Disability Arts History Australia

Items

• "Tutti Arts and ACE Open - If The Future Is To Be Worth Anything Exhibition - Catalogue/Program"
  Tutti Arts and ACE Open - 'If The Future Is To Be Worth Anything' Exhibition 2020 Catalogue/Program - reads, in part "This catalogue has been published to accompany ACE Open’s most ambitious exhibition project to date, If the future is to be worth anything: 2020 Artist Survey. Over the last twelve months we have worked as a curatorial team, undertaking state-wide research studio visits in the pursuit of representing the breadth of art practice and critical perspectives emerging from South Australia’s artistic communities.”
• "Tutti Arts - Mouth Music - Program"
  Tutti Arts 'Mouth Music' 2006 Program - reads, in part "Jem has recently made a big decision, and Mouth Music is his story. Because Jem is non-verbal, the idea of speaking and not being heard is a major theme. Jem has some important things he wants to say to the world, not least that we must look after the earth and also learn a thing or two about looking after each other. Mouth Music has involved Tutti in the very roots of vocal music-making and has strong emotional resonance for anyone concerned about the voice of the individual and the state of the world. It has been a pleasure to develop this very different new work with Jem and poets.“
• "Tutti Arts - Say No More - Program"
  Tutti Arts - Say No More' 2018 Program - reads, in part “To create this unique work over 60 women from Malaysia. Indonesia and Australia. of all ages wirh and wirhour disabilities came together in mid 2017 to talk about what is happening for them as women now. The stories sha1·ed by women in all three countries shared the common themes of family. Marriage and women's relationship to the state. This informed the conceit of the wedding reception as a setting for the theatre work. and also became a starting point for the films and installations that grew from the later workshops.”
• "Tutti Arts - Standing Up Standing Out - Promotional Card"
  Tutti Arts 'Standing Up Standing Out' Exhibition 2018 Promotional Card - reads, in part "Standing Up, Standing Out will see Tutti Arts visuals artists come tog.ether with the Sikh community to engage in cultural discourse. Artists will embellish turban cloth with their art, engaging in a mutual exchange of sacred objects, turbans and_ art. Gracing the gallery •n their unwrapped state, these turbans will be accompanied by a series of photographic works that capture this dewtoping relationship. Reflecting the different styles of the artists, the works willl be bold and colourful with details and textures that invite the viewer to take a closer look."
• "Tutti Arts - The Magic Flute - Program"
  Tutti Arts 'The Magic Flute' 2011 Program - reads, in part "Set in the colourful world of the circus, with beautiful music sung by Tutti and state Opera soloists and enhanced by the extraordinary skills of Cirkidz, this OperaTU production of The Magic Flute will bring Mozart's dream of an opera for the people to life.”
• "Tutti Arts - The Magic Flute - Media Release"
  Tutti Arts 'The Magic Flute' 2011 Media Release - reads, in part "South Australia's leading community arts organisation, the award winning Tutti Inc., will embark on one of its most ambitious collaborations to date with State Opera of South Australia (SOSA) and Cirkidz to present a new adaptation of Wolfgang Amadeus Mozart's The Magic Flute."
• "Tutti Arts - Tutti Voice Newsletter February 2009"
  Tutti Arts - Tutti Voice Newsletter February 2009 - "A new year, a new creative opportunity. Welcome to 2009 and the new look Tutti newsletter where we remember the highlights of 2008 and alert you to two exciting events coming up in the near future. The official launch of Tutti Kids in partnership with Novita Children's Services by the Honourable Jennifer Rankine, Minister for Disability, is on February 14th at the Odeon Theatre. In March, Tutti presents the Australian premiere of Richard Chew and Orlando Gough's radical community opera The Shouting Fence at the State Opera Studio for the Adelaide International Fringe Festival."
• "The Australian Council for the Arts established in 1968"
  The Australian Council for the Arts was established in 1968. This came after a push during the late 1960s for better support of the arts in Australia. The Council replaced the Elizabethan Trust as Australia’s main arts body, although the Trust continued to receive funding from State governments. The Council was later given statutory authority in 1975 and called Australia Council. Prime Minister Gough Whitlam is recognised as a key political supporter of the arts. The election of Whitlam (serving from December 1972 to November 1975) gave unprecedented and considerable attention and funding to an arts policy which would establish an Australian cultural identity raising international awareness. The Australian Council for the Arts received an unprecedented $14 million in funding in the 1973/74 budget. This was “more than double the allocation the bodies out of which it evolved had received the year before. The Council’s allocation was increased by a further 50 per cent in the 1974/75 Budget."
