Literature Review for an Arts and Disability
Action Strategy for New South Wales
September 2008
Author: Anthea Cheng, Accessible Arts Intern, University of New South Wales
1
CONTENTS
Acknowledgments
3
Executive Summary
4
1. BACKGROUND
Definition of Disability
Use of language
Arts, Disability
5
5
5
7
2. LEGISLATIVE BACKGROUND
International framework
Australian framework
8
8
9
3. WHO DOES IT CONCERN?
10
4. WAYS TO ACCESS THE ARTS AND CULTURE
Current Situation
Venues
Services, Programmes and Activities
Arts Industry
12
12
13
15
16
5. WHY SUPPORT ARTS AND DISABILITY
Question of Justice, Equality and Human Rights
Organisational Asset
Costs and Benefits
Community
Political arena
Art World
17
17
17
17
18
18
19
6. POLICIES AND STRATEGIES
Why develop policies?
General statements, strategies and policies
Specialised programmes and initiatives
Strategic Partnerships
Leadership activities
20
20
20
21
21
22
Conclusion
23
Bibliography
24
2
Acknowledgments
While any literature review seeks to provide an appropriate context for a larger
project, it is important that I acknowledge particular individuals who have
provided guidance during my process of research and writing.
Thank you to Zarni Jaugietis from the Faculty of Arts and Social Science at the
University of New South Wales for arranging my internship with Accessible Arts.
Networks which promote dialogue between individuals are critical to Australia's
democratic society.
My sincere thanks to the Accessible Arts NSW team for providing assistance in
my process of compiling the literature review. Individuals include Sancha
Donald, Jacquie O' Reilly, Josie Cavallaro, Jennifer Teo, Mukesh Bhardwaj,
Jane Pollard, Nadia de Ceglie and Alison Richardson. Each individual
presented specialised knowledge, contributing to a foundation of industry-based
knowledge.
Finally, thank you to Alison McLaren who presented me with the opportunity to
gain a more in-depth knowledge of arts and disability, provided consistent
feedback during my process of research and writing and edited the literature
review.
3
Executive Summary
This Literature Review explores significant and underlying issues of arts and
disability. The review focuses on research conducted in Australia and uses
international literature to enhance what already exists in Australia. It provides an
insight into how creativity and the access needs of people with disabilities is a
matter of concern to many organisations and individuals, if not everyone.
This research was completed for Accessible Arts NSW. Accessible Arts is an
active agent in the promotion and advocacy for individuals with disabilities to
access the arts and culture. In light of this, I will focus on literature that
investigates social and political responses of arts and disability issues. I will
outline the main claims and evaluate the effectiveness of policies and action
plans of relevant organisations, scholarly books, reports and articles.
To discuss issues of arts and disability, it is essential to gain insight of
underlying meanings and ideas. In the Background, I will define the meaning of
disability with reference to the widely cited text, the 'International Classification
of Functioning Disability and Health.' In light of the social model of disability,
much literature explores how society’s conception of disability is reflected and
shaped by the use of language. In order to gain an understanding of how the
arts and disability relate to each other, it is useful to consider the foundations of
Arts and Disability as an emerging phenomenon and movement.
International and Australian legislation provides a formal framework for the
protection of the cultural rights of all individuals. This is addressed in Article 30
of the United Nations Convention on the Rights of Persons with Disabilities.
Equality and access to the arts and culture is echoed on a domestic scale,
namely through the Commonwealth Disability Discrimination Act of 1992.
The Literature Review also outlines the key stakeholders of arts and disability.
In Australia, the 'Survey of Disability, Ageing and Carers' of 2003 conducted by
the Australian Bureau of Statistics reveals that one in five people in Australia
have a disability. The Commonwealth Disability Discrimination Act considers a
broader range of stakeholders, such as associates of people with a disability.
This highlights the influential nature of networks in society and that disability is a
broad concept that affects many individuals.
Scholarly literature, how-to guides and government publications outline ways
individuals access the arts. The culmination of literature is helpful for identifying
barriers which hinder people with disabilities from accessing the arts. However,
it is important to focus on solutions and development of existing programmes
and structures.
I will also outline the main drives and motivations for the development of arts
and disability. This will be considered alongside my research of common
aspects of policies and strategies. This adds practical value to the review as it
shows that arts and disability can be formally approached in a number of ways.
4
1. BACKGROUND
Definition of Disability
In order to discuss issues around arts and disability, it is essential to clarify the
meaning of disability. In the international and national sphere, the most cited
text for defining disability is the 'International Classification of Functioning
Disability and Health,' otherwise known as the ICF, which is associated with the
World Health Organisation, also known as WHO. The ICF approaches the topic
of disability in a versatile manner which allows it to be used by organisations
and individuals of various interests. For this reason, much literature refers to the
ICF from a subjective point of view. However, in order to provide the appropriate
context for this literature review, it is important to refer to the ICF in its original
form. The ICF defines disability through two distinct models. In particular, it
states that:
The medical model views disability as a feature of the person directly
caused by disease, trauma or other health condition, which requires
medical care provided in the form of individual treatment by
professionals. Disability, on this model, calls for medical or other
treatment or intervention, to 'correct' the problem with the individual.1
The medical model focuses on the physical, mental and intellectual capacities
of an individual. In effect, professional institutions and individuals aim to cure
the disability of an individual.
