Disability Arts History Australia

Items

• "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 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."
• "NuunaRon Queensland"
  Webpage for First Peoples Disability Network NuunaRon Art Group, with video introducing where Paul Constable Calcott introducing the group, reads in part "NuunaRon is a group for Aboriginal and Torres Strait artists and emerging artists living with disability."
• "The Other Film Festival - Writing on Film and Disability - Online"
  The Other Film Festival Writing on Film and Disability - includes ‘Mind’s Eye” Re-envisioning Mental Health in the Arts’ by Adolfo Aranjues; ‘I know it shouldn’t matter, but do you think I’m pretty’ by Naomi Chainey; ‘The Other Film Festival – Disability, Comedy & Subverting Expectations’ by Alastair Baldwin; ‘Filmdis Q&A with Dominick Evans’ by Jax Jacki Brown
• "The Other Film Festival - Writing on Film and Disability"
  The Other Film Festival Writing on Film and Disability - includes Mind’s Eye” Re-envisioning Mental Health in the Arts’ by Adolfo Aranjues; ‘I know it shouldn’t matter, but do you think I’m pretty’ by Naomi Chainey; ‘The Other Film Festival – Disability, Comedy & Subverting Expectations’ by Alastair Baldwin; ‘Filmdis Q&A with Dominick Evans’ by Jax Jacki Brown
• “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."
• "David Throsby, Katya Petetskaya (2017) Making Art Work: An Economic Study of Professional Artists in Australia, Australia Council for the Arts, 2017."
  Reads, in part "Making Art Work: An Economic Study of Professional Artists in Australia by David Throsby and Katya Petetskaya is the sixth in a series carried out independently over thirty years by Professor Throsby at Macquarie University, with funding from the Australia Council. The series tracks trends in the lives and working conditions of Australian artists over 30 years and identifies challenges and opportunities for artists’ careers into the future."
• "Screen Australia (2016) Seeing ourselves: Reflections on diversity in Australian TV drama. Screen Australia"
  Reads, in part "Whose stories are our TV dramas exploring? Screen Australia has benchmarked current levels of diversity in Australian TV drama and explore the challenges and opportunities involved in making TV drama more broadly representative of Australian society."
• "Back to Back Theatre - Website - BriefHistory, captured 2008"
  Back to Back Theatre 'Brief History' page, with PDF document of history captured 2008 - reads, in part "Back to Back Theatre evolved out a community arts project that began in Geelong in 1987. The project included disability service providers Corilong and Karingal, the Geelong Children's and Youth Support Services (CYSS) and Deakin University's Performing Arts Course (attached to the Mill Theatre) Individual artists and other members of the Geelong community were also involved." Includes list of Professional Productions (including ‘Big Bag’ 1987-88; ‘Stinking Houses’ 1989; ‘The Peg Machine’ 1990; ‘Everything and the Mermaid’ 1990, ‘I Don’t Want to Live in Lara Anymore 1991; ‘Yell Blue Murder’ 1991; ‘Woodenhead’ 1992; ‘The Adventures of Bobbi Dazzler’ 1992; ‘Voices of Desire’ 1993; ‘Freak Show with Circus Oz 1994; Back to Back in Shorts 1995; Road Movie with Melbourne Workers Theatre 1996; Minds Eye with Handspan Visual Theatre 1996; Peter Pan with Arena Theatre Company 1997; Mr September 1997; Boomtown with Snuff Puppets 1998; Mental 1999; Dog Farm 2000; Pornstar 2001; Soft 2002; Cow 2003; Small Metal Objects 2005), and Community Productions (including Ritual with Matthew Flinders Girls Secondary College 1998; Push Push 1999; Drag Racers in Love with Nelson Park School 1999; Arnold 2000 Fishman with Theatre of Speed 2001; Inside the Angel House with Theatre of Speed 2003; Minotaur with Theatre of Speed 2005; DMI with Theatre of Speed 2007; Pod Residences with Night School, Awakenings Festival, Brr Theatre Group, Ants Pantz Arts, Break of Day Players, Theatre of Speed, Arts Action and Amalgamation Festival 2003-2006), and films (including Mullet (1995), White Maggots (1996), Spill (1997), Mark Deans Human Cannonball (1998), Underpants (1999), Backscratch (2000), Porn Star (2002), Rhian Hinkley Theatre of Speed vs. BOZ'n'HOK, vs. HUGE COVILL (2004), D9 (2005), Out of our Minds (2001)).
