Disability Arts History Australia

Items

• Bronwyn Paddick
• Brett Ahern
• Ben Katz
• Belinda Andreussi
• Barbara Blackman
• Athena Pavlis-Goard
• Anthony Camarelli
• Anita Canning
• Al Wunder
• "Commonwealth of Australia (2019) Key Results of the 2018 Public Consultation: National Arts and Disability Strategy. Canberra: An initiative of the Meeting of Cultural Ministers"
  Reads, in part "Between 24 September and 3 December 2018, people shared their stories and ideas about arts and disability in Australia. The Meeting of Cultural Ministers asked to hear these ideas and stories. The Meeting of Cultural Ministers is made up of the Cultural Ministers from the Australian Government and state and territory governments. The statistics in the report all come from the online survey. These ideas and stories will help Ministers to make a new National Arts and Disability Strategy.
• "Queensland Government (2024) Arts and Disability Plan. 25 September 2024. https://www.arts.qld.gov.au/projects-and-initiatives/arts-and-disability-plan-web"
  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."
• "Rachel Carling-Jenkins, Mark Serry (2014) Disability and social movements: learning from Australian experiences. Burlington : Ashgate Publishing Company"
  Reads, in part "This book provides the reader with a ground-breaking understanding of disability and social movements. By describing how disability is philosophically, historically, and theoretically positioned, Carling-Jenkins is able to then examine disability relationally through an evaluation of the contributions of groups engaged in similar human rights struggles. The book locates disability rights as a new social movement and provides an explanation for why disability has been divided rather than united in Australia.."
• "Commonwealth of Australia (2017) “National Arts Disability Strategy Evaluation Report 2013–2015.” Canberra: Meeting of Cultural Ministers."
  Reads, in part "The second Evaluation Report was endorsed by cultural ministers in September 2017. It concludes that progress continues to be made against the Strategy. It also identifies that there have been significant changes to the arts and disability sector since the release of the Strategy in 2009 such as the introduction of the National Disability Insurance Scheme."
• "Bree Hadley, Gerard Goggin, Petra Kuppers, Colette Conroy, Meagan Shand, Donna McDonald, Martin Paten, Norm Horton, Sarah Moynigan, Veronica Pardo, Caroline Bowditch, Morwenna Collett, Kerry Comerford, David Doyle, Pat Swell, Clark Crystal, Peter Stuart (2019) The NDIS and disability arts in Australia: Opportunities and challenges. Australasian Drama Studies, 74, pp. 9-38."
  "In Australia, disabled people’s participation in the arts has historically been afforded by means of direct-to-organisation grants that arts, community services or disability services arms of government award to arts organisations, charities or disability service organisations, who then deliver programmes. The introduction of the National Disability Insurance Scheme (NDIS) is creating wide-reaching changes for disability arts practice in Australia. We undertake a first step in addressing the need for research into how the NDIS will alter the landscape of disability arts practice in Australia. We highlight a set of questions that all performing and creative arts industry stakeholders will need to respond to, in order to ensure that the excellent work done in disability arts in Australia to date can continue in the new climate that the NDIS brings."
• "Accessible Arts - Arts and Disability Expo - Program"
  Accessible Arts - Arts and DIsability Expo 2015 - Program - reads, in part "'Welcome to the first arts + disability expo. The arts + disability expo aims to provide you with information, advice and access to arts and cultural opportunities. With a variety of arts programs, organisations, venues and practitioners on hand, we hope to provide you with all the support that you need to become involved in creative pursuits. We encourage you to watch some of the performances, listen to the talks about the National Disability Insurance Scheme (NDIS), and view the photographic exhibition. The expo is also a good opportunity to see new and different levels of creative work by artists with disability.' - Sancha Donald, CEO, Accessible Arts"
• “Australia Council - People with a disability - attendance at cultural events 2008"
  Australia Council - People with a disability - attendance at cultural events 2008 - reads, in part "A 2003 survey by the Australian Bureau of Statistics showed that over 40 per cent of people with a disability went to the cinema. According to the 2003 Survey of Disability, Ageing and Carers, one in five people in Australia reported that they had a disability which restricted their everyday activities and which had lasted, or was expected to last, for at least six months."
