Disability Arts History Australia

Items

• Restless Dance Theatre
• "Interview with Jess Cochran"
  Jess Cochran (they/them) is an actor, model, writer and disability advocate. Interview Summary: Jess Cochran is a queer, non-binary, neurodivergent, performing artist, advocate, writer, and consumer consultant with a background in both physical and psychosocial disabilities. Their journey into the performing arts began accidentally with a role in the Awards winning Melbourne Fringe Festival production, Qualia, which opened doors to more local and international Awards-winning work in film and stage. Jess identifies proudly with their disabilities and considers their art both a personal expression and a political act aimed at highlighting the issues faced by the disability community. Jess’s work spans across writing, modelling, and various performance arts, and they wish to see an increase of disability arts representation in mainstream media with authentic casting, opportunities and improved accessibility for disabled performers. Jess is also passionate about highlighting intersectionality in disability arts.
• "Interview with Morwenna Collett"
  Morwenna is a leader, consultant and facilitator in the arts, government, not-for-profit and university sectors and is passionate about helping arts and cultural organisations to include everyone in their work. Interview Summary Morwenna Collett is a consultant in diversity, access and inclusion and during the interview discusses her vast experience in the disability arts sector including time in the Australia Council where she played a key role in creating the first targeted funding program for artists with disabilities. Morwenna notes that while disability arts is gaining some awareness with mainstream audiences, there are still issues regarding how people think about the quality of art created by artists with disabilities. Morwenna highlights the NDIS as a significant milestone for disability arts in Australia, though she believes that there is much more potential for arts organizations to engage with it. Morwenna also emphasizes that the decision for artists to identify with their disability is a personal choice and it is becoming increasingly safe to disclose this identity, demonstrating progress toward inclusion in the arts.
• "Interview with CB Mako"
  CB Mako is a non-fiction, fiction and fanfiction writer and disability advocate. Interview Summary cubbie||CB Mako is a creative practitioner and disability advocate who emphasizes the importance of accessibility in the arts, advocating for digital inclusivity and the elimination of ableist practices. cubbie pushes for systemic change so that future generations, like their disabled child, don't have to fight for access to art and literature. Success for cubbie is defined by the progress made when institutions include disability in their funding, competitions, and programming. Using the pen name CB Mako and going by pronouns cubbie/they/them, urges non-disabled artists, particularly from communities of colour, to proactively incorporate access in their work.
• "Interview with Daniel Savage"
  Daniel Savage is an artist and disability advocate working in mediums of photography, video and performance. Interview Summary: Daniel discussed his background as a disabled contemporary artist primarily focused on photography, with additional interests in video and performance. Daniel detailed the journey through his artistic career, highlighting significant experiences such as art school education, early influences, and the impact of acquiring a disability. He also explored the evolution of his style and interests, particularly his shift towards digital technology and his involvement in advocacy for accessibility in the arts. Daniel also shared his perspectives on the challenges and achievements within the disability arts scene in Australia, including public awareness and integration with contemporary art.
• "Interview with Graham Wilfred Junior"
  Graham Wilfred Junior is a Yolngu man and artist with Incite Arts where he works with different mediums including filmmaking, writing, performing and music. Interview Summary Graham, an emerging artist with spina bifida whose father inspired his passion for art, has pursued various art forms including painting, music, and digital art, now calls Mparntwe/Alice Springs home, and is venturing into theatre and filmmaking. His digital artwork, through the creation of the indigemoji app, helps teach the Arrernte, the language of the First Nations people of Mparntwe/Alice Springs. He now seeks to expand his impact through acting and creating films. Graham's motivation is to both celebrate and inspire people with disability, aiming for recognition as an artist rather than focusing solely on his disability. Graham shares his journey with Incite Arts, highlighting his involvement in music workshops, acting classes and script development, emphasizing the importance of representation and empowerment for individuals with disability. Ultimately, he aims to document his experiences and create impactful performances that leave a legacy to encourage others to pick up where he leaves off, ensuring the continuity of artistic expression within his community.
• "Australia Council - Annual Report 1980-81"
  Australia Council Annual Report 1980-81 - discusses members of council, standing committees and board reports as well as financial statements, grants lists, publications and programs particularly focused on the 1981 International Year of the Disabled Person (IYDP) including accessibility, integration and raising awareness of barriers of disability in arts, with funding for research, art exhibitions, theatre, film (“Stepping Out”), dance (“Life, Images and Reflections”), craft, and literature; conference, seminar celebrating IYDP.
• "Australia Council - Annual Report 1993-94"
  Australia Council Annual Report 1993-94 - discusses objectives, organisation chart, year in review, support for people with disabilities in Art and Working Life, artform development, main activities of Council and its Boards, and includes financial statements and lists of grants made including grants for programs, development of performance, visual art/crafts, media and multi arts, writers in community residence and local documentation projects as well as “Arts and Disability” research and collaboration in performance of “Love Dances (and other stories)”
• "Australia Council - Annual Report 1995-96"
  Australia Council Annual Report 1995-96- discusses functions, organisation chart, arts funding, audience development and advocacy with collaboration with various government departments to focus on advocacy for minority groups including people with disabilities, strategy and policy with Arts and Disability report, describing the barriers to intellectual and physical access to the arts experienced by people with a disability and the implications for arts organisations of the Disability Discrimination Act 1992, main activities of Council and its Boards, and includes financial statements and lists of grants made including grants for programs, projects, information and advocacy.