• “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.
• “Tutti Arts is founded in Adelaide by Pat Rix in 1997”
  Tutti Arts was founded in Adelaide by Pat Rix in 1997. Initially a choir of people with and without disabilities, it quickly added a focus on visual arts. Tutti has since expanded to offer programs in dance, screen, music, acting, and visual arts, and its choir continues. Programs are on offer in Brighton, Port Adelaide, and in the Barossa Valley, for adults as well as kids and youth. Tutti has performed both nationally and internationally, and has taken part in significant co-productions. Tutti Arts and KickstARt 2 Choir presented Up and Away for the KickstART Festival in Vancouver, Canada in 2004. Tutti’s international performance of 'Between the Worlds' in Minneapolis, Minnesota (2007) was remounted as a coproduction with Interact Center for the Performing and Visual Arts. Tutti returned to Minneapolis in 2009 to perform ‘Northern Lights, Southern Cross,’ which they first performed in 2007 for Adelaide Fringe. It was a collaboration with Interact, which brought together Aboriginal, Native American and Disabled Artists from the Northern and Southern hemispheres “to explore personal, racial and environmental trauma.” In 2009, Tutti Ensemble performed with the State Opera of South Australia to present ‘The Shouting Fence’.
• “Access Arts commissions a multi-arts project, Peter Vance performs the song ‘Welcome to My Day’ at the 1999 Wataboshi Festival in Japan”
  Peter Vance was asked by Access Arts to team up with Ant McKenna to compose a song. He then performed ‘Welcome to My Day’ at the 5th Asia Pacific Wataboshi Music Festival in Japan in 1999. Access Arts sent disposable cameras out to members across Queensland; each story became a collage in the State Library foyer as a day-in-the-life of each artist.
• “Carriageworks ‘New Normal’ program plan to commission ten new works presents three performances - Lady Eats Apple (Back to Back Theatre, 2017), Off the Record (Force Majeure, Dance Integrated Australia, 2016), Simple Infinity (Urban Theatre Projects, 2016)"
  New Normal is Carriageworks “national strategy for the development of disability arts practice.” Carriageworks state an aim to “commission ten new major works across contemporary performance, music, dance and visual arts.” As part of the program, Back to Back Theatres’ Lady Eats Apple (2017), Force Majeure and Dance Integrated Australia’s Off the Record (2016), and Urban Theatre Projects’ Simple Infinity (2016) each presented at Carriageworks. Since then, there has been no update on Carriageworks’ goal, suggesting the program may have fallen short of its initial objectives.
• “The National Disability Insurance Scheme (NDIS) is launched”
  Following the spike in interest in the mid to late 2000s, significant steps were made towards the development of the National Disability Insurance Scheme (NDIS). It came about as the result of discussions about alternatives of disability support arrangements from 2007 to 2011. This included National Disability Strategy 2010–2020. A trial phrase of the NDIS was launched in 2013, and the scheme was rolled out across the country from July 2016. The 2022 change of government, which saw the Labor party voted in for the first time in nine years, reflected voter concern for climate change and social policies. The new prime minister Anthony Albanese ordered an independent review of the NDIS. The NDIS Review report was published in 2023 and had a number of recommendations, including affording funding based on functional impairment rather than diagnosis, increasing support for children, a requirement that all providers be registered, and state governments providing supports through other services for people who do not meet NDIS criteria.
• “Choose Art, the Australian accessible arts directory, is launched”
  The Australian accessible arts directory Choose Art was launched in 2019. It is an initiative of Arts Access Victoria, designed for and by Deaf and disabled people. Choose Art is a Commonwealth project supported by the Cultural Ministers of each State and Territory through Arts ACT; Arts Tasmania; Create NSW; Creative Victoria; Culture and Arts WA; Arts South Australia; Arts Queensland; Department of Tourism and Culture, NT and the Federal Minister through the Department of Communications and the Arts. Arts Access Victoria has created Choose Art in partnership with Arts Access Australia, Access2Arts, Access Arts, Accessible Arts, Arts Access Darwin, Belconnen Arts Centre, DADAA and Incite Arts.
• “Bus Stop Films begins operation in 2009”
  Bus Stop Films began operations in 2009. In their own words, they “educate, create and advocate.” Their primary focus is teaching filmmaking to disabled adults, but they also offer workshops to others of marginalised identities. Bus Stop “makes films with, for and about people from diverse backgrounds and abilities.” Their website lists support workers in every Australian state and territory.
