Disability Arts History Australia

Items

• John McKay Northe
• Harold (Jimmy) Fuller
• Fulli Andrinopoulos
• Deb Lissek
• Dana Nance
• "Interview with Roz Hervey"
  Roz Hervey is a Creative Producer with Restless Dance Theatre and is also a director, dance theatre performer and lecturer. Interview Summary: Roz Hervey, the creative producer of Restless Dance in Adelaide, previously worked as a dancer and dance theatre artist in Australia and the UK. Her approach with Restless Dance involves creating personal and reflective dance theatre by giving dancers specific tasks. Roz does not view the performers as disabled but as exceptional artists telling unique stories, and she aspires to change societal attitudes and encourage diversity in art. Despite progressing towards inclusive perceptions, she still encounters patronizing attitudes and misconceptions about artists with disabilities.
• "Interview with Nick Hughes"
  Nick has worked as an actor, director, writer, artistic director, dramaturg and was the Company Manager for Restless Dance Theatre Interview Summary Nick Hughes is a retired arts administrator who has worked in various capacities within the arts industry, including as an actor, writer, stage manager, and notably as the company manager for Restless Dance Theatre. Nick gained degrees in drama, and sociology, and moved from the UK to Australia in 1973. During the interview, Nick reflects on his significant contributions to the arts and disability sectors. Despite being unfamiliar with disability arts in the beginning, Nick says he became deeply involved and committed to the field, valuing disability arts for the social and political aspects. Nick discusses witnessing first-hand the growth and development of individuals through creative expression. Throughout his career, Nick says he has seen the evolution and increasing recognition of disability arts as a legitimate and powerful art form capable of altering people’s perceptions and advocating for inclusivity and equality in society.
• Chris Brophy
• Aimee Crathern
• "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."
• "Bree Hadley (2017) Disability, Sustainability, Austerity: The Bolshy Divas Arts-Based Protests Against Policy Paradoxes. Centre for Sustainable Practice in the Arts Journal 18 Spring. http://www.sustainablepractice.org."
  "In this short article, I want consider some of the ways theatrical artists, activists and advocates in Australia are tackling the paradoxical relationship between sustainability and austerity discourses, and, as a result, some changes this may be starting to produce in disabled people’s aesthetic prerogatives. For the last 30 years, artists, activists and scholars in Australia and beyond have avoided casting disability in terms of trauma, crisis, catastrophe and disaster. Accounts of the way disability theatre challenges stereotypes , as well as analysis of disability signifiers in screen, stage, and social performance , have expressed concern about deploying disability as a metaphor for disaster, or defining disabled people as monstrous, tragic, stoic, or inspirational, the way the medical model of disability traditionally defines us. Instead, modern disabled artists and the scholars who analyse them have advocated for work that deploys live art, performance art, and performative intervention in public space to challenge stereotypes, oppressive institutional systems, and other factors the social model of disability sees as the cause of disability oppression .In the last few years, though, there has been an increase in work that does associate disability with trauma, tragedy and disaster, in what seems to be a response to austerity, accountability and economic sustainability agendas that call for cuts to disability services spending to make our societies more sustainable going forward."
• "Hot Pink Goanna Studios - Deadly With Disabilities - Walu Win Series by Uncle Paul Constable Calcott, Episode 1"
  Walu Win Series by Uncle Paul Constable Calcott, episode 1 - reads, in part "A mini-series exploring the benefits of art and how it is halping as a tool in the healing process. This episode is about Uncle Paul Calcott, a Wiradjuri man who is now living on Gubbi Gubbi country."
• "From Dust to Dust - Prologue"
  Reads, in Part, "A hybrid artist-curatorial project, inviting experimentation and conversations amongst Benjamin Hancock, Bryan Phillips, Jen Bervin, Shelley Lasica, Katie West, Simon Charles, Pippa Samaya, Gabriel Curtin, Adam Leslie, Zeno d'Evie, Anna Seymour, Ravi Vasavan, and in absentia, Aaron McPeake, Andy Slater, Jennifer Justice, and Lucreccia Quintanilla. Welcome to Country by Uncle Rick Nelson and Aunty Paulette Nelson.Afternoon tea by Murnong Mammas."
• Fayen d'Evie
• "Access Arts - Through art, Access Arts transforms lives"
  Website reads "We create career pathways to paid work, and advocate at every opportunity for our artists to chase their artistic dream," with links to Performing Arts, Visual Arts, Arts Exhibitions, Grants and Awards, and Blog with information about artists and recent events.