• "Australia Council - Annual Report 2005-06"
  Australia Council Annual Report 2005-2006 - discusses letter from chair of council, letter from CEO, corporate overview, year in review, goals, financial statements, analysis of funding analysis and grants list, including various artistic and community projects - “Stickybricks” – exploring the history of a Sydney Housing Estate where 95% of residents receive aged or disability benefits were traumatised by by murders, suicides, assaults and drug and alcohol-related crimes and they partnered with Big hART to tell their story at the Sydney Festival, “Small Metal Objects” by Back to Back Theatre presented at the Melbourne international arts festival, and the DADAA (WA) regional collaborative “Bridging the Gap” project in Bunbury and publication of “Making the Journey: Arts and disability in Australia”
• "The Other Film Festival Program 2010 - FRANCES AND ANNIE by Genevieve Clay (2009)"
  The Other Film Festival Program 2010 - FRANCES AND ANNIE by Genevieve Clay (2009) - reads, in part "When a young woman decides to drop in unexpectedly on her new neighbors she is confronted by a potential tragedy and her own prejudices.
• "Back to Back Theatre - You Tube - Food Court (2008), uploaded 2016"
  Back to Back Theatre You Tube - Food Court (2008) - reads, in part "Set in the lush minimalism of an illuminated white void, the story of one woman’s humiliation is played out in a psychological space constructed from light and sound. Luminously fragile, FOOD COURT is a near death experience in a suburban wonderland where a small fatality of dignity takes place between The Asian Hut and The Juice Bar."
• "Access Arts - You Tube - Access Arts and Expressions Dance Company - Marc Brew Masterclass"
  Access Arts - You Tube - Access Arts and Expressions Dance Company - Marc Brew Masterclass - reads, in part "Access Arts recently welcomed internationally acclaimed artistic director and choreographer Marc Brew to Brisbane to conduct a dance workshop in the Expressions Dance Company Studios at the Judith Wright Centre of Contemporary Arts."
• "Tutti Arts - One - Program"
  Tutti Arts 'One' 2011 Program - reads, in part "Directors Notes: The idea of being alone for some people offers space. A space in which to hide, relax in, to get the job done, to escape or just sit with your thoughts with a good cup of coffee. For others it's a place you find yourself in without choice. A place that can consume you, where all you have is your own company to cuddle up to. When some people are left by themselves, things can get a little crazy"
• ”Hadley, Bree, Batch, Morgan, & Whelan, Michael (2021) The entitled ally: Authorship, consultation, and the 'right' to stage autistic people's stories. Disability and Society, 36(9), pp. 1489-1509.”
  "Theatre has a long tradition of presenting disabled characters as plot devices to tell someone else’s story. A recent production, All in a Row, resulted in heated debate around this issue. This article examines not the play itself, but the conflict between those who objected to the play’s representation of autism, and its creators, who defended their choices by citing their disability-adjacent identities and processes of consultation. For critics, the fact that the creators did not take the community’s concerns seriously was a source of trauma. This article uses this conflict to draw out lessons about how we might better negotiate the right to tell disability stories and strengthen frameworks to support that negotiation. We propose a decision tree diagram to assist artists in understanding the meaning, role, and most importantly the potential consequences of consultation – up to and including a community saying ‘no’ to an artist’s planned representation."
• "Catherine Grant (2013). Participating in arts- and cultural-sector governance in Australia: Experiences and views of people with disability. Arts & Health, 6(1), 75–89. https://doi.org/10.1080/17533015.2013.826259"
  Reads, in part "This study sought the perceptions and experiences of people with disability relating to their potential or current involvement in the governance of arts and cultural organisations in Australia. Methods: A total of 32 people participated in an online survey, and results were analysed qualitatively and quantitatively. Results: The findings revealed that those participants who had been involved in governance benefited from it in terms of self-esteem, participation in society and well-being." Contains tables with survey data.
• "Maree Roche, Ben Whitburn (2019) Mate, You’re Crippin’ Us Out: Biopolitics of the Arts Curriculum in Australia and the Swinging Identities of Dis/abilities. Journal of Literary & Cultural Disability Studies.13(3). https://doi.org/10.3828/jlcds.2019.25"
  Reads, in part "The article explores arts curriculum in Australia as developed in the contexts of schooling, community organizations, and higher education for people with disabilities and mental health concerns. Motivated to explore whether or not students provided access to modified arts curriculum are engaging in education or receiving therapy, the aim is to address a dichotomy that is seemingly present in educational institutions, but extends well beyond the school gate and informs organizational responses to arts in the lives of people with disabilities. Resourced with the theoretical contributions of dis/ability studies for its concern for the biopolitics of disability, the authors weave personal experiences through the discussion of participation in arts throughout their lives. The article concludes with a theoretical discussion of how arts provision in the Australian context might develop the social and political value of art in the lives of people with dis/abilities and for all, on the basis that its educative value is emphasized over its therapeutic one."
