Disability Arts History Australia

Items

• "Arts Project Australia - Annual Report 2007"
  Arts Project Australia - Annual Report 2007 - Board, Staff and Volunteers, Supporters, About Arts Project Australia, President's Report, Director's Report, Studio Manager's Report, Exhibitions Report, Collections Report, Financial Report
• "Bree Hadley (2016) Cheats, charity cases and inspirations: disrupting the circulation of disability-based memes online. Disability and Society, 31(5), pp. 676-692."
  "With the increasing part online self-performance plays in day-to-day life in the twenty-first century, it is not surprising that critiques of the way the daily social drama of disability plays out in online spaces and places have begun to gain prominence. In this article, I consider memes as a highly specific style or strategy for representing disability via social media sites. I identify three commonly circulating categories of meme – the charity case, inspiration and cheat memes – all of which offer representations that people with disabilities find highly problematic. I then investigate the ways in which disabled people have begun to resist the representation and circulation of these commonly circulating categories of memes, via the production of counter or parodic memes. I focus, in particular, on the subversive potential of these counter memes, within disability communities online and within broader communities online."
• "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.?
• "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
• Katya Petetskaya
• Jung Yoon
• Jung Hyoung Yoon
• "Interview with Michael Noble"
  Michael Noble is a professional dancer and performer and has been with Restless Dance Theatre since 2015. Interview Summary Michael Noble is an ex-foster kid turned contemporary dancer at Restless Dance Theatre, who started in arts as an outlet for expression. His dance style has evolved from literal interpretations to more abstract movements, as Restless has supported his growth and mental health needs. Being in a company that accommodates artists with disabilities has led Michael to explore his own neurodivergence, specifically relating to being on the autism spectrum. He believes art, including the political, is less about the message itself and more about being the messenger for another's vision or interpreting and sharing one's own perspectives.
• "Juliet London and Des Walsh (1995) Arts & Disability: Report Australia Council: Surry Hills."
  Juliet London and Des Walsh - Arts & Disability, Australia Council 1995 - Reads, in part "The Australian Bureau of Statistics estimates that 18 per cent of the Australian population has a disability. There is a basic lack of data on participation in the arts by artists with a disability. No figures were available on the number of people with disabilities applying for grants from the Australia Council or from State or Territory arts agencies. The current dearth of statistical information needs to be overcome by systematic and sustained research."
• "Interview with Martin Edge"
  Martin Edge is a visual artist whose colourful paintings depict everyday life Interview Summary Martin Edge, an artist and ambassador for Autism Queensland, has experienced a significant journey in disability arts, culminating in representation by prominent galleries and inclusion in major collections. Since starting his painting career accidentally in a TAFE course, Martin's technique has evolved from using primary colours to creating a unique palette with mixed hues, resulting in more detailed and refined works. People have responded positively to his vibrant and hopeful art, which he enjoys sharing to bring joy to others. Martin looks up to artist Ken Done, admiring Done's vivid use of colour and his contributions to Australian art even into his 80s.
• "Interview with Alison Bennett"
  Dr Alison Bennett is a senior lecturer in photography at RMIT School of Art specialising in expanded photography, webXR, queer and feminist creative practices. Interview Summary Alison Bennett, an artist and academic, spoke about her work in expanded photography, their experiences with autism, and the intersection of disability discourse with queer activism in their life and work. Their current project, vegetal/digital, arose from their experiences during the pandemic and connects audiences with plant sentience through interactive digital art. Alison also discussed the political nature of their work, aiming to shift ontological frameworks and exploring new modes of engagement through art. They reflected on the significant cultural changes regarding neurodiversity in the last few decades, highlighting the growing self-advocacy among autistic artists and their increasing impact in the arts.
• Theatre of the Deaf
• "Restless Dance - Past Workshops"
  Restless Dance Theatre website, 'Past Workshops', captured 2020 - reads, in part, "Leaps and Bounds was a terms worth of open access dance workshops in 2012 for young people with autism in the 8 – 12 age range."