The ICF also defines a social model of disability, which is critical to the
phenomenon of Arts and Disability. In particular, the ICF states that:
The social model of disability, on the other hand, sees disability as a
socially-created problem and not at all an attribute of an individual. On
the social model, disability demands a political response, since the
problem is created by an unaccommodating physical environment
brought about by attitudes and other features of the social environment.2
In contrast to the medical model of disability, the social model focuses on the
everyday experiences of individuals with a disability and how his/her experience
is influenced and shaped by social factors. For example, an individual
experience of the arts may be affected by social attitudes of front of house staff
and audience members or the conventional design of a building. The social
model identifies the provision of access for people with disabilities as a social
responsibility.
Use of language
In the past decade or so, many resources have claimed that society's
understanding of disability is embedded in written and verbal language. In other
words, language reflects and shapes society's perceptions of people with
The International Classification of Functioning, Disability and Health, ‘Towards a Common
Language for Functioning, Disability and Health,’ World Health Organisation,
<http://www.who.int/classifications/icf/site/beginners/bg.pdf>, 2002 (accessed 27 March 2008).
2 ibid.
1
5
disabilities.3
In light of the social model of disability, a number of how-to-do guides and policy
documents use and promote people-first language.4 This language prioritises
the identity of a person and identifies characteristics of a person, as such,
disability is a secondary element of an individual’s human experience and
disability does not solely define a person. The equality of all individuals is
promoted when the humanity of an individual is a central aspect of language.
The Department of Ageing, Disability & Home Care's (DADHC) publication titled
'Don't dis me with that language – The disability language A-Z guide'5 is a
comprehensive guide for people-first language. This guide identifies popular
slang phrases used when discussing issues around disability and suggests
more respectful dignified language. Such resources can be used by arts and
disability organisations and individuals alike.
The Australian Institute of Health and Welfare (AIHW) released a paper titled,
'The definition of disability in Australia: Moving towards national consistency'
which identifies the value of people-first language in the public sphere. The
paper expresses that a shared people-first language can promote common
values. This consistency is a key to Australia’s future maintenance and
development of a legislative framework.6
Recently, international examples show how language can be used in creative
ways to promote positive perceptions of people with a disability. In particular,
the 'Disability Culture Paper' of the High Beam Seminar cites examples from the
United States of America and Scotland where everyday language is
appropriated with a twist of popular culture. For example, in Scotland, when
describing people with Down Syndrome, phrases used for description included
“Downright Sporty, Downright Stylish, Downright Smart and even Downright
Spice Girl.”7 At the same time, the International Day of People With a Disability
uses a sub-line of, 'Don't DIS my ABILITY.'8 Since language is a powerful yet
Physical Disability Council of NSW Inc., ‘Words Matter: A Guide for Journalists’, NSW
Government’s Department of Ageing, Disability and Home Care,
<http://www.pdcnsw.org.au/archive/07/wordsmatter.pdf>, 2006 (accessed 3 July 2008)
4 ibid.
5 The NSW Department of Ageing, Disability and Home Care, ‘Don’t dis me with that language
– The disability language A- Z guide’, Connections, 12:12-13,
<http://www.centralcoasthacc.com.au/download_resources.php?id=21&c=0&PHPSESSID=e67
01565e7a9f4ce26d2fc26d940413f >, 2006, (accessed 18 March 2008)
6 Ros Madden, Tracie Hogan. ‘The definition of disability in Australia: Moving towards national
consistency’, Australian Institute of Health and Welfare , Cat. No. DIS 5,
<http://www.aihw.gov.au/publications/welfare/dda-mnc/dda-mnc.pdf> , 1997, (accessed 20
March 2008)
7 Eddie Bullitis, Disability Culture Paper, High Beam Seminar, 1998, cited in Arts Access
Australia, 'Disability Culture: Discussion Paper Based on High Beam Seminar May 5 1998', Arts
Access Australia, <http://www.artsaccessaustralia.org/culture.htm>, 1999, (accessed 20 March
2008)
8 NSW Department of Ageing, Disability and Home Care, ‘International Day of People with a
Disability website,’ NSW Department of Ageing, Disability and Home Care,
3
6
hidden structure in social communication, it can be used in creative ways to
promote positive messages about the abilities and contributions of people with a
disability.
Arts, Disability
Arts and Disability is an international and national phenomenon which concerns
the fusion and interaction of the two disciplines of the arts and disability. The
strongest literature which outlines Arts and Disability comes from the
international sphere. 'Bodies in Commotion: Disability & Performance' puts
forward that the merge of the arts into disability studies occurred in the last ten
years alongside the emergence of cultural rights.9 The Arts Council of Ireland
and Arts Council of Northern Ireland explore this phenomenon with a broader
scope. They describe Arts and Disability as an area that involves “all sections of
the community on an equal basis, making no differentiation between disabled
and non-disabled participants”10 and encompasses a “range of arts activities.” 11
Arts and Disability embraces “artwork by people with disabilities and arts
activities involving disabled people.”12 This phenomenon is based on notions of
cultural rights and the valuable input that people with disabilities offer to the arts
and culture.
<http://www.internationaldayofpeoplewithadisability.com.au/> (accessed 16 May 2008)
9 Carrie Sandahl, Philip Auslander, ‘Introduction’ in Bodies in Commotion, The University of
Michigan Press, United States of America, 2005. p. 6-10
10 Arts Council of Northern Ireland, The Arts Council, ‘Arts and Disability/ Disability Arts- what’s
the difference?’, Arts and Disability Directory, Arts Council of Northern Ireland, The Arts
Council, <http://www.artsanddisability.com/terminology/difference.aspx>, 2008, (accessed 5
June 2008)
11 The Arts Council, ‘Arts and Disability’, Arts Council website, The Arts Council,
<http://www.artscouncil.ie/en/areas-of-work/arts_and_disability.aspx>, 2008 (accessed 5 June
2008)
12 Arts Council of Northern Ireland, The Arts Council, op. cit.
7
2. LEGISLATIVE BACKGROUND
International framework
Legislation provides a formal framework for realising the rights of individuals
with a disability. This is epitomized in the international human rights framework,
namely the United Nations Convention on the Rights of Persons with
Disabilities. The Convention promotes the “full and equal enjoyment of human
rights and fundamental freedoms by all persons with disabilities”13 and “respect
for their inherent dignity.”14 It successfully uses people-first language to
emphasize the innate humanity and identity of individuals with a disability. In
effect, this promotes an inclusive social environment.
