Disability Arts History Australia

Items

• ”Bree Hadley, Janice Rieger, Sarah Barron, Sarah Boulton, Catherine Parker (2023) Codesigning Access: A New Approach to Cultures of Inclusion in Museums and Galleries. In Cachia, Amanda (Ed.) Curating Access: Disability Art Activism and Creative Accommodation. Routledge, Abingdon, Oxon, pp. 183-195.”
  "In museums and galleries, access is often designed and implemented by staff and informed by regulations and guidelines. Codesign approaches have the potential to shift this understanding away from designing access “for” visitors and toward access as a creative process developed “with” visitors. This chapter focuses on the exhibition and practice-led research project Vis-ability: Artworks from the QUT Art Collection, which was presented at the Queensland University of Technology (QUT) Art Museum in Australia in 2019. Vis-ability represented the culmination of five years of international research into access in museums and galleries for visitors who are blind or have low vision."
• "Sarah Austin, Chris Brophy, Lachlan MacDowell, Edward Paterson, and Winsome Roberts (2015) Beyond Access: The Creative Case for Inclusive Arts. Melbourne: Arts Victoria."
  Reads, in part "Beyond Access sought to create an evidence base for the creative case for inclusive arts practice to support greater recognition for artists with a disability by transforming and extending notions of what art is and who produces it."
• "Australia Council (1999) Access All Areas: Guidelines for Marketing the Arts to People with Disabilities. https://webarchive.nla.gov.au/awa/20080720180431/http://www.australiacouncil.gov.au/publications/disability_and_the_arts/access_all_areas_guidelines_for_marketing_the_arts_to_people_with_disabilities"
  Australia Council 'Access all areas: guidelines for marketing the arts to people with disabilities' 1999 - reads, in part "Access all areas: guidelines for marketing the arts to people with disabilities For most people, the decision to be exposed to the experience of an arts event is a simple one. You go, because you choose to go. Providing that choice to people with disabilities is the issue of Access all areas. This guide is intended to be practical, covering actions which are within reach of arts organisations, especially marketing officers and their departments. How to identify this audience, how to reach them and how to provide what they want is the key advice contained in Access all areas."
• ”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 (2022) Disability and the Arts, Creative, and Cultural Industries in Australia. Australian Academy of Humanities"
  Reads, in part "There are five interrelated factors that support arts workers, arts organisations, and the arts sector at large to develop improved policy, protocol, and training practices."
• "Bree Hadley (2017) Disability theatre in Australia: a survey and a sector ecology. Research in Drama Education, 22(3), pp. 305-324.”
• "Amanda Cachia (2022) Networks of Care: Collectivity as Dialogic Creative Access, in Amanda Cachia ed. Curating Access: Disability Art Activism and Creative Accommodation. London: Routledge, 219-230"
  Reads, in part "The collectives that have formed in recent years and that will be the subject of this chapter include the Feminist Health Care Research Group (FHCRG), the Sickness Affnity Group (SAG), and Power Makes Us Sick (PMS). Each of these groups attempts to be intersectional in their approach, focusing on feminist and crip revisions to health care. Feminist and crip unite in the groups as the participants all identify as both women and as disabled. In shared spaces, which can be found in physical spaces, such as an art gallery or an artist’s home, or online through Zoom, artists can offer mutual understanding of their experiences with chronic illness, disability, the medical industrial complex, and simply be a shoulder to lean on in times of anxiety, anger, and sadness. The collectives also offer an opportunity for the artists to lift each other up, creating an environment of respect, dignity, and self-worth, becoming a strong circle of empowerment, affrmation, and allyship. The proliferation of these support groups shows a general shift in social norms, where the medical feld no longer holds the only authoritative voice on health. This phenomenon also indicates how nonmedical health based groups are flling a need and making up for a lack in social support networks elsewhere, particularly within sanctioned medical arenas."
• "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."
• "DADAA Inc and Arts Access Australia (2012) Art Works: Employment in the Arts for People with Disability.  http://www.dadaa.org.au/wp-content/uploads/2017/01/Art-Works-Full-Report-Web.pdf"
  Reads, in part "This document provides a short overview of the full Art Works report, which captures the results from national research into employment levels, barriers and strategies around employment in the arts for people with disability. The report was produced in response to one of the key focus areas of the National Arts and Disability Strategy, released in 2009."
• "Mary Hutchison (2005) Making the Journey: Arts & Disability in Australia. Sydney: Arts Access Australia."
  Reads, in part "A collection of inspiring examples of how to include people with disabilities in the arts, as participants, creators and organisers"
• "SENSORIA: Access & Agency. ArtLink Magazine Issue 42.2, Spring 2022."
