Disability Arts History Australia

Items

• "Fusion Theatre Ensembles, captured 2022"
  Fusion Theatre Ensembles, captured 2022 - information about morning ensemble, evening ensemble, and ‘Movement in Conversation’ described as "and occasional project that Fusion Theatre offers in association with the Asylum Seeker Resource Centre (ASRC), and other local groups"
• "Arts Access Australia appoints Emma Bennison (2012) and Megan Shand (2017) as CEO"
  Prior CEO Kate Larsen statesin 'Disability Leadership: If You're Gonna Talk the Talk .... ABC: Ramp Up, 30 March 2012' - "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."
• “The Commonwealth Disability Services Act of 1986 replace the Handicapped Persons Assistance Act of 1974”
  In 1983, The Hawke Labour Government evaluated the initiatives created under the Handicapped Persons Assistance Act of 1974. The HPAA was replaced in 1986 by the Commonwealth Disability Services Act of 1986. Among other changes, this Act represents the shift in nomenclature from 'handicap' to ‘disability’.
• “Crossroad Arts (Queensland) founded in 1996”
  Crossroad Arts (Queensland) was founded in 1996 by Steve Mayer-Miller. "Crossroad Arts collaboratively develops opportunities for people who experience a disability, to access and participate in the arts".
• “Access Arts Achievement Award inaugurated in 2014”
  Access Arts announced a $10,000 Achievement Award in 2013 and first awarded the grant in 2014 to actor Doug Robins. Other recipients since then have included writers, musicians, visual artists, theatre makers, and multi-disciplinary artists. The funding goes to a Queensland artist with disability to “create, develop, present, produce, exhibit and/or tour their work.” Access Arts describe it as “a game-changing opportunity for Queensland artists, arts workers and producers to extend the life of an existing work or create a new one!”
• “Protesters gather in Lismore (NSW) to oppose proposed cuts to services”
  In 2004, 300 disabled persons, along with their relatives and carers, gathered in Lismore to protest proposed cuts to adult, training, learning, and support programs, among other services. These were a part of a series of demonstrations against the state government that included hundreds of demonstrators in Newcastle and resulted in the state government reversing its position on modifications to the Post-Schools Options Disability Program.
• “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.
• "Bree Hadley (2015) Participation, politics and provocations: People with disabilities as non-conciliatory audiences. Participations: journal of audience and reception studies, 12(1), pp. 154-174.”
  "Disability has always had a prominent place on the theatrical stage. Throughout the C19th, C20th and C21st to date, disabled characters have been used to signify corruption, innocence or suffering, and, of course, as salutary examples of how to overcome such suffering. In the past three decades, the work of disability scholars, activists and artists has also provided opportunities for people with disabilities to produce their own plays, performances or installations challenging these stereotypes. Interestingly, though both the body of literature on theatre makers with disabilities and the body of literature on theatre audiences has grown apace over the past decade, there is still surprisingly little written on people with disabilities as theatre audiences. In this article, I draw on observations made during five years of practical, empirical and theoretical research into disability theatre to discuss how people with disabilities work as a distinctive sub-group of spectators, with distinctive spectatorial processes, modalities and preferences, within contemporary theatre audiences. I begin with the factors that make attending theatre difficult for people with disabilities. I note that people with disabilities respond to the challenges they face in attempting to become active audiences of contemporary theatre in three common ways. I then unpack what these spectatorial modalities teach us about people with disabilities as audiences, other marginalised groups as audiences, as well as about audiences, audiencing and the part audiences play in theatre practice more generally."
• "Ruth Rentschler, Boram Lee, Ayse Collins, Jung Yoon (2023) ‘I am a professional dancer’: A case study of performing artists with disability. In Wyszomirski, M. J. & Chang, W. (Eds.), Building professionalism in the creative sector. Oxon: Routledge, 227-246"
  "The demand for professional recognition for artists with disability is growing. There is little research, however, on the ways in which disability arts are associated with professionalism. This study examines professionalization in disability arts by comparing it with the concept of professionalization in the arts generally. It identifies three components of professionalization in disability arts by means of a case study of an inclusive arts organization. This qualitative study entails 17 semi-structured interviews with artists, staff members, and other stakeholders both with and without disabilities."