The Convention, which is concerned with the social structures of society,
therefore reflects the social model of disability. This contrasts with the medical
interpretation of disability that should be ‘cured’ through treatment. The
Convention addresses how States and social structures within the States can
take action to ensure that everyone has equal access to cultural life. In
particular, Article 30 notes:
1. States Parties recognise the right of persons with disabilities to take part
on an equal basis with others in cultural life, and shall take all appropriate
measures to ensure that persons with disabilities:
a. Enjoy access to cultural materials in accessible formats;
b. Enjoy access to television programmes, films, theater and other
cultural activities, in accessible formats;
c. Enjoy access to places for cultural performances or services, such
as theaters, museums, cinemas, libraries and tourism services, and,
as far as possible, enjoy access to monuments and sites of national
cultural importance.15
States may sign the Convention. Ratification of the Convention and ratification
of the Optional Protocol signifies further commitment by the State to take action
towards realizing the rights set forth in the Convention. Australia has ratified the
Convention with declarations and reservations relating to: decisions made on
behalf of a person; compulsory assistance or treatment in relation to mental
disability; and the liberty of movement and freedom to choose residence and
nationality for non-nationals in relation to impact upon Australia’s health
requirements. Graeme Innes, Human Rights Commissioner and Commissioner
responsible for Disability Discrimination, supports Australia's ratification as it
puts “the human rights of people with disabilities at the forefront of the national
United Nations Enable, ‘Human rights of persons with disabilities’, United Nations Enable,
United Nations Secretariat for the Convention on the Rights of Persons with Disabilities,
Department of Economic and Social Affairs, <http://www.un.org/disabilities/default.asp?id=102>,
2008 (accessed 27 March 2008)
14 ibid.
15 United Nations Enable, ‘Article 30- Participation in cultural life, recreation, leisure and sport’,
United Nations Enable, United Nations Secretariat for the Convention on the Rights of Persons
with Disabilities, Department of Economic and Social Affairs,
<http://www.un.org/disabilities/default.asp?id=290>, 2008 (accessed 27 March 2008)
13
8
political, government and community agenda, and helps drive cultural
change.”16 This entails an on-going review process that aims to strengthen the
rights of people with disabilities. Accessible Arts seeks to support Australia’s
implementation of the Convention through specific focus on the realisation of
Article 30 in line with their vision as an arts and disability organisation.
Australian framework
Australian legislation echoes international legislation as it also recognises the
equal rights of individuals with and without a disability. In particular, the
Commonwealth Disability Discrimination Act (DDA) 1992 aims:
(a) to eliminate, as far as possible, discrimination against persons on the
ground of disability in the areas of:
(i) work, accommodation, education, access to premises, clubs and
sport; and
(ii) the provision of goods, facilities, services and land; and
(iii) existing laws; and
(iv) the administration of Commonwealth laws and programmes; and
(b) to ensure, as far as practicable, that persons with disabilities have the
same rights to equality before the law as the rest of the community; and
(c) to promote recognition and acceptance within the community of the
principle that persons with disabilities have the same fundamental rights
as the rest of the community17
The DDA, like the Convention, reflects the social model of disability and that
barriers to access can be removed through social and political means. In
particular, the DDA looks at how social attitudes that culminate in discrimination
and structures such as the law and workforce may hinder equality and access.
This suggests that barriers to access are socially constructed, thus can be
removed through social means and change.
Despite the authority and human rights underpinnings of legislation, sociallyconstructed barriers still hinder individuals with a disability from experiencing
their equal right to access the arts and culture. Guides and action plans of arts
and disability organisations address how access can be improved and barriers
can be removed. Practical access and disability action planning is integral to
facilitating change and the actual realisation of equal rights in real terms. I will
explore such literature in greater detail later.
Graeme Innes, ‘ ‘Signing up’ – Toward Ratification of the UN Convention on the Rights of
Persons with Disabilities’, Human Rights & Equal Opportunity Commission,
<http://www.hreoc.gov.au/disability_rights/speeches/2008/signing.htm>, 2008 (accessed 3 July
2008)
17 Australasian Legal Information Institute, ‘Disability Discrimination Act 1992 – Sect 3’,
Australasian Legal Information Institute, UTS & UNSW Faculties of Law
<http://www.austlii.edu.au/au/legis/cth/consol_act/dda1992264/s3.html> 2006 (accessed 27
March 2008)
16
9
3. WHO DOES IT CONCERN?
It is important to identify the key stakeholders of Arts and Disability. The most
recent statistics, which illustrate the prevalence of people with a disability, can
be gathered from the 2003 Survey of Disability, Ageing and Carers.18 This
document states that one in five people in Australia (3,958,300 or 20.0%)
identified with having a disability.19 In this case, disability is classified according
to its framework in the DDA. In particular, a person with a disability is anyone
whose activity is limited, restricted or impaired and that this has lasted or is
likely to last for at least six months. However, it is important to note that
disability, in this context, is attributed to an individual according to selfidentification. In effect, the widely cited statistics may serve as an
understatement of the actual prevalence of disability in Australia. Non-physical
disabilities include, but are not limited to, mental and psychiatric disabilities.
