These case studies accompany the full Art Works report, which looks at
employment levels, barriers and strategies for people with disability in the arts
and cultural sector in Australia.
The case studies selected aim to illustrate the diverse roles and career
pathways of five different people with disability working in the arts.
Each case study maps an individual journey and offers broad insights into how
opportunities for arts-related employment may be created or improved for
people with disability.
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JO DUNBAR
INTEGRATED DANCE THEATRE ARTIST
MELBOURNE, VICTORIA
Figure 1: Dancer and choreographer Jo Dunbar says that education is vital in creating
opportunities for artists with disability.
How did you first get into the arts or into creating art?
I never thought I would become a dancer until I met a group of dancers in
Lismore, New South Wales, who introduced me to Company Chaos, a dance
theatre group for people with and without disability. Being a drummer I’d already
developed my sense of rhythm, so to find that rhythm in my body was a natural
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progression. I never looked back after discovering that you didn’t need to hear to
dance and being with this group of people every week, I discovered a love for
exploring and expressing different ways of dancing and performing. Once I’d let go
of the preconception that society had installed in me, a world of possibilities
opened up and I just had to believe I could do it.
Tell us about your art and/or your current job as an artist, arts worker or as
an employee in the arts and cultural sector.
Currently I identify as a profoundly deaf dance theatre artist who choreographs,
performs and teaches.
I have just finished working as a performer for Gaelle Mellis’s Take Up Thy Bed
And Walk, a work exploring the preconceptions of women with a disability. Earlier
this year I worked with another choreographer, Jodie Farrugia, and a group of
deaf and hearing dancers to create a contemporary dance piece, Collisions. The
project was a partnership between Arts Access Victoria and Deakin University,
and funded by Arts Victoria.
I also work part time for Arts Access Victoria as a project development
coordinator. In this role, I’m currently setting up a holiday respite program for
Frankston Arts Centre, for the participants of the ‘Get out!’ program who have a
varying range of disabilities.
What was the turning point or catalyst that allowed you to be employed, to
have paid work as an artist or arts worker? Describe this pathway. Who or
what helped you?
In 2009, I worked as a volunteer with Restless Dance Theatre in Adelaide. During
this time I developed a partnership with Arts Access Victoria who had a small
group of deaf dancers wanting to create a contemporary/hip hop performance.
Over the following year, I volunteered at Arts Access Victoria to discuss and find
ways of setting up professional training for deaf dancers as there was currently no
support for further training outside of community arts projects.
Fiona Cook, then Arts Projects Manager, was instrumental in trying to find ways in
which this could happen. We constructed the idea together for the project
Collisions, with a focus on bridging a gap between hearing and deaf dancers,
while creating an opportunity for the dancers to build on their skills by learning
from each other and working with two professional and established
choreographers, one hearing and one deaf.
When Arts Access Victoria secured funding for hosting the Australian Deaf Games
and the Collisions project, they asked me if I would be interested in staying and
performing in the games with Strange Fruit as well as choreograph Collisions. Arts
Access Victoria has fought hard for me to stay here as currently there is no deaf
choreographer or performer with my experience.
What were some of the things that have made it challenging or harder for
you to progress your arts career?
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The main challenge I’ve had is dealing with society’s preconception that deaf
people can’t hear so, therefore, how can they dance? What they forget or do not
yet know is that we all hear with our bodies before the sound enters our ears.
Being deaf has helped inform my work in many ways as much as it has become a
barrier. On the one hand, it has developed my performer training through instinct
and internal work but the barriers have mainly been about obtaining this
information. For instance, I would love to and would pay good money to go a
workshop run by a teacher expert in their field of practice. However, often I find I
miss out on essential information as there is often no interpreter there, and even if
I rely on my expert lip-reading skills, I still don’t understand everything.
From your experience, what types of initiatives or changes do you think
would help other artists with disability have more and better employment
opportunities in the arts?
Education, Education and Education. Access to higher level learning is such an
important step forwards in learning about the art form we have chosen and in
exploring questioning and developing our artistic voice. Knowing our craft also
makes us employable. Without my opportunity to learn within a supportive learning
institution, I would not be where I am today.
I was extremely fortunate to obtain an early-career scholarship to the Trinity Laban
Conservatoire of Music and Dance in London, where I obtained my MA in Dance
Theatre. I had a lot of support from my peers and my teachers within the
confinement of the schools walls but in the real world, where we are in a sea of
artists all striving to express their art and leave a footprint somehow, things
change radically.
