASE Entertainment Access Service Newsletter December 1991 - Free concerns at Sidney Myer Music Bowl by Melbourne Symphony, Playbox and Melbourne Theatre Company 1992 seasons
• “Arts Access Victoria EASE Entertainment Access Service Newsletter December 1992-February 1993"
  Arts Access Victoria EASE Entertainment Access Service Newsletter December 1992-February 1993
• “Arts Access Victoria - Arts Access Society Inc.- EASE Entertainment Access Service Newsletter December 1990”
  Arts Access Victoria EASE Entertainment Access Service Newsletter December 1990 - The Palais Theatre venue notes, Free events at the Sidney Myer Music Bowl and Victorian Arts, including Melbourne Summer Music Series
• Kate Brennan
• Greg Sneddon
• Betty Rankin
• ”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."
• "DADAA - Bridging the Gap: Process Evaluation"
  Bridging The Gap: Process Evaluation - Reads, in part "Results from early formative evaluation indicated that relationships among core partners were a key strategy in the success of Bridging the Gap. Based on this, the Project Reference Group was selected as a focus of the process evaluation."
• “Studio A – Emily Crockford – The Phantom – Sydney Opera House 2021”
  Information about the Sydney Opera House's Diversity, Inclusion & Belonging Strategy for 2021-23, and Emily Crockford's artwork "The Phantom (Sydney) Opera House" which was liscenced for the cover, along with other words by Sally M. Nangala Mulda and Jason Phu.
• "Access Arts Annual Report 2015"
  Access Arts Annual Report 2015 - Undercover Artist Festival, Performing Arts Program, Exhibitions, Indigenous Advancement Strategy, Awards, Grants
• "Bree Hadley, Eddie Paterson, Madeleine Little, Kath Duncan (2024) How Disability Performance Travels in Australia: The Reality Under the Rhetoric. In Czymoch, Christiane, Maguire Rossier, Kate, & Schmidt, Yvonne (Eds.) How Does Disability Performance Travel?: Access, Art, and Internationalization. Routledge, Abingdon, Oxon, pp. 62-76.”
  "The last three decades has witnessed the development of a distinct narrative about how disability performance has become a much celebrated component of the Australian theatre landscape. A central aspect of this narrative is the critical importance of festivals, events, and other industry initiatives that allow disabled performers to travel - both conceptually and corporeally - to meet and be mentored by other artists, and to present their work to new and more mainstream audiences, in new spaces and places, around the country, and around the world. In this chapter, we draw on historical data, collected as part of an AusStage ARC LIEF project designed to database information about disability drama, theatre, performance, and dance over the past 100 years, as well as the Last Avant Garde ARC Linkage project on disability performance in Australia, to unpack areas where the reality seems to challenge some of the dominant rhetoric."
• Access Arts