Lack of self-recognition of these disabilities may cause some people with
disabilities to not formally identify themselves in research and statistics.
In Australia, the ageing population is a widely known phenomenon. The
Australian Bureau of Statistics (ABS) confirms this through the statistic that
16.9% of the population is aged 60 years and over. The ageing population is an
important and influencing factor of the disability sector as 43.5% of people with
disabilities are aged 60 and over. Disability and age works as a two-way street.
For example, arts organisations which have services and programmes which
attract an ageing audience may consider access as an important feature. At the
same time, arts organisations which cater for people with disabilities may take
into account the demographics of a cross-section of participants.
However, Australian legislation draws wide boundaries for the scope of
disability. In particular, The DDA protects the rights of people who may have
disabilities that:
o presently exists; or
o previously existed but no longer exists; or
o may exist in the future; or
o is imputed to a person20
The DDA also aims to foster an inclusive social environment as it also protects
the rights of associates of people with disabilities. This is not expressed in any
specific Section in the Act but is consistently mentioned throughout it. In effect,
the DDA does not put disability on a pedestal but is a matter of concern to
everyone.
Australia's legislative framework sets a standard for organisations to be
18
The ABS will be conducting a more up-to-date and detailed survey in 2008.
Australian Bureau of Statistics, Disability, Ageing and Carers: Summary of Findings, (Cat. No.
4430.0), Australian Bureau of Statistics,
<http://www.ausstats.abs.gov.au/ausstats/subscriber.nsf/0/978A7C78CC11B702CA256F0F007B
1311/$File/44300_2003.pdf>, 2003 (accessed 27 March 2008)
20 Australasian Legal Information Institute. op. cit.
19
10
inclusive of people with disabilities. In effect, arts and disability organisations
also have a responsibility for the families, friends and companions of people
with a disability as well as those who may have a disability in the future.
11
4. WAYS TO ACCESS THE ARTS AND CULTURE
Current situation
Much domestic and international literature acknowledges that barriers exist and
hinder individuals from experiencing equal access to the arts and culture. It is
important to focus on domestic literature to illustrate the current level of access
in Australia, namely its availability and quality. However, it will be useful to also
review international examples to extend upon what already exists in Australia.
How-to guides and scholarly literature identify barriers to access and multiple
solutions. Solutions may include the active removal of barriers or improvement
of existing facilities and services. Needs for access should be recognised and
known across all levels of society including, but not limited to government
funding bodies, non-government organisations and individuals.
The 'NSW Disability Fact Pact for Arts and Cultural Organisations' identifies
there are two types of barriers for accessing venues, services and products,
namely direct and indirect barriers. Direct barriers refer to the action of not
treating an individual with a disability on an equal basis to individuals without a
disability. On the other hand, indirect barriers are caused by the act of not
acting, namely where organisations or individuals do not remove barriers to
participation.
It is important to outline the current situation in Australia of participation in the
arts and culture. This involves a review of statistics, case studies and surveys.
For instance, the 'Disability, Ageing and Carers Summary of Findings' from
2003 identified that in 12 months, for individuals who reported having a
disability:
 20.4% visited a museum or art gallery
 33.8% visited a library
 25.3% attended theatre or concert
 42.7% attended cinema21
The same survey also identified the participation rates of people with disabilities
in New South Wales in 12 months. The New South Wales statistics are close to
the national average:
 18.3% visited museum or art gallery
 31.3% visited a library
 25.8% attended theatre or concert
 40.5% attended cinema22
21
Australian Bureau of Statistics, Disability, Ageing and Carers: Summary of Findings, (Cat.
No. 4430.0), Australian Bureau of Statistics,
<http://www.ausstats.abs.gov.au/ausstats/subscriber.nsf/0/978A7C78CC11B702CA256F0F007
B1311/$File/44300_2003.pdf>, 2003 (accessed 27 March 2008)
22 ibid.
12
It is important to compare these findings with the participation rates of people
aged 60 years and over who are living in households. The attendance rates of
this age group at the museum or art gallery, library, theatre or concert are close
to the national average. However, attendance at the cinema, at 33.2%, falls
below the national average.23
Moreover, there are additional ways for individuals to access the arts and
culture. This may include participation in services programmes and activities
and employment in the arts industry. Issues and problems regarding access are
explored in how-to guides and scholarly literature which have been written by
organisations and individuals of the arts, disability and even the design sectors.
The diversity of sources and range of perspectives, reveals the range of
possibilities and opportunities for people with disabilities to participate in the arts
and culture. Key areas include:
 venues;
 services programmes and activities; and
 arts industry.
Venues
The most obvious way individuals access the arts and culture is by visiting arts
and cultural venues. Venues include, but are not restricted to theatres, cinemas,
libraries, galleries and museums.
Surveys conducted by the ABS reveal a significant difference between the
attendance of people with disabilities to people without disabilities at particular
arts and cultural venues. A comparison of available statistics is seen in the 2007
report titled Cultural Participation of People with Disabilities and Older Persons
by the Cultural Minister's Council.
In particular, in 2005, 25% of people with disabilities attended at least one
theatre or concert performance. In comparison 31% of Australians who do not
have a disability have attended at least one theatre or concert performance.24 25
This shows that people with disabilities are less likely to attend art and cultural
venues or participate26 in performances.
23
ibid.
