Disability Arts History Australia

Items

• "Interview with Kath Duncan"
  Kath Duncan is a writer, a director, a provocateur, a visual artist, a comedian, a producer, a journalist, a radio broadcaster and disability advocate. Interview Summary Kath Duncan is an experienced and prominent figure in the disability arts community with a passion for experimental performance arts, having witnessed the beginnings of the disability arts movement in Australia and participated in its evolution. Her art is inherently political, shaped by her unique perspective as a congenital amputee. Kath firmly believes in the inherent creative revolutions and endless inspiration within all impairments. Kath highlights the ongoing struggles within the disability arts sector, including high unemployment rates for disabled individuals, systemic barriers, and the need for disabled leadership in arts organizations. While cherishing the milestones and transformative experiences she's had, Kath calls for significant systemic changes, emphasizing the importance of team playing and collective work to support and grow the disabled artist community.
• "Tutti Arts - The History of Autism - Promotional Card"
  Tutti Arts 'History of Autism' 2014 Promotional Card - reads, in part "In the Adelaide Fringe this year, Company@ Autistic Theatre, Australia's only theatre company for people on the autism spectrum, is presenting an exciting original work, History of Autism. Developed with actors on the autism spectrum, History of Autism was first performed at the 2013 Asia Pacific Autism Conference to standing ovations, drawing audience comments like "truly dynamic and highly entertaining" and "Chockablock full of endearing characters". Company@ is dedicated to presenting high quality authentic theatre which entertains and informs audiences and raises awareness about autism. Company@ works in partnership with renowned multi arts organisation Tutti Ensemble Inc. and is also proudly supported by Autism SA."
• James Kurtz
• James Kurtze
• Grace McQuilten
• Anna Parlane
• Kate Sulan
• Gaelle Mellis
• “Incite Arts (NT) established in 1998”
  What would become Incite Arts (Northern Territory) was established in 1998, known at that time as the Alice Springs Youth Arts Group (ASYAG). “ASYAG was formed as a response to a locally identified need for a vehicle to express young people’s stories in a valid contemporary cultural context.” In 2004, the organisation adopted the name InCite Youth Arts Inc and was incorporated as a not-for-profit. The following year, they became the host and auspice of Arts Access Central Australia (AACA), an arts and disability committee. The organisation’s name was revised once again in 2013, becoming Incite Arts.
• "Bree Hadley (2018) Disability, disabled dance audiences and the dilemma of neuroaesthetic approaches to perception and interpretation. In Wood, K, Brown, A, Waelde, C, Harmon, S, Blades, H, & Whatley, S (Eds.) Dance, disability and law: Invisible difference. Intellect Ltd, United Kingdom, pp. 293-315.”
  "In this chapter, I want to consider one emerging approach to spectatorship – the neuroaesthetic approach – through the lens of disability spectatorship. In the twenty-first century, neuroaesthetics is gaining traction amongst scholars looking to provide accounts of spectatorship in less story-based performing arts such as classical and contemporary dance, as well as in more story-based practices in drama, theatre and performance. ‘It would be fair to say that neuroaesthetics has become a hot field’, as Alva Noë puts it (2011). To date, though, the assumptions that underpin neuroaesthetic approaches to spectatorship have not been brought together with the assumptions that underpin the equally emergent field of disability spectatorship studies. As Carrie Sandahl (2002: 18) has noted, different cognitive, sensory and corporeal abilities result in a range of different phenomenologies, perceptual processes and perceptual preferences that can in turn produce different styles of engagement with experiences, events and objects. These differences impact on how people with disabilities produce and perceive aesthetic performances – somatically, syntactically, symbolically and socially, as disabled people hear with their eyes, see with their fingers, or perceive phenomena vicariously via the intervention of technologies or translators. Accordingly, disability spectatorship, and more detailed attention to the presence of distinctive cognitive, sensory and corporeal processes amongst disabled spectators, has the potential to complicate, extend and challenge assumptions embedded in emerging neuroaesthetic approaches to spectating."
• "Shine - IMDB"
  Reads, in part "David Helfgott, a gifted pianist, struggles through childhood as his dysfunctional father abuses him and his siblings. Years later, he suffers a mental breakdown but manages to return as a legend."
