1. Supporting your clients to enjoy participating in the arts Kim Dunphy, Program Manager, Cultural Development Network www.culturaldevelopment.net.au The Cat in the Flowers, Rhonda Johnson, Colour Gang, Barinsdale

2. The Cultural Development Network is an independent non-profit group that links communities, artists, local councils and organisations across Victoria. We advocate a stronger role for participatory arts and cultural expression to build a healthier, more engaged and sustainable society. We work towards a society in which local communities, in all their diversity, have the resources and support they need to make and express their own culture. Discussion group, Morwell, 2008 Conference: Communities, Accessibility and the Arts: responding to and embracing difference and diversity in arts and cultural contexts

3. Fourth Pillar of Sustainability Economic viability Social inclusion Environmental responsibility Cultural vitality Jon Hawkes, 2001

4. Benefits of arts participation for people with intellectual disabilities intrinsic benefits …….. enjoyment, creative expression, self fulfilment. instrumental benefits …… greater social inclusion, better health, higher educational achievement and increased employment opportunities, societys perceptions about capacity and contribution of people with a disability Club Wild, Portland, 2007

5. Arts participation is a human right …… United Nations Universal Declaration of Human Rights: Everyone has the right freely to participate in the cultural life of the community, and to enjoy the arts (1948). Participant, Club Wild hiphop workshops, Sydney 2008

6. Article 30 names participation in cultural life 1. Governments recognise the right of person with disabilities to take part on an equal basis with other 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, theatre and other cultural activities, in accessible formats; c) Enjoy access to places for cultural performances or services, such as theatres, museums, cinemas, libraries and tourism services, and, as far as possible, enjoy access to monuments and sites of national cultural importance. Australia ratified the Convention on 17 July 2008. www.un.org/disabilities Rawcus Theatre Company United Nations Convention on the Rights of Persons with Disabilities

7. ……. to ensure that all Australians with a disability are given the opportunity to engage fully in the arts and cultural activity (Cultural Ministers Council, 2009) First National Arts and Disability strategy 2008 ABS feature article, Cultural attendance by Persons with a Disability, showed that in 2006 in Australia, adults with a disability were significantly less likely than other Australians to have attended arts events and venues. Of people with disability in Australia, 82% had attended at least one of cultural venue or event over the past year, compared with 92% of others in the community. (More

8. 2008 ABS feature article, Cultural attendance by Persons with a Disability, showed that in 2006 in Australia, adults with a disability were significantly less likely than other Australians to have attended arts events and venues. Of people with disability in Australia, 82% had attended at least one of cultural venue or event over the past year, compared with 92% of others in the community. CDNs work confirms that people with a disability would like to participate in the arts more often, and in a wider range of artforms and roles. This is true even for people with a disability who currently participate in the arts. Research findings about participation 2008 ABS feature article, Cultural attendance by Persons with a Disability, showed that in 2006 in Australia, adults with a disability were significantly less likely than other Australians to have attended arts events and venues. Of people with disability in Australia, 82% had attended at least one of cultural venue or event over the past year, compared with 92% of others in the community. (More

9. Barriers to participation A negative attitude or lack of awareness of the needs and aspirations of people with a disability by those who have power to facilitate access, reduces the likelihood of participation. A low rate of participation does little to challenge negative attitudes or increase awareness, which in turn begets low participation. Restricted experience can lead to lowered personal expectations, reduced competence and lack of capacity for self-advocacy.

10. Barriers to participation Attitudes about participation barriers created by the wider community through a low recognition of the value of the arts, and low valuing of difference, such as that experienced by people with a disability barriers created by other gatekeepers; staff and managers of institutions including community and arts organisations, employment services and education and training bodies, as well as media who do not support or provide a full range of experiences for people with a disability barriers constructed by families, carers and even people with a disability themselves, who do not aspire to or demand access and participation that is equivalent to the wider community. barriers created by government through public policy that is not conducive to increased participation; including policy about arts, disability, public transport, education, employment and training, social support and human rights Restless Dance Company, SA

11. Barriers to participation isolation experienced by artists with a disability, especially those from regional communities. challenges with availability and suitability of places for people with a disability to make art; time, the time people with a disability need to develop skills, negotiate education and funding; support, that may or may not be provided by carers, councils, funders and others, vital need for self-advocacy and representation.

12. Strategies to overcome barriers Change is required in the expectations of people with a disability, their families and carers, so that they are empowered to aspire to arts experiences that are more frequent, more diverse, more rewarding, more challenging and of higher quality..

13. How support workers can contribute a)Have a pro-active approach to arts participation b)Share your passions c) Locate opportunities d) Facilitate participation through support of arts workers, provide information about ways to communicate effectively model positive relationships with clients support of clients; Sunstripes, Katie Jean McKenzie, 2003 model enthusiastic and appropriate participation encourage families and organisations to support participation

14. Some different types of arts programs Arts therapy: therapeutic use of music, dance visual arts or drama Recreational / hobby programs: Oakleigh Centre dance program; Art Day South; Art Action Sandy Beach Centre; Just In Case arts Skill development/educational programs: Arts Project Australia Ignition Theatre course NMIT Future Films Ballarat Community presenting/ performing: Fog Theatre, St KIlda Break of Day players, Warrnambool; Club Wild; Rollercoaster Youth Theatre Company; Brr Theatre Ballarat Profession presenting/performing: Rawcus Theatre, Rudely Interrupted rock band, Weave Movement Theatre, Back to Back Theatre Company, Colour Gang visual artists Bairnsdale Festivals: Awakenings Horsham; Art of Difference Melbourne, The Other Film Festival Awakenings Festival