• ”Hadley, Bree, Batch, Morgan, & Whelan, Michael (2021) The entitled ally: Authorship, consultation, and the 'right' to stage autistic people's stories. Disability and Society, 36(9), pp. 1489-1509.”
  "Theatre has a long tradition of presenting disabled characters as plot devices to tell someone else’s story. A recent production, All in a Row, resulted in heated debate around this issue. This article examines not the play itself, but the conflict between those who objected to the play’s representation of autism, and its creators, who defended their choices by citing their disability-adjacent identities and processes of consultation. For critics, the fact that the creators did not take the community’s concerns seriously was a source of trauma. This article uses this conflict to draw out lessons about how we might better negotiate the right to tell disability stories and strengthen frameworks to support that negotiation. We propose a decision tree diagram to assist artists in understanding the meaning, role, and most importantly the potential consequences of consultation – up to and including a community saying ‘no’ to an artist’s planned representation."
• Autism Australia
• Olga Tennison Autism Research Centre
• Autism Victoria
• "Australia Council Arts and Disability Initiative 2022-24"
  Australia Council Arts and Disability Initiative 2022-24 - reads, in part "This program is for d/Deaf artists or arts workers, or artists or arts workers with disability, seeking to undertake a project or activity to advance their practice, skills or career."
• "Ayse Collins, Ruth Rentschler, Karen Williams, Fara Azmat (2022) Exploring barriers to social inclusion for disabled people: perspectives from the performing arts. Journal of Management & Organization. 2022;28(2):308-328. doi:10.1017/jmo.2021.48"
  Reads, in part "We answer the following research question: What are the barriers to social inclusion for disabled people in the arts?"
• Australian Theatre of the Deaf
• "Office for the Arts (2013) Creative Australia: National Cultural Policy. https://www.arts.gov.au/publications/creative-australia-national-cultural-policy-2013"
  Reads, in part, "Creative Australia (2013) celebrates Australia’s strong, diverse and inclusive culture. It describes the essential role arts and culture play in the life of every Australian and how creativity is central to Australia’s economic and social success: a creative nation is a productive nation."
• "Focus on Ability, Short Film Festival winners list 2022"
  Focus on Ability Short Film Festival, captured 2025 - webpage listing 2022 award winners - includes AUSTRALIAN & NEW ZEALAND SCHOOL SECTION (Bonnet Bay Public School (NSW) - The Marrakesh Treaty; East Hills Boys High School (NSW) – Resilience; St John Vianney's Primary School (QLD) - About Me; The Fabulous Players of the Mount Ommaney Special School Drama Elective (QLD)), AUSTRALIAN OPEN ENTRANTS (Nikhia Trask (QLD) - Rylan's Story - Autism is not a choice; Peter Renzullo (WA) - Note To Self; Lenny Seberry (QLD) - A Day in the Life of; Satara Uthayakumaran (NSW) - A Heavenly Piece of Art; Jessica Trueman in A Bold Choice; Ashleigh Smart - Not Your Average Joe; The Rogues Den Studios – Filmception; Emma Barry - Wait, What?)
• "Interview with Patricia Wozniak"
  Patricia Wozniak is a neurodivergent visual arts coordinator at Tutti Arts and is a disability arts advocate and ally. Interview Summary Patricia Wozniak, a visual arts coordinator at Tutti Arts with 14-15 years of experience, initially volunteered while studying for her master's and found joy and liberation in making art with the organisation. Tutti Arts has grown from offering two days to five days of visual arts each week and supports artists to enjoy creating, access quality materials, and earn income. While faced with challenges like NDIS funding intricacies and the need for easy-to-understand contracts, Patricia emphasizes the importance of artist-driven practice and equal opportunities. She observes a shift toward digital art and commercial endeavours among artists and asserts the vitality of educating artists about their rights and the political aspect of disability art in cultivating change and expression of identity.