Disability Arts History Australia

Items

• "Fusion Theatre Ensembles, captured 2022"
  Fusion Theatre Ensembles, captured 2022 - information about morning ensemble, evening ensemble, and ‘Movement in Conversation’ described as "and occasional project that Fusion Theatre offers in association with the Asylum Seeker Resource Centre (ASRC), and other local groups"
• "Fusion Theatre Our Works, captured 2022"
  Fusion Theatre Our Work, captured 2022 - links to pages about past works, including A Long Way From Home, After the Beginning of Everything, The Beginning of Everything, A Place Called Maze, Microcosma, No Strongs Attached, Inside Out, The Color Project, Mind the Light, Facets of Us
• "Fusion Theatre Diversity Workshop, captured 2022"
  Fusion Theatre Diversity Workshop page, captured 2022 - reads, in part "Fusion Theatre Diversity Workshop is a professional learning experience that explores themes of inclusion, diversity and social justice. Through applied theatre, drama, and stories, participants are provided with opportunities to reflect on how they might identify barriers to inclusion and contribute to a more inclusive society."
• "Arts Access Victoria - What's on, captured 2022"
  Arts Access Victoria - What's on - invitation to join AAV 'The Gathering' session in October 2022
• "Incite Arts - News, captured 2022"
  InCite Arts News, captured 2022 - Including a new location, and activities of 'Starts with a D' Performance Ensemble, and ‘Southern Ngalia’ intergenerational Warlpiri Women’s song and dance program
• "Access Arts CPL Ltd Constitution 2022"
  Access Arts CPL Ltd Constitution 2022
• "Back to Back Theatre - Annual Report 2022"
  Back to Back Theatre Annual Report 2022 - Chair’s Report, international premiere of film SHADOW, continued international touring of original stage show THE SHADOW WHOSE PREY THE HUNTER BECOMES, continued touring GANESH VERSUS THE THIRD REICH and THE DEMOCRATIC SET, premieres of new screen works FIRST RESPONDERS (ABC) and WHATEVER SCARES YOU (SBS), immersive installation DREAMS FEEL REAL WHEN YOU'RE IN THEM from Theatre of Speed, CAMP training weekends, creative development of new Back to Back work MULTIPLE BAD THINGS, ensemble member development of their own works.
• "DADAA Annual Report 2021-2022"
  DADAA Annual Report 2021-2022 – Chair’s and Executive Director’s Reports, People, Partners, Arts and Client Services, Projects including The Other Film Festival WA, Creative Development 4:48 Psychosis Creative Development, Digital Project, Exhibitions, Financials
• "DADAA Annual Report 2022-2023"
  DADAA Annual Report 2022-2023 – Chair’s and Executive Director’s Reports, People, Partners, Arts and Client Services, Projects including 4:48 Psychosis, Digital Art for Life, Exhibitions, Financials
• "Incite Arts Annual Report 2022"
  Incite Arts Annual Report 2022 - About Incite Arts, Board’s Report, Highlights, Project (stArts with D’ Performance Ensemble ‘Strong Feelings’ Program, Southern Ngalia Warlpiri Women and Girls Dance Camp Program, Create Communities, Unbroken Land, NT Arts Access Awards), Partners
• "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
• "Second Echo Ensemble - Annual Report 2022"
  Second Echo Ensemble Annual Report 2022 - Co-Chair’s and Creative Directors Reports, including work (OUTSIDE Boy, The Beauty Project , The Bridge, The Stare); Mission and Vision, People, Data and Statistics, Audited Accounts
• "Bree Hadley (2014) Disability, Public Space Performance, and Spectatorship: Unconscious Performers. London: Palgrave Macmillan."
  "Why would disabled people want to re-engage, re-enact and re-envisage the everyday encounters in public spaces and places that cast them as ugly, strange, stare-worthy? In Disability, Public Space Performance and Spectatorship: Unconscious Performers, Bree Hadley examines the performance practices of disabled artists in the US, UK, Europe and Australasia who do exactly this. Operating in a live or performance art paradigm, artists like James Cunningham (Australia), Noemi Lakmaier (UK/Austria), Alison Jones (UK), Aaron Williamson (UK), Katherine Araniello (UK), Bill Shannon (US), Back to Back Theatre (Australia), Rita Marcalo (UK), Liz Crow (UK) and Mat Fraser (UK) all use installation and public space performance practices to re-stage their disabled identities in risky, guerilla-style works that remind passersby of their own complicity in the daily social drama of disability. In doing so, they draw spectators' attention to their own role in constructing Western concepts of disability. This book investigates the way each of us can become unconscious performers in a daily social drama that positions disability people as figures of tragedy, stigma or pity, and the aesthetics, politics and ethics of performance practices that intervene very directly in this drama. It constructs a framework for understanding the way spectators are positioned in these practices, and how they contribute to public sphere debates about disability today."
• "David Throsby, Katya Petetskaya (2017) Making Art Work: An Economic Study of Professional Artists in Australia, Australia Council for the Arts, 2017."
  Reads, in part "Making Art Work: An Economic Study of Professional Artists in Australia by David Throsby and Katya Petetskaya is the sixth in a series carried out independently over thirty years by Professor Throsby at Macquarie University, with funding from the Australia Council. The series tracks trends in the lives and working conditions of Australian artists over 30 years and identifies challenges and opportunities for artists’ careers into the future."
• "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."
• Adelaide International Fringe Festival
• "Arts Project Australia - Annual Report 1999"
  Arts Project Australia - Annual Report 1999 - Management Committee, Aims and Objectives, President's Report, Director's Report, Studio Workshop Program, Outreach Program, Exhibitions, Financials - reads, in part "Arts Project Australia celebrated its 25th anniversary in' 1999. Since its inception, Arts Project Australia has gone from strength to strength and has enriched the lives of·all those wbo have been privileged enough to be involved with it"
• Andrew Norman
• Jason Govett
• Mike Oz Need
• Michael Need
• Mikhael Crossfield
• Michael Crossfield
• Peter Satsy
• Satsy