Disability Arts History Australia

Items

• "Second Echo Ensemble - Chair's, Creative Producer's and Financial Reports 2019"
  Second Echo Ensemble Chair’s, Creative Producer’s and Financial Reports for 2019, including reports on work during the year (Performances of ‘COntexted Land’, ‘Let Me Dry Your Eyes’, ‘By My Hand’, creative development ‘The Beauty Project,’ collaborations with Kickstart, Dancenorth, Philip Channells)
• "A Creative Leap: Beyond Disability"
  A Creative Leap: Beyond Disability provides “ … six examples of how others are creating access for people with a disability to participate in artistic activity and develop their creative potential,” including Club Contagious Music Club, Malee Music Program, Karrarendi Visual Art Workshops, Southern Youth Theatre Ensemble, Restless Dance Theatre
• Luke Campbell
• Luke John Campbell
• Second Echo Ensemble
• "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."
• "Let Me See - review by Keiran Finnane 2015, captured 2016"
  Describes InCite Arts ‘Starts with D Performance Ensemble’ members Tiffany Malthouse, Matt Woodham, Brandon Williams, Martin Armstead and director Kat Worth’s production of ‘ Meet You at the Edge’, as part of ‘Let Me See’ produced by Red Hot Arts Central Australia at Araluen Centre for the Arts, including film, use of audio description, writing, and choreography
• "Sydney Festival - StickybrickS MEDIA RELEASE - 2006"
  Sydney Festival - StickybrickS 2006 MEDIA RELEASE - Reads, in part "By 2002 Northcott was infamous once again as a seething pit of violent crime, multiple murders and suicides, with residents traumatised and Sydney’s media swarming, ready to pronounce this community a blot on an otherwise perfectly-good-inner-city-real-estate-investment-opportunity. Northcott residents, however, refused to be tarred with the same media brush and began working with national arts organisation Big hART writing, researching, filming, composing, performing, painting and photographing."
• "Bree Hadley, Clark Crystal (2017) Style, stage presence, and the poetic subversion of stereotypes: A case study of Blue Roo Theatre Company. Social Alternatives, 36(4), pp. 15-21."
  "In this article, we consider the work of Blue Roo Theatre Company (http://www.bluerootheatre.org.au/), a Brisbane-based theatre company which “creates contemporary performances lead by the artistry, experiences and imaginations of an ensemble of artists with diverse ability and impairment” (http://www.bluerootheatre.org.au/). Writing from a dual insider-outsider perspective – as a scholar of disability theatre and a creator of disability theatre in conversation – we discuss the work done in the training and rehearsal room in the lead up to Blue Roo Theatre Company’s performances, such as the company’s recent sell-out performance of Orpheus and Eurydice in collaboration with Opera Queensland at the Judith Wright Centre for Contemporary Arts, and the way it creates a distinctive performance style, poetics, stage presence, pleasure for the spectators who come along to witness the results of the work, and sense of community. We document moments in which facilitators, collaborators, co-creating artists, audiences and the media alike feel the physical, psychological, and aesthetic focus and force of voice, movement and character work by people with disabilities. We identify ways in which this stage presence can subvert dominant depictions of people with disabilities as innocent, childlike, or inspirational as significantly as the content of a show. In doing so, we provide insights into Blue Roo Theatre Company’s processes, and the aesthetic results it produces, and contribute to a growing body of commentary around disability theatre and performance, which – though increasingly well understood by those working in the form – clearly can still provide surprises for audiences and commentators anticipating conventional representations of people with disabilities onstage."
• "The Other Film Festival Revisited 2020"
  The Other Film Festival 2020 Revisited - information about the Festival, program, achievements, including in 2020 writers room activity, daily screen writing prompt tasks, and events relating to climate change
• "Artability - Access Arts' Programs, Practice and Perspectives"
  Explains history, members rights, policies, arts pathways, training, classes, and planning to support these activities, plus information on programs – including Caberet Erratica, Cartoon Advocacy, Melrose Park Project, New Farm Park Mosaics, Visual Arts Exhibition, Explaining Discrimination Video Project – and examples of writing by Access Arts members
• "Arts Project Australia - Telltale - ParagonOfVirtue Exhibition 2016 - Email Promotional Flyer"
  Arts Project Australia - Telltale - ParagonOfVirtue Exhibition 2016 - Email Promotional Flyer - Telltale is a writing and exhibition project centred on a narrative conceived by ten artists, written by Justin Hinder and explored over a series of collaborative workshops and studio sessions at Arts Project Australia. Telltale was developed through Next Wave's Emerging Curators Program with Arts Project Australia for Next Wave Festival 2016."
• "Tutti Arts -Tutti Kids - Kids and Youth Program Showcase 2017 - Program"
  Tutti Kids and Youth 2017 Showcase Program – reads, in part "The Tutti Kids and Youth Program provides Adelaide's only out of school hours arts program where young people living with disability are invited to develop their creativity through singing and song-writing, music, dance, movement, drama and theatre skills.”
• "Tutti Arts -Tutti Kids - Kids and Youth Program Showcase 2016 - Program"
  Tutti Kids and Youth 2016 Showcase Program – reads, in part "The Tutti Kids and Youth Program provides Adelaide's only out of school hours arts program where young people living with disability are invited to develop their creativity through singing and song-writing, music, dance, movement, drama and theatre skills.”
