Disability Arts History Australia

Items

• "Tutti Arts - Big Think - Promotional Poster"
  Tutti Arts 'Big Think' Promotional Poster - reads, in part "THINK BIG! is the culmination of work by Tutti artists experiencing the challenge of a blank state I and meeting it head on. Each artist successfully transitioned from small scale to large and the sheer size of the works demonstrates their triumph in transforming an empty space into a vibrant, motive piece of art."
• "Australia Council - Annual Report 1980-81"
  Australia Council Annual Report 1980-81 - discusses members of council, standing committees and board reports as well as financial statements, grants lists, publications and programs particularly focused on the 1981 International Year of the Disabled Person (IYDP) including accessibility, integration and raising awareness of barriers of disability in arts, with funding for research, art exhibitions, theatre, film (“Stepping Out”), dance (“Life, Images and Reflections”), craft, and literature; conference, seminar celebrating IYDP.
• "Australia Council - Annual Report 1981-82"
  Australia Council Annual Report 1981-82 - discusses objectives, members of council, board members, organisation chart, staff list, council report, programs, board reports, financial statements, publications and grant lists incuding Arts Access Society (Vic) theatre performance of “Theorem” as well as funding for workshops in Artreach, Southern Media Co-operative, disabled playwright in residence, travel costs and artists fees as well as salaries of deaf artists and mime directors and research publication.
• ACE Magazine
• Tutti Arts
• Tutti Ensemble
• Weave Movement Theatre
• Accessible Arts
• Helen Connor
• "Interview with Janice Florence"
  Janice Florence is a performing artist and disability advocate. She originally trained as a Teacher and Librarian. Janice has worked in Education and Libraries for many years and in disability advocacy for 20 years She has worked in Training and Consultation at Arts Access Vic for 12 years. Janice has been involved in theatre, dance and human movement for over 35 years. For 25 years she has been the Artistic Director of Weave Movement Theatre, comprising disabled and non-disabled performers. Weave has produced many devised original works often with respected performing artists as collaborators. She was the inaugural recipient of the Australia Council Awards for Disability Arts-Established Artist in 2019. Interview Summary Janice Florence is a veteran performer and Artistic Director of Weave Movement Theatre, which includes disabled performers. During the interview, Janice reflected on her extensive history with dance, both prior to and after acquiring her disability, highlighting the significance of political and personal themes, as well as the use of humour in her work. She discussed the ongoing challenges in securing accessible rehearsal and performance spaces, along with the complexities of funding and recognition within the Disability Arts scene in Australia. Janice also acknowledged the importance of Disability Arts historically and its potential for challenging societal expectations regarding disability.
• “Queensland Advocacy Incorporated spearhead campaigns to close institutions”
  In 1989, when the Bjelke-Petersen-Ahern Government was coming to an end, the newly established Queensland Advocacy Incorporated was spearheading campaigns around the state to close down institutions and provide financing for individual help for individuals with disabilities.
• "South Australian Film Corporation (2018) Disability Screen Strategy"
  Reads, in part "Launched in 2018 under the SAFC’s Delivering Diversity umbrella, FULL TILT is the SAFC’s initiative for an inclusive approach to skills development for screen content makers with disability, and a starting point for driving change across the industry to achieve greater inclusion for practitioners with disability to develop their craft."
• "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."
• "Sally Northfield (2014) Canvassing the Emotions: Women, Creativity and Mental Health in Context" PhD Thesis Victoria University, Melbourne,  https://vuir.vu.edu.au/29985/, Australia, https://vuir.vu.edu.au/29985/1/NORTHFIELD%20Sally-thesis_nosignature.pdf "
  Reads, in part, "A multimedia movement-theatre show, incorporating dance, video- and slide- projections, a life-sized puppet and an original soundtrack. A diary come to life, portraying the true story of an Australian dancer who – after paralysing one of his arms in a motorcycle accident – journeys through the worlds of medicine, rehabilitation and disability, in recovery of self-expression. He finds new angles on perceiving the body, and new ways to move. "Body image" and concepts of "normality" are questioned."
• "DADAA Art Works Key Findings: Employment in the Arts for People with Disability – Current Status, Barriers and Opportunities (2012)"
  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."
• "Kath Duncan, Gerard Goggin (2002). 'Something in Your Belly': Fantasy, Disability and Desire in My One Legged Dream Lover. Disability Studies Quarterly 22 (4), pp: 127-144."
  In this article we explore fantasy, disability and desire in the groundbreaking 1998 Australian TV documentary My One-Legged Dream Lover. Based upon self-reflexive documentary conventions, the video uncovers journalist-cum-freak raconteur Kath Duncan's explorations into the world of amputee fetish. Duncan is a double congenital amputee. She says," I've tried most things men, women, sex toys, unusual locations, dominance and submission games but I wanted to know what it was like to be desired because of my impairments." Gerard Goggin is a temporarily able-bodied (or TAB) academic with his own history of queer desire and a personal investment in exploring issues of difference. Duncan's and Goggin's collaboration includes accessing each other's edgier fantasies, aiming to give voice to some of the negotiations, anxieties, pleasures, and risks we have taken, speaking across the chasm of our personal histories, different genders and respective bodies.
• "Liz Ferrier (2000) Vulnerable Bodies: Creative Disabilities in Contemporary Australian Film. In Ian Craven ed. Australian Cinema in the 1990s. Routledge. https://doi.org/10.4324/9780203045022"
  Reads, in part "The internationally-acclaimed film Shine is one of a number of contemporary Australian movies which portray embattled artists or performers. Reminiscent of earlier works such as Starstruck (1982), Man of Flowers (1983), Malcolm (1986) and Sweetie (1989), and several more recent productions – Proof (1991), Strictly Ballroom (1992), Bad Boy Bubby (1994), The Adventures of Priscilia, Queen of The Desert (1994), Muriel's Wedding (1994), Cosi (1996), Lilian's Story (1996), and Jane Campion's New Zealand/Australian films, An Angel at My Table (1990) and The Piano (1993) – it depicts a disadvantaged individual overcoming setbacks through the passionate and eccentric expression of his creativity. The film and the cycle to which it belongs offers a peculiar vantage point from which to examine the problems and possibilities of Australian cinema in the 1990s."
• "Simon Darcy, S., Hazel Maxwell, Simone Grabowski, Jenny Onyx (2019). Artistic Impact: From Casual and Serious Leisure to Professional Career Development in Disability Arts. Leisure Sciences, 44(4), 514–533. https://doi.org/10.1080/01490400.2019.1613461"
• "DADAA Inc. (2014). An evaluation of a year-long mentoring program for artists with disability in western Australia. Perth, Western Australia: Department of Family and Community Services."
• "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 (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."
• "Australian Institute of Health and Welfare (1993) Australia's welfare 1993: services and assistance. Canberra: AGPS."
• "Kevin Cho (1980) 1981 International Year of Disabled Persons. Melbourne, Australia: Royal Melbourne Institute of Technology."
• "Screen Australia (2023) Seeing Ourselves 2: Diversity, equity and inclusion in Australian TV drama. Screen Australia"
  Reads, in part "Screen Australia has released new research into diversity on Australian screens, titled Seeing Ourselves 2: Diversity, Equity and Inclusion in Australian TV Drama. A follow up to the landmark 2016 study, Seeing Ourselves 2 examines the diversity of main characters in 361 scripted Australian TV and online dramas broadcast between 2016 and 2021, how this compares to the Australian population, and what has changed since the previous Seeing Ourselves report."