Arts and Disability

The paper presents current creative outputs of students of the Faculty of Education at Masaryk University in Brno-future kindergarten teachers that were created during the lockdown due to the coronavirus epidemic. The initially contact taught practical art seminars of the spring semester turned into a systematic individual work on a personal project, whose aim was to be strongly connected with the personalities, interests and hobbies of the students. Consultations, inspiration, mutual interactions and the presentation of the process of creation and the resulting works all have moved to virtual space. Despite the feelings of insecurity and fear, the sudden and unexpected situation allowed many to slow down and avoid distractions, stay at home, immerse themselves more, and begin to fully create.

Exhibiting for Multiple Senses looks into artistic and curatorial research practices that emphasize the multisensory character of the human body in the encounter with artworks. For some time now, numerous contemporary artists and curators have moved beyond the primacy of the visual in the experience of art exhibitions. The book discusses this shift by bringing together experimental exhibition-making, curatorial theory, art, design, and museum research, disability theory and activism. Its intent is to demonstrate resonances between, on the one hand, curatorial theory and practice and, on the other, disability and crip art activism. While the latter is still often regarded as relevant for only small portions of visibly disabled people, in recent years neurodiversity and invisible disabilities have proven to be relevant for the sensory experiences of much larger parts of exhibition audiences.

Exhibiting for Multiple Senses shares famous and lesser-known examples of experimental exhibitions as well as of artistic practices linked to exhibitions. By mobilizing the senses of touch, smell, taste, and hearing, as well as applications of multimodal technologies and insights from neuroscience, these examples all explore abilities and possibilities of the complex and diverse sensory apparatus that is the human body.

What does it mean to make film and media accessible at a time when access itself is increasingly commodified, manipulated, and surveilled? As generative AI, predictive algorithms, and automated access tools become central to audiovisual production, accessibility is framed as a technological fix-an inclusive feature that erases the labor, activism, and politics from which it emerged. In this context, access becomes a site of struggle: a force that can reimagine media aesthetics-or be weaponised to exclude, debilitate, and control.

This article aims to act as an important and politically grounded counternarrative to the dominant discourse of disability, having the potential to unravel the myth of normalcy that undergirds so many of the exclusionary practices today. It will be focused on the author´s biography in the world of disability and in the ways in which this legacy was reflected in her academic research, lecturing classes and conference presentations in the area of disability studies, particularly in the field of visual arts and museums studies. Concepts related to the cultural meaning of disability and its representations within museological practices will be explored to introduce new views related to the potential of museums to be active agents in social inclusion. As a final objective, this article is intended to contribute to the development of innovative and more positive perspectives on the identity of people with disabilities, supporting their active participation within the museum sector as producers of meanings, creating fairer and less prejudiced interpretations around museum collections to publicly present disability stories.

In Fall 2007, the WDSG at the National Center on Education and the Economy received a grant from the Walmart Foundation to identify a set of quality indicators for Adult Education for Work-programs geared to helping low-skilled workers acquire the basic skills they need to succeed in the 21st-century workplace and to enhance U.S. rms' competitiveness. The purpose of identifying the elements of Adult Education for Work programs is to: (1) Inform the adult education eld and its practitioners about the key components of e ective programs; (2) Stimulate excellence and guide quality improvement in programming in support of Adult Education for Work; and (3) Steer new public and private investments into expanded and transformed programming.

Suggested citation: Kendrick, M., Bragdon-Morneault, M., May, J. and Kurtz, A. (2014). Increasing access and success in the STEM disciplines: A model for supporting the transition of high school students with disabilities into STEM-related postsecondary education. Orono: Materials may be copied and shared for non-commercial purposes with proper attribution. Materials may not be modified or distributed (i.e., no derivative works) for commercial purposes. in collaboration with Maine EPSCoR (Experimental Program to Stimulate Competitive Research), has developed and evaluated a model for supporting the transition of Maine high school students with disabilities into Science, Technology, Engineering and Mathematics (STEM)-related postsecondary educational opportunities within the University of Maine System� The model and this publication were developed as part of the Maine EPSCoR: Increasing Access and Success in the STEM Disciplines project (2011-2014), supported by a National Science Fo...

In honour of the Journal’s tenth birthday, we asked a collection of authors with huge and varied experience of the cultural sector to think about the last decade and pick one thing that stands out for them. The brief was open and included books, exhibitions, digital innovation and general trends. The only restriction was that the contributions were short and were accompanied by a single image.

“Welcome to the CRIPtic Arts Always the Audience (Never the Star)
research project. It researches the experiences of specific groups of
disabled people who are trying to work in theatres in London. We
called it Always the Audience because we feel like we are expected to
only ever be the audience at a show, and we feel like we are never
given what we need to be the performer or technical crew for the
show.