• "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."
• "Arts Project Australia - Annual Report 2004"
  Arts Project Australia - Annual Report 2004 - President’s Report, Director’s Report, Studio Manager’s Report, Exhibitions Report, Financials - reads, in part “Arts Project Australia was founded in 1974. It had the express purpose of exhibiting the art work of people with an intellectual disability in a manner that accords therr1 the same dignity and respect as other artists.”
• "Arts Project Australia - Annual Report 2003"
  Arts Project Australia - Annual Report 2003 - President’s Report, Director’s Report, Studio Manager’s Report, Exhibitions Report, Financials – reads, in part “Arts Project Australia was founded in 1974. It had the express purpose of exhibiting the art work of people with an intellectual disability in a manner that accords them the same dignity and respect as other artists.”
• Bolshy Divas
• “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.
• “Restless Dance – Annual Report 2010"
  Restless Dance Theatre Annual Report 2010 - Company History, Chair's, Artistic Director’s, Dancers’, and Company Manager Reports, Members and Board, Financials, information about productions ‘Beauty,’ ‘Next of Kin,’ other performances and workshops, Supporters
• “Restless Dance – Howling Like A Wolf Program"
  Restless Dance Theatre 'Howling Like a Wolf' Program - reads, in part "In Howling Like A Wolf humans are both the observer and the observed. The work explores facial expressions, our body language and the way our brains process complex and subtle information. The performers have shared their experiences of connection and isolation, the joy and confusion of human interactions, and how we all prepare ourselves for "this terribly significant business of 'other people'."
• “Restless Dance – Safe From Harm Program"
  Restless Dance Theatre 'Safe From Harm' Program - reads, in part “Safe from Harm launches the company’s new professional and touring ensemble, and is different from the other works I have directed for Restless, which were all made with the youth ensemble with casts of at least 12 people.”
• "InCite Arts - Lowdown NT Column Entry on ‘Community Mosaic Bench Project’”
  InCite Arts and Arts Access Central Australia announcement about Community Mosaic Bench Project, in Lowdown NT Column Entry. Entry reads, in part, “The project involved 2 curved concrete seating benches being covered with mosaic flowers, local fauna e.g., witchetty grubs, parrots, hawks and other flora and fauna representing Central Australia”
• "Back to Back Theatre - Light Letters"
  Back to Back Theatre Light Letters - artist statements, script sketches, and other materials - reads, in part “In mid-2007 Back to Back Theatre invited schools and community groups from the Corio Bay area to enter into collaboration with the company under the direction of Marcia Ferguson. The company was very excited to welcome into the creative venture Nelson Park Schol, Norlane West Primary School, Cloverdale Community Centre and Dorthy Thompson Centre as well as collaborating local Geelong artists Leane Stein, Ross Meuller, David Dellafiora, Mark Cuthbertson and Stephen Oakes.”
• "Arts Project Australia - Portrait Exchange Exhibition 2010 - Program"
  Arts Project Australia - Portrait Exchange Exhibition 2010 - Program - reads, in part "Portraits are an expression of our fundamental desire to connect with each other. They are evidence of a relationship of one kind or another. It may be fleeting or established, it might even be the result of a commercial transaction. Every portrait tells a different story. Painting a portrait can be a way of paying homage to someone we admire or may be a study in technique, but this inherently intimate process always requires that a connection be made between the artist and the sitter. It is this social aspect of portraiture that was the initial focus of Portrait Exchange."
• "Australian Theatre of The Deaf - TheatroQuest - Fundraiser"
  Australian Theatre of the Deaf promotional flyer for TheatroQuest reads, in part "All proceeds raised go toward helping Australian Theatre of the Deaf continue to develop programs that educate, entertain, and promote an awareness &: appreciation of Deaf culture. Support ATOD by making a tax deductible donation or join us for THEATROQUEST. This is an opportunity for you and your &iends ID be creative and witty challenging other teams, or just sit back and watch the fun."