What advice would you give other artists or arts workers with disability
navigating a career in the arts and cultural sector?
Stand up and be proud of who you are. If your access needs are not being met,
ask for them to be. For instance, if it is a performance you want to see, whether
you are blind or deaf, ask for an audio description of the performance to be made
or for an interpreter to be provided.
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DUNCAN MEERDING
DESIGNER-MAKER, SOLE TRADER
HOBART, TASMANIA
Figure 2: Designer-Maker Duncan Meerding used the experience of his visual impairment
to develop his unique log lamp concept.
How did you first get into the arts or into creating art?
I grew up doing a lot of craft as a kid, making billycarts and things like that. When I
went to the University of Tasmania (UTAS), I took more of a ‘design’ approach to
my creative interests. I started by enrolling in some visual arts units and graduated
with a Bachelor of Arts in History and Furniture Design.
Tell us about your art and/or your current job as an artist, arts worker or as
an employee in the arts and cultural sector.
I am now a designer-maker. I develop the ideas for, and then manufacture, my
own furniture pieces. I operate my business as a sole trader.
I focus mostly on retail items. That involves coming up with the design concept,
sourcing the wood from timber salvage yards, and then getting the items ready for
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production. I work in my studio in Hobart. And I outsource some parts of the
production process, like the wiring for most of my lamps and some of the making,
where I don’t have the advanced expertise needed.
What was the turning point or catalyst that allowed you to be employed, to
have paid work as an artist or arts worker? Describe this pathway. Who or
what helped you?
My scholarship in my first year out of UTAS to the Designed Objects Tasmania
collective workshop helped with early financial support, but the development of my
log lamps was probably the biggest turning point, for a number of reasons.
I first discussed the concept and the creative process behind the lamps with
Professor Kees Dorst, a design professor from University of Technology Sydney
and a senior researcher at Eindhoven University. He encouraged me to use the
notion that the concept for the log lamps emerged from my limited vision.
The idea that I could put forward, rather than hide, this to further develop and
showcase my work was a real progression for me. Also, having a non-disabled
person, who was respected within the international design world, value my
experience and the art that came out of this experience, was very important to me.
Being one of the top ten finalists in the Bombay-Sapphire Discovery Awards
helped me realise my potential to work as a designer. When I wrote the
submission for the award, I disclosed my disability, explained how my imagination
is my key tool as a designer, because I don’t rely on my eyes the way other
people do. So this was one of the points at which I started revealing my vision
impairment and it was a major turning point for me.
In 2010, after graduating from UTAS, I got start-up money for my practice from
Arts Tasmania, so I started selling things reliably in late 2011.
What were some of the things that have made it challenging or harder for
you to progress your arts career?
Overwhelmingly, people have been accepting and encouraging of my work. The
rare occasions when colleagues or acquaintances have made judgements on my
vision impairment and how that might affect my technical ability as an artist were
difficult when I first heard them. But they were also really useful to hear because
they have enabled me to judge when the comments are incorrect or ‘cheap shots’
and to rise above this – not to take these kinds of comments on board.
Another challenge is not having enough access to other artists with disability. I
have great networks with many designers and design-makers, but it would be
good to be able to share creative experiences and processes with more people
working through some of the same challenges that I’ve had to.
From your experience, what types of initiatives or changes do you think
would help other artists with disability have more and better employment
opportunities in the arts?
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Having avenues for networking is essential. And people like Kees Dorst –
mentioned above – who are hgh-profile non-disabled people advocating for you,
are a great support. I also think that attitudinal changes from non-disabled people
would help, along with some lateral thinking by employers to see what skills and
abilities a person with vision impairment does have.
What advice would you give other artists or arts workers with disability
navigating a career in the arts and cultural sector?
It’s important to listen to advice from others, but you also have to try your own
path. I’d encourage other artists with disability to reach out to people and to use
organisations for support, but you can’t follow anyone else’s prescriptions to the
letter. You have to try to make it work for you.
Form support networks. Even having a gathering once a month of like-minded
artists helps remind us that we are not alone in this journey Make sure you have a
support network within your place of work, talk to people if the tough gets going.
Learn from the challenges that arise, and make sure you’re not going through it
alone. It is hard journey as we usually have to navigate additional things that
others may take for granted, but it is a good one. Continue to take the
opportunities to develop your knowledge as it is always knowledge we can use to
effect the changes that need to be made in order to improve quality of life.