• "Interview with Michael Hodyl"
  Michael Hodyl is a multifaceted artist, dancer and performer and has been with Restless Dance Theatre since 2018. Interview Summary Michael Hodyl, with Polish, Chinese, and Russian heritage, is a multifaceted artist who began his journey in the performing arts with a deep-rooted affinity for ballroom dancing. He transitioned into contemporary dance while maintaining his diverse dancing background and enjoys creating his own dance moves, which express his vibrant charisma and heritage. Facing challenges such as injuries, Michael finds ways to recuperate and return to dance, aiming to elicit happiness and pride from his audience through his performances. He cherishes the supportive friendships he's made in the arts community, holds his performances in high regard, and aspires to be recognized for his talents and hard work.
• "Incite Arts - NT Arts Access Awards Media Release 2013"
  Media release reads, in part, "Through honoring the valuable partnerships that exist between the disability and arts sectors, award winners were selected based on their initiative, leadership, and involvement in projects that embody the spirit of genuine partnership and the benefits for people with disability and the communities we live in."
• "Tutti Arts - Annual Report 2014"
  Tutti Arts Annual Report 2014 - Values, President’s, Artistic Director’s and Disability & Quality Manager’s Reports, Programs, Productions and Exhibitions, including Sisters of Invention, Company @, and Sit Down, Shutup & Watch Film Festival, Board, Staff, and Artists, Financials
• "Access2Arts - You Tube - Access2Arts Video UNCRPD Article #30 Participation in cultural life, recreation, leisure and sport"
  Access2Arts - You Tube - Access2Arts video on United Nations Convention on the Rights of People with Disabilities Article #30 Participation in cultural life, recreation, leisure and sport - reads, in part "Article #30 of the United Nations Convention of the Rights of People with Disabilities that deals with Participation in cultural life, recreation, leisure and sport, told by Deaf and disabled people. An Access2Arts Production made possible with support from the City of Adelaide."
• "Australia Council - Annual Report 1984-85"
  Australia Council Annual Report 1984-85 - discusses functions and objectives, structures, process and membership of Council, Council Committees and members, Board Members, Assessment panels, staff lists, organisation chart, main activities of Council and its Boards, and includes financial statements and lists of grants made including increased artist fees working with minority groups including disabled, fees and costs for artists in Arts Access Society, costs of program for Access Arts (National) cost of playwrights for disabled theatre, and theatre of the Deaf with additional grant support and tours of NSW regional areas for Theatre of the Deaf (NSW).
• Sydney Opera House
• Pru Jobling
• Disability Arts History Australia Launch 2025 - Archiving Report
• Disability Arts History Australia Launch 2025 - Industry Report
• "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."
• Beats Crew
• “Restless in Alice – An update on Incite Arts’ collaboration with Restless Dance Theatre 2015, captured 2016”
  News article reads, in part, "Restless Dance Theatre’s Artistic Director Michelle Ryan is visiting Alice Springs next week to work with InCite Arts and the ‘stArts with D’ Performance Ensemble. Adelaide based Restless Dance Theatre is Australia’s leading dance company working with young disabled and non-disabled people to create dance theatre and run workshop programs."
• "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."
• "Office for the Arts (2013) Creative Australia: National Cultural Policy. https://www.arts.gov.au/publications/creative-australia-national-cultural-policy-2013"
  Reads, in part, "Creative Australia (2013) celebrates Australia’s strong, diverse and inclusive culture. It describes the essential role arts and culture play in the life of every Australian and how creativity is central to Australia’s economic and social success: a creative nation is a productive nation."
• "Bree Hadley (2021) Ex/centric Fixations Project (theatrical play). In Sefel, John Michael, Slamcik Lassetter, Amanda, & Summerville, Jill (Eds.) At the Intersection of Disability and Drama: A Critical Anthology of New Plays. McFarland Publishers, Jefferson, USA, pp. 317-344.”
  "The Ex/Centric Fixations Project is a postdramatic performance work which renders the feeling of otherness visceral for spectators, without anchoring it any specific singlular experience of otherness, with the text unfolding with the musical flow and rhythm of a fugue state."
• "Katie Ellis (2016) Disability Media Work: Opportunities and Obstacles. London: Palgrave."
  Reads, in part "Elevates disability media discussions beyond representation and access by considering employment and discriminatory attitudes in the media industry"