Disability Arts History Australia

Items

• "Kath Duncan, Gerard Goggin, Christopher Newell (2005) ‘Don’t Talk about Me... Like I’m Not Here': Disability in Australian National Cinema. Metro Magazine: Media & Education Magazine.146/147, pp. 152-159. https://search.informit.org/doi/10.3316/informit.043842788583710"
  Reads, in part "Disability is a central cultural identity and category in Australia, but this is not often realized. We seek to make a contribution to conversations and critical analyses of disability in Australian culture through an exploration of a privileged national cultural form, namely film. The trope of disability looms large in late twentieth century Australian cinema, and yet cultural comment on these ‘disabled’ scripts and performances has not yet considered a disabilities studies perspective. Accordingly, in this article we combine our different perspectives on disability and film into an account of how specific films use disability. In particular, we analyse key films from the 1990s as examples of powerful displays of bodies and personhood." References a range of films, including Proof (Jocelyn Moorhouse, 1991), Romper Stomper (Geoffrey Wright, 1992), Bad Boy Bubby (Rolf de Heer, 1993), Muriel's Wedding (PJ Hogan, 1994), Shine (Scott Hicks, 1996), Moulin Rouge! (Baz Luhrmann, 2001), My One Legged Dream Lover (writer Kath Duncan with dir. Penny Fowler-Smith, Christine Oslen 1998), Pins and Needles (writer Genni Batterham with dir. Barbara Chobocky, 1979), Riding the Gale (Genni Batterham with dir, Hugh Piper, 1987), Dance Me to My Song (writer Heather Rose with dir. Rolf De Heer, 1998), Heather Rose Goes to Cannes (Chris Corin, 1999), Myself When Fourteen, (Ivor, Arthur and Corinne Cantrill 1989),Film of Circles, Squares, Triangles, Lines and Dots (Arthur and Corinne Cantrill 1981), Rainbow Diary (Arthur and Corinne Cantrill 1984), House Gang (Mandy smith, 1997), Quentin Crashes Big Brother (Quentin Kenihan, 2002), Quentin, World at My Wheels (Quentin Kenihan, 2000), Ability Trek (Jacob Baldwin 1998)
• "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."
• "Anthea Skinner, Grace Thompson, Katrina Skewes McFerran (2022). Professional Pathways for Musicians with Disability in Victoria, Australia. Musicology Australia, 44(1), 21–42. https://doi.org/10.1080/08145857.2022.2088930"
  Reads, in part "The work of disabled musicians has become the focus on of an increasingly large body of academic work; however, existing literature rarely provides details about the educational experiences of these musicians, or how disability impacted these experiences. This study interviewed eleven performing musicians living with disability in Australia to elucidate the barriers and enablers that they faced in their music educations and careers."
• "Anthea Skinner, Jess Kapuscinski-Evans (2021) Facilitate This! Reflections from Disabled Women in Popular Music. Journal of Popular Music Studies 1 June 2021; 33 (2): 3–14. doi: https://doi.org/10.1525/jpms.2021.33.2.3"
  Reads, in part "This article is a reflection by the authors on the impact that their identities as disabled women have had on their ongoing music careers. Skinner and Kapuscinski-Evans make up two-thirds of the Australian crip-folk trio, the Bearbrass Asylum Orchestra (the term “crip” is a cultural reappropriation of “cripple”). The Bearbrass Asylum Orchestra is a band that performs as part of the Disability Music Scene in Melbourne, Australia, using folk music to portray their experiences as people with disabilities. In this article Skinner and Kapuscinski-Evans discuss the formation of and philosophy behind the band, as well as the impact that growing up as disabled women had on their musical education, careers, and influences."
• "Anthea Skinner (2017) ‘I love my body’: Depictions of sex and romance in disability music culture. Sexualities. Volume 21, Issue 3. https://doi.org/10.1177/1363460716688"
  Reads, in part "The international disability music scene is a thriving musical subculture consisting of performers self-identifying as disabled who use their performances to explore experiences of living with disability. As a genre predominantly written by, about and for people with disabilities, it provides a space for discourse about life with disability which is largely unmediated by governmental policy, political correctness or able-bodied facilitators. As such, it is a medium through which people with disability are free to express opinions about sex and romance rarely seen in mainstream media. This article examines the ways in which the topics of sexuality and romance are explored within disability music culture."
• "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."
• "Una Rey (2022) Art and sensoria: Whose disability? ArtLink, 42(2), pp.8–11."
  "SENSORIA: Access & Agency is ArtLink’s effort to affect this swell by providing a platform for divergent perspectives and nuanced articulations of being an artist. Whatever the prevailing conditions. It also invites a discussion within contemporary art discourse that is not driven by fear (of getting it wrong, of ‘the other’, of adding injury to trauma). Art is our place of intersectionality: if you’re reading ArtLink, you’re already on the margins, and quite possibly on the spectrum."
• "Anthony White, Anna Parlane (2019). Outsider Art in Australia: Artists' Voices versus Art-world Mythologies. Art and Australia, 56 (1), pp. 80-95."
  This article explores the questions: Have you ever come across the category 'outsider art'?... What do you think of that phrase in terms of a way of describing artwork?
• "David Throsby, Katya Petetskaya (2024) Artists as Workers: An Economic Study of Professional Artists in Australia, Creative Australia, 2024."