• "Interview with Asphyxia"
  Asphyxia is an artist, author, activist and performer who has founded Amplio, a music app for Deaf and hard of hearing people. She also provides free online Auslan lessons and online art courses. Interview Summary Asphyxia is a Deaf artist whose journey into the arts started with a deep love for ballet, but after facing discrimination due to her Deafness, she pivoted to a successful career in circus performance and later puppetry, which embraced her Deafness and signing skills. Her work in performance art led her to write and illustrate the Awards-winning art-journal book, Future Girl, which explores Deaf identity and environmental issues. She has now moved into music, creating an app that makes music accessible and writing music designed with Deaf and hard of hearing audiences in mind. Although not sure about the major milestones in disability arts history in Australia, she considers her art to be both political and personal, often tackling issues related to her identity as a Deaf person and the aesthetics of disability equipment. While Asphyxia identifies as a Deaf artist, above all, she sees herself as an artist whose work appeals to the mainstream while celebrating Deafness and diversity.
• "Bree Hadley, Katherine Dionysius, Sarah Boulton (2019) Vis-Ability: Audio descriptions. In Vis-ability: Artworks from the QUT Art Collection. QUT Art Museum, Brisbane, Qld, pp. 45-53."
  "Bringing together a selection of recent acquisitions from the QUT Art Collection ,Vis-ability has been conceived as a project to broaden understanding of the lived experiences of people who are blind and people with low vision. Drawing on research in QUT's Creative Industries Faculty, Vis-ability proposes alternative ways of engaging with the collection, considering how technologies can deepen our understanding of vision and challenging our sight-driven experience of art. In this essay, QUT artist scholar and audio description author Associate Professor Bree Hadley, curator Katherine Dionysius, and blind artist and exhibition guide Sarah Boulton examine the principles, processes, and challenges of producing audio descriptions and associated engagement strategies to enable creative new forms of audio encounter with visual art works."
• "CreativeAustralia/AustraliaCouncil - Website - NameChange 2023"
  The website reads “On Thursday 24 August 2023 the Australia Council became Creative Australia; a bigger, bolder champion and investor in arts and creativity”
• Theatre performance ‘Take Up Thy Bed & Walk’ integrates ‘aesthetic access’”
  The 2012 performance ‘Take Up Thy Bed & Walk’ designed by Gaelle Mellis and produced by Vitalstatistix proved that accessibility measures could be aesthetic. As Creative Australia describes it “is credited as Australia’s first performance work incorporating ‘aesthetic access’. It embedded the performer’s physicality and communication styles – and those of potential audiences – at the centre of the creative process. The work integrated audio description, captioning, sign language and interactivity uniquely into the core of the work.” Gaelle Mellis has said of the performance that “aesthetic access can be used in ways that add layer, texture, meaning and richness to a work. Art, at its simplest, is primarily about communication. Aesthetic access, at its simplest, is a form of communication that communicates to everyone.”
• ”Bree Hadley, Janice Rieger, Sarah Barron, Sarah Boulton, Catherine Parker (2023) Codesigning Access: A New Approach to Cultures of Inclusion in Museums and Galleries. In Cachia, Amanda (Ed.) Curating Access: Disability Art Activism and Creative Accommodation. Routledge, Abingdon, Oxon, pp. 183-195.”
  "In museums and galleries, access is often designed and implemented by staff and informed by regulations and guidelines. Codesign approaches have the potential to shift this understanding away from designing access “for” visitors and toward access as a creative process developed “with” visitors. This chapter focuses on the exhibition and practice-led research project Vis-ability: Artworks from the QUT Art Collection, which was presented at the Queensland University of Technology (QUT) Art Museum in Australia in 2019. Vis-ability represented the culmination of five years of international research into access in museums and galleries for visitors who are blind or have low vision."
• "Bree Hadley (2022) Disability and the Arts, Creative, and Cultural Industries in Australia. Australian Academy of Humanities"
  "This week saw the release of Ensuring Occupations are Responsive to People with Disabilities, a landmark report by the Australian Council of Learned Academies (ACOLA) commissioned by the Australian Government Department of Social Services. As part of the Academy of Humanities’ support for the project, Professor Bree Hadley provided a study of disability in the arts, creative, and cultural industries for the project, and Professor Gerard Goggin was a member of the Expert Reference Group. In this week’s Five-Minute Friday Read, they explain why disability training needs fundamental reform now."
• "Sarah Austin, Chris Brophy, Lachlan MacDowell, Edward Paterson, and Winsome Roberts (2015) Beyond Access: The Creative Case for Inclusive Arts. Melbourne: Arts Victoria."
  Reads, in part "Beyond Access sought to create an evidence base for the creative case for inclusive arts practice to support greater recognition for artists with a disability by transforming and extending notions of what art is and who produces it."
• "Amanda Cachia (2022) Curating Access: Disability Art Activism and Creative Accommodation. London: Routledge"
  Reads, in part "This book is an interdisciplinary collection of twenty-four essays which critically examine contemporary exhibitions and artistic practices that focus on conceptual and creative aspects of access."
• "Creative Australia (2024) releases 'Equity: Arts and Disability Associated Plan"
  Reads, in part "The Australia Council for the Arts have released their critical new report Towards Equity: A research overview of diversity in Australia’s arts and cultural sector. This overview gathers published and unpublished data and research on representation within the arts and cultural sector in Australia."
• "Second Echo Ensemble - Chair's, Creative Producer's and Financial Reports 2020"
  Second Echo Ensemble Chair’s, Creative Producer’s and Financial Reports for 2020, including reports on work during the year (Let Me Dry Your Eyes, The CHAIN, What Makes You Beautiful), and reflections on the impact of Covid 19 Pandemic
• "Second Echo Ensemble - Creative Producer's Report 2017"
  Second Echo Ensemble Creative Producer’s Reports for 2017, including reports on work during the year (Performances of ‘Rite of Spring’, ‘Contested Land’), and plans for the future