“In this research, we had conversations with disabled people who face
particularly high barriers to physically accessing performance careers
in London – focussing on people who need more support than simple
wheelchair access. We did this because we felt like we couldn’t find
organisations that were able to support us in our careers.
Our research team is made up of people who face these barriers,
giving us deep personal understanding of these problems. However,
we had conversations with a wide range of other people and
organisations as well.”

Study on Audience Development. How to place audiences at the centre of cultural organisations Catalogue-Case studies Catalogue-Case studies-Study on audience development-How to place audiences at the centre of cultural organisations PREMISE The present Catalogue forms part of the "Study on audience development-How to place audiences at the centre of cultural organisations". It reports in alphabetical order 30 synthetic sheets describing the Case Studies from 17 European Countries that have been selected through an open call.

The representation of disabled individuals in museum spaces worldwide has sparked substantial debate in recent decades. It has become increasingly evident that disabled people’s lives and experiences have been overlooked, under/misrepresented in museum narratives, or as
museum professionals and academics have highlighted, ‘buried in the footnotes’ of history. Museums can either challenge or continue such exclusion through their actions. This marginalization of
disabled people from our present museums narratives contributes to the perpetuation of prejudice and systematic biases that reinforce their exclusion in contemporary society. Nevertheless, the call for change has never been more pressing. Museums, as ‘agents of social change’, are required to not only address the absence of disabled people in their narratives but to combat prejudicial ideas about disability and drive societal changes to support social inclusion. This paper intends to
use the recent movement of disability representation to envisage how national museums in Egypt can challenge societal prejudice by representing disability narratives from ancient Egypt in their
exhibitions. The historical perspective of disability in ancient Egypt is a compelling example for illustrating social acceptance and the level of inclusion for disabled individuals in contrast to the negative stereotypes prevalent in contemporary Egyptian society. By adopting the new emergent
approach of ‘Representing Disability’. Egyptian museums can stimulate discussions on disability issues and advocate for social change while connecting disabled individuals with a history that acknowledges their contributions and existence. The paper employed qualitative research methods to answer the following research question: what impact do representations of disability from ancient Egypt have on the way national museums engage with societal discourses about disability? Please
note the article includes images of human remains.

This essay examines a 1975 exhibition in Melbourne titled “Minus Plus” which featured artworks by people with cognitive disabilities.  In describing the approach taken to organising the exhibition, and the nature of the work within it, the aim is to highlight an important moment in the history of art by people with disabilities in Australia. Furthermore, the essay investigates how prevailing views about art and disability had an impact on the interpretation of such work in the 1970s. The organisers of “Minus Plus,” many of whom were parents of children with disabilities, were motivated by a deep sense of empathy for the artists and by a strong social conscience. Nevertheless, in some respects the exhibition reinforced a long-standing tendency to associate people with disabilities with deficit and lack. At the same time, another, more affirmative dimension of the artists’ works also emerged from the exhibition, as can be perceived in the work of Thomas Risler. By drawing out this aspect of one artist’s work, and of the exhibition more broadly, the essay demonstrates how an emergent, non-discriminatory understanding of art by people with disabilities was central to the 1970s origins of Arts Project Australia, a leading art organisation for people with disabilities.

This bibliography is a collection of resources for inclusive teaching and learning grounded in disability rights and Disability Justice (DJ) – the second wave of the disability rights movement. Disability Justice holds that disabled people are whole people: a premise crucial to inclusive teaching and learning. Research and practice rooted in DJ offer deep and nuanced understandings to embodiment, liberation, and dignity, inextricable from the activism of the 20th and 21st centuries. Disability studies is a complex and interdisciplinary field that demands a deep engagement with critical analyses of race, sexuality, gender, and class. The developers of DJ have been queer and trans activists of color, and so their work increasingly grounds interrelated equity-driven fields, such as feminist and queer scholarship and praxis. These intersections and overlaps illustrate the way that disability is not discrete from other lived experiences. Disability frameworks do not exist in isolation and necessitate an intersectional approach.
Elizabeth Maynard
Courtnie N. Wolfgang

Individuals with disabilities who complete post secondary education programs must be prepared to plan and direct their long-term careers. Despite recent legislation, students with disabilities exiting higher education continue to face obstacles such as negative employer attitudes, architectural barriers, and lack of necessary services and supports when attempting to access employment and pursue their careers. This article describes a comprehensive career-planning program designed to enhance employment opportunities for individuals with disabilities as they graduate from higher education.