• "Crossroad Arts - Community Development, captured 2024"
  Crossroad Arts - Community Development, captured 2024 - reads, in part “Community is our driving force. Everything we do as a company is underpinned by the belief that creating artistic works that challenge assumptions through inclusive collaboration ultimately builds stronger communities.” – information about Performance in the Gallery, Stretchy Pants, Wearable Art, ROAR, Art Party Afternoons, Street View Gallery, Window Gallery, C.R.U.S.H 2024, LOOSE ENDS 2024
• "Arts and Disability: A research summary"
  Australia Council - Arts and Disability: A research summary, 2018 - reads, in part "The great art created by artists with disability, and participation of people with disability in the arts, are integral to the artistic and cultural life of Australia. This summary brings together findings from Australia Council research publications and a research overview compiled by the Meeting of Cultural Ministers to build the evidence base about disability and the arts."
• "Australia Council - Making the Journey: Arts and Disability in Australia"
  Reads, in part "A collection of inspiring examples of how to include people with disabilities in the arts, as participants, creators and organisers"
• "Arts Project Australia - Collections, captured 2022"
  Arts Project Australia - Collections - reads, in part "Arts Project Australia has developed five distinct and strongly related collections, including our: Online Shop Art Collection, Stockroom Art Collection, Sidney Myer Fund Permanent Collection (SMF), Arts Project Australia Permanent Collection and the Arts Project Australia Archival Collection."
• “Arts Project Australia is founded in 1974”
  In 1974, Myra Hilgendorf OAM founded Arts Project Australia, an organisation whose aim is for artists with an intellectual disability to have their work presented in a professional manner. In 1984, Arts Project moved to Hawthorn, Melbourne and started a studio workshop program. The organisation became an Incorporated Association in 1986. In 1994, Arts Project Australia artists exhibited their work internationally. Exhibitions occurred at MADMuseé and Centre d’Art Differencié in Belgium. Artist Julian Martin was selected for the Moët & Chandon Touring Exhibition. Arts Project published an education/slide kit in 1994 called ‘Between the Lines: Visual Arts and Intellectual Disability’. The organisation first published ‘Outline: News from Arts Project Australia’ in 1996. Arts Project Australia was recognised by the National Gallery of Australia in 2013 for having international significance.
• “Creative Australia releases reports on arts participation, including d/Deaf, Disabled and Neurodivergent artists and audiences”
  A series of reports about arts and disability in Australia published in the mid-to-late-2010s are summarised on the Creative Australia website. Sources for the summary include Connecting Australians: Results of the National Arts Participation Survey (June 2017), Making Art Work: An Economic Study of Professional Artists in Australia (2017), Creating Pathways: Insights on support for artists with disability (2018), and Arts and Disability in Australia: Meeting of Cultural Ministers (2018). The overview of this research series demonstrates that disabled Australians’ participation in the arts had increased as access had grown, though equity for disabled artists, especially those with intersecting marginalised identities, continued to face barriers. It reports that work by disabled artists is innovative and transformative.
• "Bree Hadley, Donna McDonald, Sarah Austin, Kath Duncan, Gerard Goggin, Lachlan MacDowall, Veronica Pardo, Eddie Paterson, with collaborators Dave Calvert, Jori De Coster, Shawn Goh, Alice Fox, Ann M. Fox, Andy Kempe, Petra Kuppers, Justin Lee, Alex Lubet, Sarah Meisch Lionetto, Ann Millett-Gallant, Laura Misener, Bronwyn Preece, Megan Strickfaden, Joanne Tay, Matthew Reason, Nancy Quinn, and Sarah Whatley (2019) Conclusion: practicing interdependency, sharing vulnerability, celebrating complexity - the future of disability arts, culture, and media research. In Hadley, B & McDonald, D (Eds.) The Routledge handbook of disability arts, culture, and media. Routledge, United Kingdom, pp. 362-372."
  "In this chapter, the authors conclude The Routledge Handbook of Disability Art, Culture, and Media studies by reflecting on the past, present, and potential future of disability art practice debated throughout the book. Based on research currently underway in the work of many of the Australian contributors, and including reflections from the global contributors, this concluding chapter reflects on what the disability arts, culture, and media practice and research of the future might look like, do, and achieve in the public sphere."
• "Boram Lee, Ruth Rentschler, and Shin-Eui Park (2022) Connect2Abilities: Staging Virtual Intercultural Collaboration during COVID-19 in Amanda Cachia ed. Curating Access: Disability Art Activism and Creative Accommodation. London: Routledge, 45-58"
  Reads, in part "As a pilot project, Restless Dance Theatre in Adelaide, Australia and SNU MUSIC in Seoul, Korea collaborated to create a digital performing arts piece entitled Dialogue for Six Strings."
• "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."
• "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."