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AMY BROWN
ADMINISTRATIVE ASSISTANT, YOUNG PEOPLE AND THE ARTS
AUSTRALIA
MELBOURNE, VICTORIA
Figure 3: Amy Brown (left) loves her administrative career in youth arts.
How did you first get into the arts or into creating art?
I first got a taste of the arts when I was employed as an Administration
Assistant/Front of House at Southern Peninsula Arts Centre (SPAC) on the
Mornington Peninsula, Victoria.
Tell us about your art and/or your current job as an artist, arts worker or as
an employee in the arts and cultural sector.
I am an Administration Assistant for a not-for-profit organisation, Young People
and The Arts Australia (YPAA). YPAA has a Melbourne office and a Queensland
office. Most of what I do is online as we use email as a source of communication
to our members. I love my job in the arts and I hope I can make a career out of
working for YPAA.
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What was the turning point or catalyst that allowed you to be employed, to
have paid work as an artist or arts worker? Describe this pathway. Who or
what helped you?
I had previously worked with my current boss, Jim Lawson (director of YPAA) at
SPAC for approximately 12 months. During that time, I was also completing my
Diploma in Business Administration. Working at SPAC was just a stepping-stone
for me. I was able to gain some experience in the arts sector. Jim moved on to
become the director of YPAA and set up an office in Melbourne. He then offered
me the job as part-time administrative assistant. I have thoroughly enjoyed my
time working at YPAA.
What were some of the things that have made it challenging or harder for
you to progress your arts career?
Due to being a not-for-profit organisation, we did not receive funding for 2013.
Therefore, I have been retrenched from my job and all employees have lost their
jobs. This has made it difficult to progress in my career.
From your experience, what types of initiatives or changes do you think
would help other artists with disability have more and better employment
opportunities in the arts?
I feel that employers need to be offered more funding options to allow them to
employ someone with a disability. It would be great to see some campaigns
running to make potential employees aware that there is a need for a lot more
equal opportunities. From my experience it was a battle to get any job, let alone a
job in the arts sector.
What advice would you give other artists or arts workers with disability
navigating a career in the arts and cultural sector?
The only advice I can give is to stay positive and believe in yourself. It was the
most challenging time for me trying to find a job. It’s good if you have a connection
who may be able to help you. Have the passion and the determination to reach
your goals is important. Do not take notice of people who say you can’t or that you
aren’t smart enough. You can also educate your employer about your abilities.
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CATIA DOLZADELLI
VISUAL ARTIST
ARTS WORKER, DADAA
FREMANTLE, WESTERN AUSTRALIA
Figure 4: Through accessing local funding, Catia Dolzadelli has gone from strength-tostrength and now exhibits her work regularly.
How did you first get into the arts or into creating art?
I have a Bachelor of Arts Degree in Education and a Bachelor of Education in
Special Education. Twelve years ago I was working in a school in the Kimberley
when I had a nervous breakdown and was diagnosed with Post Traumatic Stress
Disorder (PTSD). What followed was years of struggles with hospitalisation,
depression, anxiety, panic attacks and obsessive compulsive disorder.
About seven years ago I came across a book on mosaics that set me on a path of
healing for a future that traditional medicine couldn’t provide. Art has become not
only a therapeutic resource but a way of life.
Tell us about your art and/or your current job as an artist, arts worker or as
an employee in the arts and cultural sector.
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I exhibited and sold my first piece of artwork at the Open Minds Open Doors
Exhibition in 2006 and have been creating art and exhibiting ever since, with my
arts practice growing considerably over the last couple of years.
I have begun working from the Pakenham Street Art Space in Fremantle, which
has enabled me to set up a printing press and have space to paint, sculpt and
create mosaic pieces. I have exhibited in group exhibitions at Kidogo Gallery,
Moores Building Art Gallery, The Niche and as part of the Kimberley Art Prize.
I currently work at DADAA in a printmaking class and I am also working with two
UK artists running an art workshop. I also work at Alma Street running an art
group for women as part of a Recovery Mental Health Program. I have also
worked as an artist in residence in a local school for a few months this year.
What was the turning point or catalyst that allowed you to be employed, to
have paid work as an artist or arts worker? Describe this pathway. Who or
what helped you?