• "Interview with Alison Bennett"
  Dr Alison Bennett is a senior lecturer in photography at RMIT School of Art specialising in expanded photography, webXR, queer and feminist creative practices. Interview Summary Alison Bennett, an artist and academic, spoke about her work in expanded photography, their experiences with autism, and the intersection of disability discourse with queer activism in their life and work. Their current project, vegetal/digital, arose from their experiences during the pandemic and connects audiences with plant sentience through interactive digital art. Alison also discussed the political nature of their work, aiming to shift ontological frameworks and exploring new modes of engagement through art. They reflected on the significant cultural changes regarding neurodiversity in the last few decades, highlighting the growing self-advocacy among autistic artists and their increasing impact in the arts.
• "Interview with Jodee Mundy OAM"
  Jodee Mundy OAM is a Disabled creative director, performer, writer, activist, creative producer, executive producer, commissioner, interpreter, film, festival maker and cultural leader. Interview Summary Jodee Mundy OAM, is an artist and festival director who identifies as Coda (child of Deaf adults) and lives with chronic illness reflects on the historical and ongoing challenges faced by Deaf and Disabled artists in Australia. Her work is deeply political, aiming to tell untold stories and bring visibility to marginalized communities. Despite significant achievements, Jodee stresses the need for structural support and inclusivity within the industry, especially given the limitations of hybrid access models post-pandemic. Jodee's personal journey, including her recent incurable cancer diagnosis, shapes her advocacy for a culture of care and well-being in the arts. Jodee leads Alter State, Australia’s Disability- led arts festival presented by Arts Centre Melbourne and Arts Access Victoria.
• "Interview with Michèle Saint-Yves"
  Michèle Saint-Yves is a playwright, filmmaker, poet, and director. Interview Summary Michèle Saint-Yves’ background includes a colonial upbringing in Pacific territories, a Scottish boarding school education, and a complex personal journey of confronting her own inherent racism and colonial legacy, particularly through her writing. Her work as an artist with disability is deeply informed by her sense of otherness and focuses on creating inclusive performance-based work that challenges mainstream audiences and systems, aiming for transformative experiences that impact disability justice and community. Michèle actively embraced the social model of disability, which shifted her understanding of herself and her art, and has received recognition for her pioneering work with the prize-winning show "Clock for No Time." However, recognising the social model’s limitations, her current creative endeavours are concerned with 'access intimacy' and evaluating the lasting impact of her performances, in collaboration with other artists and through research grants.
• "Interview with Michelle Ryan"
  Michelle Ryan is the artistic director of Restless Dance Theatre and has extensive experience as a dancer and performer. Interview Summary Michelle Ryan, the artistic director of Restless Dance Theatre, shares her journey from being a successful dancer diagnosed with multiple sclerosis at 30 to becoming an advocate for artists with disabilities. Despite her initial hesitations to perform with her disability, a positive experience dancing with a European company reignited her passion and led her to Restless Dance Theatre, where she aims to change perceptions of who can create art. Michelle emphasizes the importance of providing professional opportunities and proper compensation for disabled artists, challenging the notion that disability work is charity or hobbyist. She advocates for representation that is genuine and not tokenistic, ensuring the inclusion of people with disabilities is meaningful and respectful.
• "Interview with Nick Hughes"
  Nick has worked as an actor, director, writer, artistic director, dramaturg and was the Company Manager for Restless Dance Theatre Interview Summary Nick Hughes is a retired arts administrator who has worked in various capacities within the arts industry, including as an actor, writer, stage manager, and notably as the company manager for Restless Dance Theatre. Nick gained degrees in drama, and sociology, and moved from the UK to Australia in 1973. During the interview, Nick reflects on his significant contributions to the arts and disability sectors. Despite being unfamiliar with disability arts in the beginning, Nick says he became deeply involved and committed to the field, valuing disability arts for the social and political aspects. Nick discusses witnessing first-hand the growth and development of individuals through creative expression. Throughout his career, Nick says he has seen the evolution and increasing recognition of disability arts as a legitimate and powerful art form capable of altering people’s perceptions and advocating for inclusivity and equality in society.
• "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 - 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).
• "NuunaRon Art Group - ‘Seven Spirits’ Artwork Story by Paul Constable-Calcott"
  First Peoples Disability Network NunnaRon Art Group - ‘Seven Spirits’ Artwork Story by Paul Constable-Calcott - reads, in part "The 'Culture is Inclusion' art exhibition showcases art work by the NuunaRon First Nations art group, with a lived experience of disability, telling their stories of resilience and strength through connecting to their culture"