National Centre for Culture and Recreation Statistics, 'Cultural Participation by Persons with
a Disability and Older Persons', Cultural Data Online, Cultural Ministers Council Statistics
Working Group, 2007,
<http://www.culturaldata.gov.au/__data/assets/pdf_file/61775/Cultural_participation_by_persons
_with_a_disability_and_older_persons.pdf> (accessed 28 April 2008)
25 The former statistic is derived from the 2003 'Survey of Disability, Ageing and Carers' while
the latter statistic is derived from the 2005 ‘Attendance at Selected Cultural Venues and
Events.’ Despite their incongruent nature, these statistics are the only available statistics which,
when compared, highlight different participation rates. The 'Cultural Participation by Persons
with a Disability and Older Persons' report notes that “the results from the 2005 survey are not
strictly comparable to results from the 2003 SDAC. However, the difference in rates for some
activities are so marked that it is unlikely to be due to methodology or the different time period
alone.”
26 When possible, I will use the term ‘participate’ rather than audience, visitor, attendant,
spectator, consumer of the arts and culture. This is in light of the egalitarian notion that
24
13
Literature which discusses the accessibility of venues tends to focus on physical
and attitudinal barriers. This emphasis is supported by the findings of the VSA
Arts’ 'Survey on the perception of people with disabilities regarding attendance
at performing arts centers.' In particular, 41% of respondents considered
inadequate services and facilities in venues as the greatest barrier when
attending performances.27
Built Environment of Venues
The most commonly identified barriers for people with disabilities at arts venues
are physical access barriers. 'Access All Areas' and the 'NSW Disability Fact
Pact for Arts & Cultural Organisations' are effective guides as they suggest
practical solutions for improving and enabling people with various disabilities to
access venues. Suggestions include installing “non-slip floor coverings”28 and
“providing or modifying toilets and bathrooms.”29 These resources also suggest
processes of how venue staff can identify barriers and how the venue can better
meet requirements of the DDA. Much literature identifies physical barriers as
the first and foremost issue.
More recent literature identifies the effectiveness of Universal Design.30 'Many
Voices, Making Choices' and the 'NSW Disability Fact Pact for Arts & Cultural
Organisations' identify that Universal Design aims to promote the equal access
of all individuals to physical infrastructure.31 32 Universal Design is an inclusive
concept that aims to create a built environment which can be used and enjoyed
by everyone from all perspectives as of artists, performers, arts workers and
audiences.
Professional and Social environment of Venues
Unlike the built environment of an arts and cultural venue, it is more difficult to
measure how the social atmosphere affects the experience of people with
disabilities. As a result, the research which exists in this area is qualitative and
not strong. For instance, as part of a research project in 1995, Walsh and
London conducted consultations with various stakeholders of the arts and
disability. However, due to the intangible nature of this issue, Walsh and
individuals with a disability are active agents alongside individuals without a disability.
27 University of South Florida, Survey on the Perceptions of Persons with Disabilities Regarding
Attendance at Performing Arts Centres, The Institute for Instructional Research & Practice in
collaboration with VSA arts of Florida, University of South Florida, United States of America,
2004. p. 34-35.
28 Neridah Wyatt-Spratt, Pam Wyatt-Spratt, Arts Access Australia, Access All Areas: Guidelines
for Marketing the Arts to People with Disabilities, John McAndrew (ed.), Australia Council,
Australia, 1999. p. 23
29 Noelene Gration, NSW Disability Fact Pact for Arts & Cultural Organisations, Lynn Buchanan
(ed.), Arts Access Australia, Australia, 1998. p. 9
30 North Carolina State University, Centre for Universal Design, North Carolina State University,
<http://www.design.ncsu.edu/cud/>, 2008 (accessed 3 March 2008)
31 Peta Landman, Kiersten Fishburn, Lynda Kelly, Susan Tonkin, Many Voices Making Choices:
Museum Audiences with Disabilities, Australian Museum Trust and National Museum of
Australia, 2005. p. 23-4
32 Noelene Gration. op. cit. p. 2
14
London could only reflect upon their research and express that “a consistent
message... is that one of the most difficult barriers faced”33 is based on the
attitudes of employees, overall venue and the public. It also “seemed... that
attitudes are more important than physical provision.”34 As attitudinal barriers of
art venues cannot be measured, they can easily be overlooked.
Despite such methodological problems, the 'NSW Disability Fact Pact for Arts &
Cultural Organisations' provides detailed information about how attitudinal
barriers may be reduced in arts venues and other organisations. The common
theme is that all staff members at all levels are responsible for creating a
respectful environment. This could be achieved through the staff members'
awareness of facilities to serving people with disabilities. The responsibility of
staff could be enhanced through customer service and disability awareness
training. The atmosphere which is exuded by individual staff members
influences the way all individuals experience performances.35
Accessible Art’s 'Background Paper for the Cultural Action Plan for People with
a Disability in NSW' and Australia Council of the Art’s research report titled 'Arts
and Disability' identify another stakeholder, namely the audience member. As
opposed to staff members who have a responsibility, audience members could
have awareness of the basic needs of people with a disability. 36 37 This is an
important point but pertains to social perceptions and attitudes across the
broader community. Organisations should, at times, consider the effect of wider
social perceptions of disability.
Services, Programmes and Activities
The DDA also makes it unlawful to discriminate against people with a disability
in the provision of goods, services and facilities. 'Art and Wellbeing' and 'Making
the Journey' explore this means of participation through case studies. 38 39
Although access to goods, services and facilities is a legal requirement, there
are no official statistics which outline the usage and effect of them.
In light of McLuhan's renowned statement, “the medium is
Bawden looks at the accessibility of the medium of certain
communications and media. This is based on the idea that a
can dramatically shape an individual's experience of the arts
33
the message,”40
art and cultural
medium or form
and culture. For
Des Walsh, Juliet London, Arts and Disability, Australia Council for the Arts, Sydney, 1995. p.