• "Back to Back Theatre - Website - About, captured 2008"
  Back to Back Theatre 'About' page, captured 2008 - reads, in part "Back To Back Theatre is a pioneering contemporary theatre company based in Geelong with a full-time ensemble of five actors considered to have an intellectual disability."
• "Crossroad Arts - Artistic Development, captured 2024"
  Crossroad Arts - Community Development, captured 2024 - reads, in part "Crossroad Arts is passionate about creating opportunities for people with disability who are serious about developing their skills in contemporary performance."
• "Fusion Theatre Website, captured 2013"
  "Fusion Theatre Website, captured 2013 - reads, in part "Original contemporary theatre, built by people of all abilities", with links to About, Reviews and Media, Board and Support, Fusion and Deakin University pages
• "Access2Arts Artist Space artist development program as first added to website 2016"
  Access2Arts Artist Space, 4 March 2016.Includes information about Access2Arts "Artist development program creates activity and opportunities to support and stimulate Deaf and disabled artists’ professional practice and develop arts projects that explore new territory. Access2Arts supports emerging and professional artists in the following areas: Contemporary arts practice; Deaf arts and disability arts; Professional skills development; One-on-one artist consultations; Innovative arts projects; Information, forums, training; Auspicing services"
• “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.
• "Access2Arts - You Tube - Access2Arts presents Beats Workshops"
  Access2Arts - You Tube - Access2Arts Beats Workshops - reads, in part "Lead by its learning disabled participants, the workshops offer the chance to get creative and connect with the world through digital technology and contemporary popular culture."
• "Blue Roo Theatre Company - You Tube - NOW (2017)"
  Blue Roo Theatre Company - You Tube - main house production 'NOW' original story devised and performed the company (2017) -  reads, in part "Blue Roo Theatre Company Inc. proudly presents, NOW. Channel Blue Roo presents The Now Show with their adorable hosts, Maggie Moment and Tony Today. Unflinchingly honest and tenderly inspiring, NOW is a modern-day fable exploring protests, bus stops, fishing, the mystery of grief and the joy of memories. All surrounded by a sublime 10-piece live studio orchestra of leading Brisbane musicians."
• Gertrude Street Gallery
• Linden Gallery
• Linden Arts Centre
• "Sprung!! Integrated Dance Theatre - River Stories"
  Page reads, in part, "River Stories is an inclusive and accessible workshop bringing First Nations contemporary culture and disability culture together, drawing on the yarns of Bundjalung Elder Julia Paden and led by local First Nations artists Mitch King (Yaegl/Bundjalung) and Jade Dewi Tyas Tunggal (Aust/Java)."
• "Sprung!! Integrated Dance Theatre - Shift Shape Initiate"
  Page reads, in part "This dynamic and inclusive contemporary dance workshop builds skills for movement based play"
• "Tutti Ensemble - Holdfast Choir History, Goals, Friends & Supporters 2002"
  Tutti Ensemble Holdfast Choir History, Goals, Friends & Supporters 2002 - reads, in part " The development of the Tutti Ensemble's Holdfast Community Choir seems like magic. It has grown in less than four years from a small group of 11 intellectually disabled people and two support workers at Minda enjoying choral singing as a recreational option, to a diverse group of 60 - 70 singers and musicians. The philosophy of the choir is that there are no barriers to participation, therefore people with physical and intellectual disabilities and members of the community from widely differing age groups and musical experience are accepted and encouraged. Our repertoire has evolved to include gospel, popular and traditional songs as well as old favourites. We also sing songs from other cultures and original songs by contemporary writers"
• "Back to Back Theatre - Annual Report 2011"
  Back to Back Theatre Annual Report 2011 - Report from Chair and Executive, information on premiere season of GANESH VERSUS THE THIRD REICH, international tours ofTHE DEMOCRATIC SET, SMALL METAL OBJECTS and FOOD COURT, new collaboration to develop LASER BEAK MAN in collaboration Tim Sharp and Sydney Theatre Company, community/experimental work with THEATRE OF SPEED, networks and industry events, research including doctoral projects by Stanley Opara, Yoni Prior and Caroline Ellison, inclusion in Josephine Machon’s book “lmmersive Theatres: Intimacy and Immediacy in Contemporary Performance" and research on arts-schools partnerrships with Arts Victoria, Melbourne University, and Victorian Department of Education and Early Childhood Development.