• "Christopher Newall (1996). The Disability Rights Movement in Australia: A note from the trenches. Disability & Society, 11(3), 429–432. https://doi.org/10.1080/09687599627705"
  Reads, in part “A recent visitor to Australia from the UK commented to me on their return ‘I looked in vain for the disability rights movement. Can you tell me where they are?’ In essence, the Australia disability rights movement is currently fragmented, predominantly organised around disease labels and seems to have lost ground, compared with the self-help initiatives fostered around the time of the International Year of the Disabled Persons in 1981.”
• "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."
• "Commonwealth of Australia, 2018. Research Overview: Arts and Disability in Australia. Barton: Department of Communication and the Arts, Cultural Ministers Council. Available from: https://www.arts.gov.au/sites/g/files/net1761/f/research_overview_of_arts_and_disability.pdf."
  Reads, in part "The Research Overview brings together published and unpublished data and research about arts and disability in Australia, and case studies highlighting arts and disability practice around the country. The Research Overview is part of the evidence base for a renewed National Arts and Disability Strategy. The evidence gathered here will be complemented by submissions and survey during a national consultation in 2018."
• "Interview with Peter Vance"
  Peter Vance is a singer, songwriter, musician, performer, facilitator and disability arts advocate. Interview Summary: Peter Vance is a songwriter, performer, musician and singer. Peter suggested disability arts in the last 20 years has become more visible and popular reflecting a positive shift in how society views disability as part of the rich tapestry of human experience. This is reflected in how the arts now tell the stories of individuals with disabilities, not simply as artists with a disability, but as whole people whose varied experiences - visible and invisible - inform and enrich their creative expression. However, there are still challenges with funding and accessibility and ongoing struggles for recognition and support of disability art. Changes in how organisations operate to suit new funding such as the NDIS have potentially limited the spontaneity and personal touch that smaller, community-driven organizations once offered. Peter said it is essential to continue to push for better understanding, support, and visibility for people with all kinds of disabilities in every aspect of life, including the arts, to truly embrace inclusivity.
• "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"
• "Bree Hadley (2016) Cheats, charity cases and inspirations: disrupting the circulation of disability-based memes online. Disability and Society, 31(5), pp. 676-692."
  "With the increasing part online self-performance plays in day-to-day life in the twenty-first century, it is not surprising that critiques of the way the daily social drama of disability plays out in online spaces and places have begun to gain prominence. In this article, I consider memes as a highly specific style or strategy for representing disability via social media sites. I identify three commonly circulating categories of meme – the charity case, inspiration and cheat memes – all of which offer representations that people with disabilities find highly problematic. I then investigate the ways in which disabled people have begun to resist the representation and circulation of these commonly circulating categories of memes, via the production of counter or parodic memes. I focus, in particular, on the subversive potential of these counter memes, within disability communities online and within broader communities online."
• "Juliet London and Des Walsh (1995) Arts & Disability: Report Australia Council: Surry Hills."
  Juliet London and Des Walsh - Arts & Disability, Australia Council 1995 - Reads, in part "The Australian Bureau of Statistics estimates that 18 per cent of the Australian population has a disability. There is a basic lack of data on participation in the arts by artists with a disability. No figures were available on the number of people with disabilities applying for grants from the Australia Council or from State or Territory arts agencies. The current dearth of statistical information needs to be overcome by systematic and sustained research."
• "The Arts and Disability No Date #1"
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• "The Arts and Disability 2016-2017"
  Except as permitted by copyright law, you may not reproduce or communicate any of the content on this website, including files downloadable from this website, without the permission of the copyright owner. The Australian Copyright Act allows certain uses of content from the internet without the copyright owner’s permission. This includes uses by educational institutions and by Commonwealth and State governments, provided fair compensation is paid to the copyright owner. For more information, see www.copyright.com.au and www.copyright.org.au.