This article discusses applications of technology for sensory-disabled audiences in modern and contemporary art exhibitions. One case study of experimental artistic and curatorial research by The OtherAbilities art collective is discussed: a series of prototype tools for sensory translation from audible sound to vibration were developed to be embeddable in the architecture of spaces where art is presented. In the article, the case study is approached from a curatorial perspective. Based on bibliographical sources, the article starts with a brief historical reference to disability art activism and a presentation of contemporary accessibility solutions for sensory-disabled audiences in museums. The research for the case study was conducted during testing and feedback sessions on the prototypes using open-ended oral interviews, open-ended written comments, and ethnographic observation of visitors’ behavior during exhibitions. The testers were d/Deaf, hard of hearing and hearing. The results focus on the reception of the sensory translation of audible sound to vibration by test users of diverse hearing abilities and on the reception of the prototypes in the context of art and design exhibitions. The article closes with a reflection on how disability scholarship meets art curatorial theory in the example of the article’s case study.

Creatures of Dance, a podcast on contemporary dance in Israel with Dr. Yael (yali) Nativ and Iris Lana. Episode 42 was recorded at the Dance and Disabilities Conference, May 29, 2024 11:30 // Susan Dellal Dance Center. Performative events of discourse and dance: the 'animals' talk with Vertigo the Power of Balance, dancers, choreographers and guests.

M. Agostiano, L. Baracco, A. Pane, F. Vescovo, E. Virdia, “Guidelines to overcome architectural barriers in cultural heritage sites”, II edition, revised and updated, Ministero per i Beni e le Attività Culturali, Gangemi, Roma 2011 (ISBN 978-88-492-2192-3).
[traduzione in inglese del volume italiano pubblicato nel 2009].

The Guidelines to overcome architectural barriers in cultural heritage
sites is a book for everyone. First and foremost architects, engineers,
public employees or professionals who in the course of theirwork find
themselves involved – albeit in different ways (project managers,
sponsors, designers, site managers, testers) – with trying to make
cultural heritage sites accessible. This book is a tool to encourage
debate and reflection on a complex and often underrated topic (for
example, so-called “perceptive barriers” which are almost always
overlooked). The aim is to move beyond the approach of simply
“respecting regulations”, highlighting how the problems associated
with accessibility are crucial when tackling design and restoration.

In this article, the author argues how the conceptual curatorial work of Lucy Lippard imbued similar qualities to those that are embodied in the curatorial work of the 'aesthetics of the undeliverable'. The aesthetics of the undeliverable is a new genre of disability curating that centers the realities of disability and access within curatorial and artistic practice, alongside exhibition design. The line that runs through both styles of curatorial practice, that is, Lippard's work, and the aesthetics of the undeliverable, is political intent, where the behind-the-scenes labor of the curator is revealed. Specifically, in Lippard's projects, errors, gaps, and professional time-frames were revealed, whilst the aesthetics of the undeliverable points out inequities towards disabled artists and audiences, yet insisting on time-lines that defy normative frameworks. The author examines these generative comparisons through Lippard's 'numbers' exhibitions curated in the 1960s-1970s, alongside a case study of the exhibition, Undeliverable, curated by artist Carmen Papalia, which was held at Tangled Art + Disability Gallery in Toronto, followed by the Robert McLaughlin Gallery in Oshawa, Ontario in 2021. In doing this, she aims to show how the aesthetics of the undeliverable is a form of institutional critique within disability arts and culture that has its roots in the proponents of conceptual art of the 1960s and Lippard, to which crip curating is aligned through its oppositional handling of curatorial norms. This dovetails powerfully with a call by Disability Studies scholars to move towards crip methodology, and this article will show how crip curation and the aesthetics of the undeliverable heeds this call. Keywords. aesthetics of the undeliverable • crip curation • dematerialization of art • disability art • institutional critique

This article is an examination of audience responses to Sighted , two solo dance performances presented individually and simultaneously. The work was presented at venues related to different disciplines. Audience members, who numbered up to 20 and who were free to choose where to stand or move around the space and how to behave, were invited immediately following the performance to write down their responses. This was in order to elicit direct and undigested thoughts before conversation or dialogue has started. These, together with interviews with the dancers, form the basis for this research, which looks at the nature of venues and audiences and to what extent privately felt and communally understood audience commentary can correlate.

Texto del catálogo de la VIII Bienal de Arte Contemporáneo de la Fundación ONCE, Madrid, 2022, primera exposición dedicada a la interrelación entre arte, discapacidad y mujeres artistas, reflexionando sobre la compleja relación entre discapacidad y género a través de la obra de más de sesenta artistas.

Curatorial text from VIII Bienal de Arte Contemporáneo Fundación ONCE, 2022, Madris. First exhibition on the interrelationship between art, disability and women artist, reflexing on the complex relationship between art and gender through the work by more than sixty artist.

Texto del catálogo de la VII Bienal de Arte Contemporáneo de la Fundación ONCE. