Items · Disability Arts History Australia

James Morrison

Heidi Everett

Hana Tow

Hahna Briggs

Gillian Rankine

Catarina Hebbard

Aspy Jones

Allycia Staples

"Amanda Cachia (2013) ‘Disabling’ the museum: Curator as infrastructural activist. J. 12.3. pp. 257–289"

Reads, in part "This article will explore how I attempt to ‘disable’ the museum through my infrastructural curatorial practice, which is the basis for my scholarly research and writing. By infusing my curatorial projects with critical reflection and theoretical development, I hope to begin this process of building a new vocabulary and methodology around curating disability and access."

"Katie Ellis (2016) Disability Media Work: Opportunities and Obstacles. London: Palgrave."

Reads, in part "Elevates disability media discussions beyond representation and access by considering employment and discriminatory attitudes in the media industry"

Fayen d'Evie

Image of Second Echo Ensemble website - About, captured 2024

"Second Echo Ensemble - About, captured 2024"

Second Echo website 'About' page, captured 2024 reads, in part, "At the heart of Second Echo Ensemble are the artists who make and perform the work. Some live with disabilities, and some do not. Our work is not simply about access or equality. We are about new ways of thinking and creating."

”Bree Hadley, Donna McDonnald (Eds.) (2019) The Routledge Handbook of Disability Arts, Culture, and Media. Routledge International Handbooks. Routledge, London; New York.”

“In the last 30 years, a distinctive intersection between disability studies – including disability rights advocacy, disability rights activism, and disability law – and disability arts, culture, and media studies has developed. The two fields have worked in tandem to offer critique of representations of disability in dominant cultural systems, institutions, discourses, and architecture, and develop provocative new representations of what it means to be disabled. Divided into 5 sections:- Disability, Identity, and Representation; Inclusion, Wellbeing, and Whole-of-life Experience; Access, Artistry, and Audiences; Practices, Politics and the Public Sphere; Activism, Adaptation, and Alternative Futures - this handbook brings disability arts, disability culture, and disability media studies – traditionally treated separately in publications in the field to date – together for the first time.”

"Bree Hadley (2015) Participation, politics and provocations: People with disabilities as non-conciliatory audiences. Participations: journal of audience and reception studies, 12(1), pp. 154-174.”

"Disability has always had a prominent place on the theatrical stage. Throughout the C19th, C20th and C21st to date, disabled characters have been used to signify corruption, innocence or suffering, and, of course, as salutary examples of how to overcome such suffering. In the past three decades, the work of disability scholars, activists and artists has also provided opportunities for people with disabilities to produce their own plays, performances or installations challenging these stereotypes. Interestingly, though both the body of literature on theatre makers with disabilities and the body of literature on theatre audiences has grown apace over the past decade, there is still surprisingly little written on people with disabilities as theatre audiences. In this article, I draw on observations made during five years of practical, empirical and theoretical research into disability theatre to discuss how people with disabilities work as a distinctive sub-group of spectators, with distinctive spectatorial processes, modalities and preferences, within contemporary theatre audiences. I begin with the factors that make attending theatre difficult for people with disabilities. I note that people with disabilities respond to the challenges they face in attempting to become active audiences of contemporary theatre in three common ways. I then unpack what these spectatorial modalities teach us about people with disabilities as audiences, other marginalised groups as audiences, as well as about audiences, audiencing and the part audiences play in theatre practice more generally."

"Off the List Records"

Off The List Records website, captured 2022 - reads, in part "We are an independent record label, working mostly within the DIY, experimental and indie music space. We care about access to music and endeavour to make our shows and releases inclusive and accessible to everyone."

"Writeability website, captured 2014"

Webpage reads, in part "Mentor in Residence – writers with disability can get up to four hours of free, one-on-one support from our in-house Mentor in Residence. This can include meetings, phone or Skype conversations or feedback on up to 5,000 words of your work. Please note that demand for this service is very high, so you will be placed on a waiting list."

"Writeability website, captured 2018"

Webpage reads, in part "Write-ability aims to remove some of the barriers that have traditionally prevented people with disability from connecting with writing and publishing. It provides tools and information to support people with disability who want to tell their own stories in their own way. The Write-ability ethos has been based on the importance of self-told stories, disability-leadership and peer support, and the creation of opportunities for even the quietest voices to be heard."

"Writeability website, captured 2019"

Webpage reads, in part "Write-ability aims to remove some of the barriers that have traditionally prevented people with disability from connecting with writing and publishing. It provides tools and information to support people with disability who want to tell their own stories in their own way. The Write-ability ethos has been based on the importance of self-told stories, disability-leadership and peer support, and the creation of opportunities for even the quietest voices to be heard."

Michael Newbury

Tim Curtis