Disability Arts History Australia

Items

• “Captioned films launched in Australia”
  In 2001, captioned films were launched in Australia with a speech by then Disability Discrimination Commissioner Dr Sev Ozdowski OAM. The process with a series of submissions from both the film industry and the Deaf and hard of hearing community. These submissions led to the establishment of a Forum comprised of representatives from the film distribution and exhibition sector, the Deaf and hearing impaired communities and the Australian Caption Centre. After a trial run in Sydney and Melbourne, three major cinema exhibiters (Greater Union, Hoyts, and Village) agreed to show open captioned films at selected venues throughout the country.
• “Protesters gather in Lismore (NSW) to oppose proposed cuts to services”
  In 2004, 300 disabled persons, along with their relatives and carers, gathered in Lismore to protest proposed cuts to adult, training, learning, and support programs, among other services. These were a part of a series of demonstrations against the state government that included hundreds of demonstrators in Newcastle and resulted in the state government reversing its position on modifications to the Post-Schools Options Disability Program.
• “NuunaRon (QLD) is established in 2018”
  NuunaRon (QLD), "a group for Aboriginal and Torres Strait artists and emerging artists living with disability," was established in 2018. The name NuunaRon is a portmanteau in honour of two disabled artists, Elders Aunty Nuuna (a saltwater Noonuccal woman) and Uncle Ron (a Kamilaroi man). The organisation is supported by Elders Living With Disability Australia (ELDA). NuunaRon “provides a safe space for people to share stories of resilience and keeping strong via yarning, painting and creating art.”
• “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.
• “The Bolshy Divas present ‘The Other 100 Conversations’ to Australian governments heads”
  In 2011, a group of disability activists called the Bolshy Divas presented a 100-page document, ‘The Other 100 Conversations,’ to heads of all Australian governments who had gathered in Canberra for a Council of Australian Governments (COAG) meeting. The document was addressed “to our elected representatives”. ‘The Other 100 Conversations’ comprised of 100 first-person accounts of participants of disability services in Western Australia, highlighting the lack of support and waiting times experienced.
• "Janice Rieger, Bree Hadley, Katherine Dionysius, Michael Whelan, Megan Strickfaden(2019) VIS-ABILITY: Audio Description of Karla Dicken's artworks, 'Bottom feeder I-IV' (2018)."
  "This is an audio description of Karla Dickens' artworks, 'Bottom feeder I-IV' (2018), narrated by Dr Bree Hadley and recorded by Michael Whelan. This recording was produced in partnership with QUT Creative Industries Faculty for the exhibition, 'Vis-ability' at QUT Art Museum, from 11 May to 4 August 2019."
• "Janice Rieger, Bree Hadley, Katherine Dionysius, Michael Whelan (2019) VIS-ABILITY: Audio Description of Karla Marchesis' artwork, 'Trashout' (2010)."
  "This is an audio description of Karla Marchesi's painting, 'Trashout' (2010), narrated by Dr Bree Hadley and recorded by Michael Whelan. This recording was produced in partnership with QUT Creative Industries Faculty for the exhibition, 'Vis-ability' at QUT Art Museum, from 11 May to 4 August 2019."
• "Bree Hadley (2008) Mobilising the monster: Modern disabled performers' manipulation of the freakshow. M/C Journal, 11(3), pp. 1-7.”
  "This paper examines the risk in remobilising representations of the monstrous in performance, in that these re-representations of freak persona may still be read by spectators as part of the phenomenon they are trying to challenge, the critical counterpositions failing to register, or failing the fully disrupt the familiar scopic and discursive framework."
• "ArtsHub (2013) Cultural Policy fails people with disabilities-Arts Access Australia is running a campaign to get a better deal for people with disabilities from the National Cultural Policy. 20 Mar 2013, ArtsHub"
  Reads, in part "By now you will have heard that the National Cultural Policy offers little for Australians with a disability. Not only is there no funding for the National Arts and Disability Strategy, but instead, the policy calls for a culture of tolerance towards people with a disability."
• "Australia Council (1999) Access All Areas: Guidelines for Marketing the Arts to People with Disabilities. https://webarchive.nla.gov.au/awa/20080720180431/http://www.australiacouncil.gov.au/publications/disability_and_the_arts/access_all_areas_guidelines_for_marketing_the_arts_to_people_with_disabilities"
  Australia Council 'Access all areas: guidelines for marketing the arts to people with disabilities' 1999 - reads, in part "Access all areas: guidelines for marketing the arts to people with disabilities For most people, the decision to be exposed to the experience of an arts event is a simple one. You go, because you choose to go. Providing that choice to people with disabilities is the issue of Access all areas. This guide is intended to be practical, covering actions which are within reach of arts organisations, especially marketing officers and their departments. How to identify this audience, how to reach them and how to provide what they want is the key advice contained in Access all areas."
• Second Echo Ensemble
• No Strings Attached
• Sydney Gay and Lesbian Mardi Gras
• Sydney Gay and Lesbian Mardi Gras Festival
• Veronica Pardo
• Amanda Cachia
• Caroline Bowditch
• Megan Strickfaden
• Sarah Austin
• "Incite Arts Annual Report 2014 - Online"
  InCite Arts Annual Report 2014 - Chairperson, Artistic Director and Community Cultural Development Manager Messages, Projects (SPRUNG Youth Dance, Partnership with Warlpiri Youth Development Aboriginal, ‘Red Sand Culture’ Music & Dance Mentoring, ‘Southern Ngalia’ Cultural Dance, ‘stArts with D’ Performance Ensemble, School Partnerships - Artists in Residence program: Acacia Hill School & Centralian Middle School)
• "Blue Roo Theatre Company - SongCircleReport"
  The Song Circle Evaluation Report (2014), written by Kirsty Martin, reads "In 2013 a creative partnership was formed between Blue Roo Theatre Company Inc. and Opera Queensland’s Open Stage. The Arts Queensland and Centacare Disability Services Queensland funded partnership resulted in ‘Song Circle’, a song-based production performed over three days at the Judith Wright Centre of Contemporary Arts, Fortitude Valley, Brisbane."
• "Tutti Arts - Website - Annual Reports 2010-2019, captured 2021"
  Tutti Arts Annual Reports 2010-2019, captured 2021
• "Indelability Arts - Shows"
  Website records shows produced by Indelability Arts since 2015, including LOOK MUM...NO HANDS!!! [THE LEGLESS BAR YEARS], LOVE ME, WILBUR THE OPTICAL WHALE, SHE - See Us, Hear Us, Engage With Us, as well as production/development support for shows by ensemble members, including BETSY AND I, CHAMELEON, THE NO BANG THEORY
• "Indelability Arts - Classes"
  Website reads "Students will learn the ins-and-outs of theatre performance from industry trained professionals."
• “Arts Access Victoria – How it all began! (1974-1979)”
  Arts Access Victoria – How it all began! (1974-1979) started in Melbourne in 1974 by Judy Morton with funding from the Australia Council for the Arts with art and theatre workshops in institutions but intermittent funding meant AAV stopped at times but state government funding in 1979 allowed long term planning.