17
34
ibid. p. 17
Noelene Gration. op. cit. p. 6-13
36 Alison McLaren, 'A Background Paper for the Cultural Action Plan for People With a Disability
in NSW', Accessible Arts, Accessible Arts, <http://aarts.net.au/uploads/cap-backgroundpaper.doc>, 2007 (accessed 20 March 2008)
37 Des Walsh, Juliet London. op. cit. p. 17-19
38 Deborah Mills and Paul Brown, Art and Wellbeing, Rosemary Peers (ed.) Australia Council
for the Arts, Sydney, 2004
39 Mary Hutchinson, Making the Journey: Arts and disability in Australia, Lamb Printers Pty Ltd,
Australia, 2005
40 Marshall McLuhan, Understanding Media: The Extensions of Man, Routledge Classics,
London & New York, 2001, p. 7-23
35
15
instance “traditional media,”41 such as “printed published materials, recorded
music and video, and television and radio,”42 are valuable as they are generally
inexpensive. At the same time, “new media”43 is more interactive as it may
involve accessible services such as captioning programmes and secondary
audio programmeming. Bawden explores how the medium of communications
and media may be used for their access-value.
Arts Industry
While all individuals have the right to access arts and cultural venues and
activities, all individuals also have the right to self-employment and employment
in the arts. However, there are no statistics which identify employment rates of
people with disabilities in the arts sector. Statistics would provide a snapshot of
how the arts industry recognises the access needs of individuals. Even so, it is
important to realise that individuals with disabilities are professionals in the arts.
Hutchinson in 'Making the Journey' conducted a case study of Mwerre Anthurre
which is a collective of artists with intellectual and developmental disabilities
based in Alice Springs. In this case study, skilled professionals collaborate with
the artists in creative programmes, which allow the artists to develop skills for
employment. Such creative activity allows individuals to strengthen their existing
creative abilities. At the same time, Mwerre Anthurre effectively uses resources
which exist in the region and are culturally-relevant. In particular, they create
artistic works with fingers, cloth, glue and paint. Hutchinson's case study
reflects how a community can be strengthened through the development of
existing resources and abilities of individuals and groups.44
The findings of McLaren’s initial consultative research in ‘A Background Paper
for the Cultural Action Plan for People With a Disability in NSW’ highlights the
importance of networks and collaboration for artists with a disability. 45 In light of
Hutchinson's case study, there are various ways in which networks can be
formed. This could include opportunities for individuals with disabilities to
connect and network with other individuals with or without disabilities. This
could be achieved by utilising the access benefits of certain communications or
art forms, such as the accessibility of a web-based forum which promotes
discussion.
41
Allison Brugg Bawden, Access and the Cultural Infrastructure, Centre for Arts and Culture,
United States of America, 2002. p. 13
42 ibid. p. 13
43 ibid. p. 14
44 Mary Hutchinson. op. cit. p. 40-46
45 Alison McLaren. op. cit.
16
5. WHY SUPPORT ARTS AND DISABILITY?
Arts and Disability is a multi-faceted topic. It involves a broad range of practical
and theoretical issues. However, the review of literature has provided insight
into various perspectives which support access for individuals with disabilities. It
is important to outline these various perspectives as it will allow us to identify
the flexible scope of policy-making in the arts and disability sector.
Question of Justice, Equality and Human Rights
The majority of arts and disability literature is grounded in the human rights
framework. In effect, an individual’s right to the arts and culture is a matter of
justice. This is based on the idea that all individuals, at unique stages, are
inherently creative and expressive. Lawrence Lessig reflects on notions of
justice in Bawden's discussion as he identifies that creativity is a need of the
individual.46 As a result, arts and disability policies are usually based on the
question of justice. Walsh and London expands on this point by normalising the
creative expression of individuals. By accepting expression as a natural activity,
it is recognised as a need.47
Organisational Asset
Various literature considers that the provision of access for people with
disabilities is not only a matter of compliance with legislation but that people
with disabilities are a critical market for organisations. An inclusive and
somewhat integrative approach recognises that all individuals can benefit from
accessible facilities developed for people with disabilities.
One of the findings of Walsh and London's consultations was that many
organisations have not yet realised the market value of audiences with a
disability.48 International examples, which have been illustrated in Boyer's
'Beyond the Ramp,' show how organisations can benefit from a market of
individuals with disabilities. In light of an overlap of the ageing population and
people with disabilities in the United States of America, Boyer cites a statistic
which identifies that the strongest market for the top eleven art activities
consists of individuals aged 45 to 65. Since Australia also has an ageing
population, it is important that organisations consider the value of this market
and better meet their access needs.
Costs and benefits
Walsh and London identified that many arts managers were frustrated that they
did not have adequate funding for creating an accessible environment. 49
Although inclusion of people with disabilities is an organisational asset, the costbenefit value may not suffice. However, research has shown that seed funding
for installing provisions for access has high economic returns. For example, if
there is an increase of access for people who use wheelchairs, people in
46
47
48
49
Lawrence Lessig in Allison Brugg Bawden. op. cit. p. 10
Des Walsh, Juliet London. op. cit. p. 12
ibid. p. 18
ibid. p. 24
17
wheelchairs will have greater employment opportunities. In Australia, this would
create a capital sum of $4 billion.50
Community
Literature reveals the importance of participation in a community-setting.