• "Queensland Government releases Arts & Disability Plan 2024-2026"
  Reads, in part "The Queensland Government acknowledges the rights of people with disability to participate equally in the state’s cultural life and to have the opportunity to develop and use their creative, artistic and intellectual potential, as recognised in the United Nations Convention on the Rights of Persons with Disability."
• ”Bree Hadley, Janice Rieger, Katie Ellis, Eddie Paterson (2024) Cultural safety as a foundation for allyship in disability arts. Disability & Society, 39(1), pp. 213-233.”
  "In this article, we argue that cultural safety, respect, and trust is a precursor to good allyship in the creative industries. We outline factors that influence feelings of safety or non-safety for disabled arts and media makers, and the way the legacy of the medical model makes it difficult for many arts and media workers to appreciate and enact enablers of safety as part of an allyship relationship."
• "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."
• "Bree Hadley, Janice Rieger, Eddie Paterson (2024) Reinhabiting, Reimagining, and Recreating Ableist Spaces: Embodied Criticality In Art. In Ellis, Katie, Kent, Mike, & Cousins, Kim (Eds.) The Routledge International Handbook of Critical Disability Studies. Routledge, pp. 48-58."
  "In this chapter we bring critical disability studies into dialogue with disability artworks that resituate critiques of inaccessibility and exclusion as complicated encounters with space, lived experience and embodiment. Drawing on Irit Rogoff’s (2003, 2006) notions of embodied criticality, and the pioneering work of performance studies scholar Petra Kuppers (2003, 2014), we argue for an embodied, embedded and creative form of critical disability studies – enacted through art. We examine two recent performance and installation works in hotels: Welcome Inn (2019) by British artist Christopher Samuel, and Intimate Space (2017) by Australian performance company Restless Dance Theatre."
• ”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."
• “Angharad Butler-Rees, Bree Hadley(2023) Exploring the Role of the Disabled Body as a Vehicle and Art Form within Anti-Austerity Protest. In Zebracki, Martin & McNeill, Z. Zane (Eds.) Politics as Public Art: The Aesthetics of Political Organizing and Social Movements. Routledge, Abingdon, Oxon, pp. 116-132.”
  "The impact of neoliberal austerity policy is being felt by people with disabilities across the globe. This chapter attends to disability protest in response to austerity across two contexts—the United Kingdom and Australia. It examines how people with disabilities are choreographing their protest, the strategies they are using, and the outcomes they are seeking."
• ”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."
• ”Racheal Missingham, Bree Hadley (2022) Oppression and allyship in Australia's Deaf Arts. Australasian Drama Studies, 80, pp. 304-332.”
  "In this article, we investigate the history of Deaf theatre in Australia, through the lens of oppression and allyship. Through a review of the to date limited academic, industry, and media literature, in conjunction with survey and interview research with Deaf theatre practitioners, this research sheds light on Deaf theatre makers’ perceptions of the ways in which ally support can operate to create both social benefits and barriers, and how this has impacted on the non-linear development and recent decline in Deaf theatre companies in Australia. It finds that, in developing a framework to scaffold stronger allyship relationships with d/Deaf and hard of hearing artists, it is critical to consider the accessibility and cultural requirements not just in relation to theatre methodologies, but in relation to arts management practices, which support continuing company production, too."
• "Bree Hadley (2022) Disability and the Arts, Creative, and Cultural Industries in Australia. Australian Academy of Humanities"
  "This week saw the release of Ensuring Occupations are Responsive to People with Disabilities, a landmark report by the Australian Council of Learned Academies (ACOLA) commissioned by the Australian Government Department of Social Services. As part of the Academy of Humanities’ support for the project, Professor Bree Hadley provided a study of disability in the arts, creative, and cultural industries for the project, and Professor Gerard Goggin was a member of the Expert Reference Group. In this week’s Five-Minute Friday Read, they explain why disability training needs fundamental reform now."
• "Bree Hadley, Janice Rieger (2021) Co-designing choice: objectivity, aesthetics and agency in audio-description. Museum Management and Curatorship, 36(2), pp. 189-203.”
  "The ‘Vis-ability’ exhibition, presented at the QUT Art Museum in 2019 was an exhibition curated with clear social inclusion goals from the outset. Through it, the museum sought to develop innovative, cost effective, and readily replicable techniques to allow blind and low vision visitors and artists to engage with the institution and its collections. The results affirm the benefits of offering blind and low vision visitors a spectrum of engagement choices, and also affirm that blind and low vision artists and visitors have capacity to make a critical contribution in co-designing that spectrum of choices. This exhibition and its use of multisensorial elements offers a useful prompt to museums to engage this community more fully in co-designing inclusion in the future."