I received DADAA Arts and Disability Small Grants funding in 2009 and
participated in a printmaking mentorship with artist Shana James in linocut,
collograph and dry etching. This led to a very successful solo exhibition at the
Freight Gallery in Fremantle.
When an opening came up at DADAA to work in a printmaking class I was offered
the position and have loved every minute of it.
As a result of my history with mental illness (as well as my degree in Special
Education) I was offered a position at Alma Street Living Skills Centre to run
recovery art workshops for women in the process of mental health recovery.
What were some of the things that have made it challenging or harder for
you to progress your arts career?
I am largely a self-taught artist. Having PTSD meant I was unable to take art
classes. Instead I went to the library and read every art book I could find, then
experimented at home. Working with an individual artist mentor in printmaking
gave me the confidence to join a small painting class at the Fremantle Arts Centre
and I still paint there once a week. I have since participated in stone carving, clay
sculpture, metal work and fibre workshops.
Being unable to work meant I had limited finances to buy art supplies and art
books, and even participating in small workshops has been a financial struggle.
From your experience, what types of initiatives or changes do you think
would help other artists with disability have more and better employment
opportunities in the arts?
More small grants to work with artist mentors to increase skills and promote
connections within the art world would assist significantly.
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Also, access to galleries to exhibit is important, especially if an artist has never
exhibited before as it is difficult to get started. I believe art exhibitions and prizes
for artists with disability would help get recognition for artists who exhibit.
What advice would you give other artists or arts workers with disability
navigating a career in the arts and cultural sector?
Don’t be afraid to ask for help, advice or support. There are a lot of people out
there with knowledge and connections in the art world who are willing to steer
artists with disability in the right direction.
Apply for grants and write letters to organisations asking for support. Be as active
as you can in promoting your art and developing your skills – you never know
what may turn up. Don’t let your disability keep you from your goals. Everybody
struggles in some way or another and, while having a disability may make life
harder at times, it shouldn’t stop you from aiming high.
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AMANDA TINK
TRAINING COORDINATOR, ACCESSIBLE ARTS
COORDINATOR, ARTS ACTIVATED CONFERENCE
SYDNEY, NEW SOUTH WALES
Figure 5: Highly regarded as a project and training coordinator, Amanda Tink enjoys a
recent City of Sydney Town Hall Accessible Tour.
How did you first get into the arts or into creating art?
Though I’ve been an art lover from a young age, my first job in the arts didn’t
arrive in my life until 2010. That’s when I started my current role with Accessible
Arts.
Tell us about your art and/or your current job as an artist, arts worker or as
an employee in the arts and cultural sector.
Part of my role has been convening Arts Activated 2012 – Australia’s only national
arts and disability conference. Aside from that, my role is as Training Coordinator.
This means I conduct disability awareness training for arts organisations, or help
them write or review their disability action plan.
What was the turning point or catalyst that allowed you to be employed, to
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have paid work as an artist or arts worker? Describe this pathway. Who or
what helped you?
I got my break as a paid worker when a committed non-disabled advocate and ally
suggested I could succeed him in his role as he was moving on. I would never
have considered myself capable if he had not suggested it. So I put my name
forward and was accepted. From there, I developed my skills, which ultimately led
me to this role.
What were some of the things that have made it challenging or harder for
you to progress your arts career?
People in the arts sector seeing a person with disability and assuming that that
person can’t do the job has been the most difficult thing by far. Employers
anywhere often imagine that employing a person with disability will be difficult and
time-consuming, and the arts has only recently begun to acknowledge people with
disability as contributors to the sector.
These two combine to make a big leap for anyone considering taking me on. It’s
tempting for them to let what they imagine my weaknesses to be, to scare them
into missing the opportunities.
From your experience, what types of initiatives or changes do you think
would help other artists with disability have more and better employment
opportunities in the arts?
At a systemic level, arts organisations – especially example-setting ones like the
Australia Council for the Arts and the arts and disability organisations – need to
set the example and employ skilled people with disability in significant roles. At a
grassroots level, people with disability and our allies need to support each other to
progress.
What advice would you give other artists or arts workers with disability
navigating a career in the arts and cultural sector?
Remember that if you’re on the cutting edge of something – as you are as a
person with disability developing a career in the arts – then you’re going to get cut.
You need to find your tribe to get you through it. Make sure it includes people who
will both support you in rough times, and give you honest feedback so you
flourish. Hold tight to your dreams and celebrate your successes.
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