  Reads, in part "This issue platforms a range of contemporary art practices and debates written by and with artists who identify as part of the disabled, d/Deaf, vision impaired or neurodiverse communities. The commissioned essays, profiles and conversations offer diverse perspectives of lived experience and (in)visibility in the art worlds of Australia, Aotearoa/New Zealand and the UK."
• "Katie Ellis (2019) Disability and Digital Television Cultures Representation, Access, and Reception. London & New York: Routledge."
  Reads, in part "Disability and Digital Television Cultures offers an important addition to scholarly studies at the intersection of disability and media, examining disability in the context of digital television access, representation and reception."
• "Amanda Cachia (2022) Curating Access: Disability Art Activism and Creative Accommodation. London: Routledge"
  Reads, in part "This book is an interdisciplinary collection of twenty-four essays which critically examine contemporary exhibitions and artistic practices that focus on conceptual and creative aspects of access."
• "Ted Evans, Michelle Bellon, Brian Matthews (2017). Leisure as a human right: An exploration of people with disabilities’ perceptions of leisure, arts and recreation participation through Australian community access services. Annals of Leisure Research, 20(3), 331–348."
  Reads, in part "Community Access Services (CAS) are defined as ‘Services designed to provide opportunities for people with disability to gain and use their abilities to enjoy their full potential for social independence’ [Australian Institute of Health and Welfare. 2015. Disability Services National Minimum Data Set Collection: Data Transmission and Technical Guide. Canberra: AIHW]. A notable absence of international research regarding leisure, arts and recreation through CAS exists. This study explores perceptions of people with disabilities on their participation in leisure, arts and recreation through Australian CAS."
• "Fayden D'Evie (2022) From Dust to Dust: Hallucinating the Absent Exhibition, in Amanda Cachia ed. Curating Access: Disability Art Activism and Creative Accommodation. London: Routledge, 87-98"
  Reads, in part "Over several months in 2018, I developed a hybrid artist-curatorial project for the Old Castlemaine Gaol, with the working title From Dust to Dust , which sought to invert the site’s association with the sensorial policing of bodies."
• "Australia Council: Australian Arts Snapshots - Disability & the Arts (2002)"
  Reads, in part "Australians who have a disability are recognised as being creators of innovative, thought provoking, high quality, and often very irreverent artistic product. They are active across all artforms in mainstream and community arts contexts"
• "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."
• “Kate Larsen (2012) Disability Leadership: If You're Gonna Talk the Talk .... ABC: Ramp Up, March 30. https://www.abc.net.au/ram pup/articles/2012/03/30/3467 452.htm.”
  Reads, in part "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."
• "Catherine Grant (2013). Participating in arts- and cultural-sector governance in Australia: Experiences and views of people with disability. Arts & Health, 6(1), 75–89. https://doi.org/10.1080/17533015.2013.826259"
  Reads, in part "This study sought the perceptions and experiences of people with disability relating to their potential or current involvement in the governance of arts and cultural organisations in Australia. Methods: A total of 32 people participated in an online survey, and results were analysed qualitatively and quantitatively. Results: The findings revealed that those participants who had been involved in governance benefited from it in terms of self-esteem, participation in society and well-being." Contains tables with survey data.
• "Australia Government (2019) My Art Goals: NDIS and the Arts. Canberra: Department of Communication and Arts."
  Reads, in part "My art goals shows some of the ways National Disability Insurance Scheme (NDIS) participants who have creative or cultural jobs, or who want to participate recreationally in the arts, can reach their goals. My art goals provides information about how the NDIS might support participants with arts goals, or about what supports or services might be available outside the NDIS."
• "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"
• "Cultural Ministers Council (2009) National Arts & Disability Strategy."
  Reads, in part "On 9 October 2009, the Cultural Ministers Council agreed to the National Arts and Disability Strategy, which sets out a vision for improving access and participation in the artistic and cultural activities for people with disabilities. The Strategy provides a framework within which jurisdictions can assess and improve existing activities. It also identifies new priority projects that could be progressed as national initiatives or by individual jurisdictions."
• "Carriageworks (2015) NSW Arts and Disability Partnership Launched at Carriageworks Including $100,000 Support for Two Major New Works. Carriageworks, 30 January 2015"
  Reads, in part "Sydney, Australia: The NSW Minister for Disability Services, Minister John Ajaka MLC, today launched an extension of the NSW Arts & Disability Partnership, announcing funding of $475,000 for 2015 to support four programs that promote social inclusion through the arts and disability sector. The Partnership includes $100,000 support for Carriageworks to commission two major new works developed by artists with disability in collaboration with NSW arts companies and artists."
• ”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.”