• "Australian Theatre of The Deaf - Work and Recent Achievements - 1994"
  Australian Theatre of The Deaf Work and Recent Achievements 1994 - Information about Australian Theatre of the Deaf, as it celebrates 15th anniversary, three current school shows (DAY IN THE LIFE OF ANGELS, THE VERY FIRST DAY, SAME DIFFERENCE), performance for general public (SAVANT at the Performance Space, and DEAF AND GAY was presented as part of Sydney Gay and Lesbian Mardi Gras), and other touring, appearances, and events, and policy since 1989 to employ only Deaf actors.
• "Australian Theatre of the Deaf - Behind the scenes history"
  Behind the scenes History of Australian Theatre of the Deaf, until 1994, noting current staff Julia Cotton, Gillian Minervini, and Pam Spicer - earliest productions in the 1970s "King Lear", "Rogues and Clowns", "Five Flights to Freedom’" - recent productions using the Company's trademark visual style - "Wolfmoon", Culture Shock”, “Tunnel Vision”, “Shape UP!” – performer appearances in Australian television - “GP”, “The Money or the Gun”, “A Country Practice”, and other acheivements
• "Australian Theatre of The Deaf - Plans For 1990 and List Of Productions 1979-90"
  Australian Theatre of The Deaf - Plans For 1990, including restaging show JUMPING OFF THE SHELF, touring BEHIND THE WINDOW, producing new show HERE, and starting Deaf Drama Outreach Programme - and List Of Productions 1979-1990 - Including mainstage productions of THREEPENNY OPERA Berthold Brecht, adapted by Ian Watson 1980; PICTURES, WORDS AND OTHER SIGNS 1) ONLY THIS (Roald Dahl) 2) AUSTRALIA (Ian Watson) 3) ILLUSIONS/DELUSION (Company Devised) 4) THE UNHEARD WORLD OF JASPER LAWSON (Ingle Knight) 1981; THE WINTER'S TALE William Shakespeare adapted by Ian Watson 1981; MAN EQUALS MAN Berthold Brecht 1985; WAITING FOR GODOT Samuel Beckett 1986; DON QUIXOTE, OR ONE FANTASTIC KNIGHT Ernie Grey 1987; FACE TO FACE 1) SGANARELLE Moliere 2) THE LADY OF LARKSPUR LOTION Tennessee Williams 1988; WOLFMOON Margaret Davis and Carol-lee Aquiline with Tony Strachan and the Members of the Company - and Theatre in Education shows MY HOUSE IS YOUR GARBAGE BIN 1979 Alexandra Hynes; ACTIONS SPEAK LOUDER THAN WORDS 1979 Ian Watson; THE SHSHSH JOURNEY 1980 Ingle Knight; THE UNHEARD WORLD OF JASPER LAWSON 1980-81 Ingle Knight; THEODORE 1980-81 Ingle Knight; SIGNPOSTS IN HISTORY 1982 Ingle Knight; FIVE LITTLE WISHES 1982 John McFadyen; THE COMMUNICATION SHOW 1982 Ian Watson; FINGERPAINTING: STORIES FOR THE EYE 1982-83 Company Devised; HOOLIGAN Is HANDS 1983 Company Devised; ALPHABITS AND CRACKERS 1983 Ben Strout, Compiled; HOW 1984 Rico Peterson; I LIVE HERE 1984 Company Devised; GOOD SPORTS 1985 Carol-lee Aquiline, Compiled; THE INVADERS 1985 Greg Mccart; THE BUNDLE OF STICKS; 1985-86 Greg McCart; ODD BODS 1985-86 Richard Tulloch; SILENT VIDEO 1985-86 Richard Tulloch; THE MOON BETWEEN TWO HOUSES 1987 Suzanne Lebeau; BEHIND THE WINDOW 1987-89 Tony Strachan with The Company; SIGNPOSTS 1988 Margaret Bachus; FIVE STEPS BEYOND 1988 Company Devised; JUMPING OFF THE SHELF 1989-90 Patrick Mitchell and Carol-lee Aquiline, Compiled)
• "Australian Theatre of The Deaf - The Sign of the Phantom - Directors Notes"
  Australian Theatre of The Deaf Directors Notes for Sign of the Phantom - reads, in part "The process of creating the Deaf musical was quite different from the norm. When it comes to sign singing, the Deaf signer usually follows the tempo and rhythm of the lyrics and music. But for this musical, it works the other way around."