Participation in a community has currency in the government's agenda which
concerns wellbeing and inclusion of everyone and fundamental notions of
democracy. Mills and Brown's 'Art and Wellbeing' identify case studies which
provide an effective link between participation in the community arts and
government initiatives. A common theme in these case studies was the
development of social capital. In this case, social capital is a broad term which
refers to the intangible aspects of communities which are built around dialogue,
collaboration and collective experiences.51
Mills and Brown conducted a case study for Cascade Place situated in
Queensland which “provides a service for people over 16 years of age who
have a disability.” An important aspect of this project is not the outcome of
inclusion but the means which is used to create an atmosphere of inclusion.
Cascade Place provides the space for a theatre project which was initiated by
participants. All individuals have an equal opportunity to shape and to contribute
to the project by writing and performing in the production. As the production
toured across Queensland, it could be considered as a means of
communication with the public and with decision-makers. For effective and
sustainable development, it is important to utilise what already exists in a
community.52
Political arena
As a result of a 20-year quasi-experimental study in Italy, Robert Putnam
identified that the “norms and networks of civic engagement also powerfully
affect the performance of representative government.”53 In other words, social
connectedness, cooperation and sense of community has significant influence
on the society's quality of governance and economic development.
Bawden explains this process by identifying that creativity, dynamic thought and
processes of socialisation affect the way individuals perceive reality and think
critically about their social and political environment. In particular, creativity and
innovation promotes our ability to produce and create, allowing us to identify
solutions and the means to achieve goals. This is an underpinning idea of
democratic States, such as Australia.
50
Jack Frisch, 'Disability Advocates and Policy Makers: Towards a Common Language',
Australasian Legal Information Institute, UTS & UNSW Faculties of Law, 2003,
<http://www.austlii.edu.au/au/journals/HRD/2003/7.html> (accessed 10 June 2008)
51 Deborah Mills and Paul Brown, op. cit. p. 4-10
52 ibid. p. 58-61
53 Robert Putnam, Bowling Alone: America's declining Social Capital, Journal of Democracy, Vol
6, No 1, January. p. 65
18
Art World
Consideration of the valuable input of people with disabilities also reflects
notions of cultural capital. Although there are many definitions of cultural capital,
Throsby's definition is most relevant to this review. Throsby states that “cultural
capital can be defined as an asset that embodies or gives rise to cultural value
in addition to whatever economic value it might possess.”54 People with
disabilities provide valuable input into the art world. This will also enhance the
cultural dynamics and perhaps the overall diversity of society.
54
David Throsby, 'On the Sustainability of Cultural Capital', Macquarie University Economics
Department, Macquarie University Economics Department, 2005,
<http://www.econ.mq.edu.au/research/2005/cult_cap_throsby.pdf> (accessed 15 April 2008)
19
6. POLICIES AND STRATEGIES
Why develop policies?
Arts and disability policies may be used across a number of organisations,
including but not limited to arts venues, presenting organisations and the arts
and disability industries in general. The Artforum Development Officer of the
Arts Council of Northern Ireland identifies that although there are a diversity of
policies in the international sphere, “the common element will be the desire to
support involvement in artistic creativity and expression by people with
disabilities.”55
Also, the International Federation of Arts Councils and Culture Agencies
(IFACCA) analysed eleven key arts and disability polices from the United
Kingdom, Australia, New Zealand, Europe, Canada, Namibia and Croatia
allowing them to formulate a framework for the policies of arts organisations. It
will be useful to consider the policies of Australia alongside international
policies. However, access for all individuals can be ensured through:
 “General Strategies and policies” and “organisational policies”
 “Specialised programmes and initiatives”
 “Strategic partnerships”
 “Leadership activities”
General statements, strategies and policies
Government departments or organisations may consider the arts and disability
in various aspects of planning. For instance, the Department of Culture and the
Arts of the Government of Western Australia developed a ‘Disability Access and
Inclusion Plan.’ This plan aims to improve access to various sections of the
Department such as its built environment, services and information. 56
Organisations may also incorporate access as part of their business plan. For
instance, the Sydney Opera House is inclusive in its mission statement, namely
“to be the best host, welcoming, engageing and inspiring every visitor through
compelling experiences, each and every day.” 57 This is echoed through the
Sydney Opera House's 'Access Guide' which gives information about access to
and around the Sydney Opera House.58
55
International Federation of Arts Councils and Culture Agencies, 'Arts and Disability Policies',
D'art Topics in Arts Policy, no. 10, International Federation of Arts Councils and Culture
Agencies, Sydney, 2004,
<http://www.ifacca.org/ifacca2/en/organisation/page09_BrowseDart.asp> (accessed 20 March
2008)
56 Department of Culture and the Arts, 'Disability Access and Inclusion Plan: 2007- 2011',
Department of Culture and the Arts, Government of Australia, 2007,
<http://www.dlgrd.wa.gov.au/Publications/Docs/DisabilityAccessAndInclusionPlan.pdf>
(accessed 5 April 2008)
57 Sydney Opera House, 'Vision, Mission and Goals', Sydney Opera House website, Sydney
Opera House, 2008,
<http://www.sydneyoperahouse.com/about/aboutus_corporate_vision.aspx> (accessed 20 May
2008)
58 Sydney Opera House, 'Sydney Opera House: Access Guide', Sydney Opera House website,
Sydney Opera House, 2008,
20
Targeted programmes and initiatives
Organisations may develop specialised creative programmes and initiatives to
break down barriers that people with disabilities experience in their access to
the arts. This is pertinent to an emerging theme in literature, namely disability
culture. Disability Culture refers to a “legacy of customs and values that
represent the common experiences of disabled people.”59 Disability Culture
benefits participants and contributes to the diversity of society.