  "Artists as Workers: An Economic Study of Professional Artists in Australia, by David Throsby and Katya Petetskaya, is the seventh in a landmark study, carried out independently over the last four decades by Professor Throsby and colleagues at Macquarie University, with support from Creative Australia (previously the Australia Council for the Arts). Conducted at roughly six–year intervals, the series tracks the working conditions of artists, providing information about their artistic practice, income, career development and pathways, and their broader working lives. The latest survey was in the field late 2022 and early 2023 and examines activity in the 2021-22 financial year. This edition therefore captures the conditions for artists in the wake of COVID-19 and coincides with the Australian Government’s January 2023 announcement of its five-year national cultural policy Revive: A place for every story, a story for every place."
• "Commonwealth of Australia (2024) Equity: the Arts and Disability Associated Plan"
  "Equity: the Arts and Disability Associated Plan (the Plan) was released on 14 November 2024. The Plan is a four-year roadmap of activities to build the foundations for equity for artists, arts workers and audiences with disability across Australia, with an $8.1 million investment in actions to drive change."
• "Morwenna Collett, Gill Nicol (2024) Building Strong Foundations: Research on arts and disability needs and opportunities, Creative Australia, 2024."
  "This report is a summary of an arts and disability needs and audit conducted in 2023 for Creative Australia. Through desktop research and consultation with d/Deaf and disabled artists and creative workers, peak bodies and broader arts and cultural organisations, this research provides insights into needs and opportunities in the arts and disability ecology in Australia."
• "Katie Ellis, Gerard Goggin (2015). Disability media participation: Opportunities, obstacles and politics. Media International Australia, 154 (1), pp. 78-88."
  This article discusses participatory media from a critical disability perspective. It discusses the relative absence of explicit discussion and research on disability in the literatures on community, citizen and alternative media. By contrast, disability has emerged as an important element of participatory cultures and digital technologies. To explore disability participatory cultures, the article offers analysis of case studies, including disability blogs, ABC's Ramp Up website and crowd-funding platforms (such as Kickstarter).
• "Katie Ellis, Tama Leaver, Mike Kent, M, eds. (2023). Gaming Disability: Disability Perspectives on Contemporary Video Games. London and New York: Routledge."
  This book explores the opportunities and challenges people with disabilities experience in the context of digital games from the perspective of three related areas: representation, access and inclusion, and community. Drawing on key concerns in disability media studies, the book brings together scholars from disability studies and game studies, alongside game developers, educators, and disability rights activists, to reflect upon the increasing visibility of disabled characters in digital games.
• "Radha O'Meara, Laura Dunstan, Anna Debinski, Catherine Ryan (2023). Disability and Screen Work in Australia: Report for Industry 2023. In Disability and Screen Work in Australia: Report for Industry. Melbourne Disability Institute, University of Melbourne."
  Disability is a key vector of inequality in Australian society. The screen industry has the potential to create meaningful change, in our workplaces and working practices, for our colleagues and our audiences. We need to pay more attention to disability and take more action to include disabled people in our industry. Disability equity, inclusion and accessibility training tailored to the screen industry can make a significant impact. Consultation, innovation and funding can transform industrial structures to create a more inclusive and sustainable industry for all screen workers. We must normalise talking about and providing access requirements to support disabled workers. The findings of this research reflect the need to build greater understanding, transparency and accountability in order to fully include disabled workers in the Australian screen industry.
• "Victoria : disability fact pack for arts and cultural organisations - DADAA National Network and Australia Council (1998)"
  Disability fact pack for arts and cultural cultural organisations in Victoria
• "New South Wales disability fact pack for arts and cultural organisations - DADAA National Network and Australia Council (1998)"
  Disability fact pack for arts and cultural organisations in New South Wales
• "Queensland disability fact book for arts and cultural organisations - DADAA National Network and Australia Council (1998)"
  https://disabilityartshistoryaustralia.net/s/DAHA/item/9586
• "South Australia : disability fact pack for arts and cultural organisations - DADAA National Network and Australia Council (1998)"
  Disability fact pack for arts and cultural organisations in South Australia
• "Northern Territory : disability fact pack for arts and cultural organisations - DADAA National Network and Australia Council (1998)"
  Disability fact pack for arts and cultural organisations in the Northern Territory
• "Australian Capital Territory : disability fact pack for arts and cultural organisations - DADAA National Network and Australia Council (1998)"
  Disability fact pack for arts and cultural organisations in the Australian Capital Territory
• "Western Australia : disability fact pack for arts and cultural organisations - DADAA National Network and Australia Council (1998)"
  Disability fact pack for arts and cultural organisations in Western Australia
• "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"
• "Bree Hadley (2007) Review - Mirage, by Igneous, Australian Stage Online"
  Reads, in part "In Mirage, a performance installation by Brisbane-based multimedia company Igneous, dancer James Cunningham uses a combination of dance and data projection to draw the audience into a strange new perceptual space, in which body parts can be transposed, twinned and mirrored, providing new capacity for movement in the face of challenges to a body’s conventional structure and integrity. The work, like Cunningham’s previous collaboration with multimedia artist Suzon Fuks on The Body in Question (1999), is based on Cunningham’s experience after a motorcycle accident in 1992 left him paralysed in his left arm. Both works touch on the perceptions and realities of the human body as it reacts, recovers and rediscovers its potentialities in the wake of injury"
• "Katie Ellis (2008) Disabling Diversity: The Social Construction of Disability in 1990s Australian National Cinema"
  Reads, in part "This book critically examines numerous 1990s Australian films with reference to socio-political influences to approach disability as a problem with society rather than as one within a damaged body."
• "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."