The notion of Disability Arts or the “arts model of disability culture” 60 is more
specific to the creative sector. Disability Arts refers to the “art made by disabled
people [that] reflects the experience of disability.” 61 On a micro level, the
individual develops an active role in his/her life and contributes to his/her sense
of wellbeing. It also activates the individual's innate ability for expression, which
is relevant to the human rights framework. However, individuals do not exist by
themselves but may need to work alongside other individuals.
Walsh and London claim that Disability Arts, let alone a Disability Culture, is not
evident in Australia.62 Due to the intangible nature of culture, there is no
concrete method or way of identifying whether Disability Arts exist in Australia.
However, Walsh and London argue that Disability Arts and Culture may develop
if individuals with disabilities become more aware of their rights. They also
propose that it would also require social attitudes and values to be addressed.
This may be achieved by promoting awareness of disability issues amongst
society through popular communications and media.
Strategic Partnerships
Policy-related literature focuses on collaborations and partnerships between
organisations and individuals. This is reflective of Australia’s democratic
framework. For example, ‘Art and Wellbeing’ explores collaborations between
the creative and health sector. The book looks at case studies where
community based creative processes strengthen the knowledge, engagement,
social capital and leadership which enable a community to achieve policy
objectives.63
Wreford expresses that since arts and disability organisations are often carefully
balanced between the arts and disability sector, they may find it tricky to gain
funding from a funding body from either sector. In light of this, Arts Access
<http://www.sydneyoperahouse.com/uploadedFiles/Visit/Plan_your_visit/Content_Visit_Access
Guide.pdf> (accessed 20 May 2008)
59 Arts Access Australia, 'Disability Culture: Discussion Paper Based on High Beam Seminar
May 5 1998.' op. cit.
60 ibid.
61
Edward Lear Foundation, 'What is Disability Arts?', Edward Lear Foundation website, Edward
Lear Foundation, 2008,
<http://www.learfoundation.org.uk/4555/9020.html?*session*id*key*=*session*id*val*>
(accessed 20 June 2008)
62 Des Walsh, Juliet London. op. cit. p. i
63 Deborah Mills and Paul Brown. op. cit. p. 4
21
Australia focuses on wellbeing in its action plan and adopts the social model of
disability. This provides the organisation the flexibility to advocate and support
the various needs of participants of the arts and culture.64
In addition, there are opportunities for partnerships between individuals with and
without a disability. This is based on the notion of inclusion as it involves all
people from all levels of the arts and disability industry. This process is
exemplified by consultations often used to develop Action Plans.
Leadership activities
The International Federation of Arts Councils and Culture Agencies (IFACCA)
explores leadership as a matter of developing an organisation or society's
existing structures and programmes. This may range from disability awareness
training to creating a high profile of artistic programmes for people with
disabilities.
In Australia, national bodies in arts and disability are the Australia Council for
the Arts and Arts Access Australia. Each body incorporates leadership in their
Action Plans. In particular, the Australia Council for the Arts aims to “take a
leadership role in increasing awareness of arts and disability issues at a
government, policy and organisational level”65 whereas Arts Access Australia
“uses its Disability Action Plan as an effective advocacy tool to improve
accessibility of stakeholder organisations.”66
Similarly, the Sydney Opera
House, a leading venue for the arts in Australia, effectively incorporates access
in mainstream travel guides.
While national organisations provide inspiration and guidance, state and smaller
organisations can adopt unique and innovative methods. Arts Access in Victoria
has a unique initiative with Ease Ticketing which ensures that access to arts
and cultural events and venues is affordable. Consideration of the practices of
other organisations will enable a stronger and more sustainable future for arts
and disability.
64
Gareth Wreford, 'DADAA- Place of Disability in Arts, Health and Wellbeing: Developing an
Advocacy Strategy', Artwork Magazine, Issue 57, Community Arts Network SA Inc, Australia,
2003. p. 26
65 Australia Council for the Arts, 'Arts and disability action plan 2008- 2010', Australia Council for
the Arts website, Australia Council for the Arts, 2008,
<http://www.australiacouncil.gov.au/_data/assets/word_doc/0016/20608/arts_and_disability_>
(accessed 20 May 2008)
66 Arts Access Australia, Disability Action Plan 2005- 2010, Arts Access Australia website, Arts
Access Australia, 2005, <http://www.artsaccessaustralia.org/pdf/dap.pdf> (accessed 5 April
2008)
22
Conclusion
This Literature Review provides a comprehensive summary of key issues of arts
and disability. The review illustrated the current context of legislation, research
and organisational policies in Australia. I have achieved this by focusing on
domestic literature and considering relevant literature from the international
sphere.
International and Australian legislation provides some standards for the access
of all individuals to the arts and culture. This is supported by Article 30 of the
United Nations Convention on the Rights of Persons with Disabilities and the
Commonwealth Disability Discrimination Act of 1992.
Despite formal legislative frameworks, barriers still exist and hinder individuals
with disabilities from experiencing their equal right to access the arts and culture
as audience members, artists and arts workers. While barriers still exist, various
literature highlighted practical means and solutions for removing such barriers.
Consideration and implementation of these means and solutions have various
benefits. It does not only allow society to better address legislation and the
rights of all individuals but has economic benefits for organisations. In addition,
the community, the political arena and the art world benefit from the valuable
input of people with disabilities.
The section on policies and strategies enables organisations and individuals to
consider how they may develop active roles in promoting access for all
individuals to the arts and culture. This information provides the potential to
develop more effective Arts and Disability Action Plans and provides a literary
foundation for Accessible Arts forthcoming Arts and Disability Action Strategy.
23
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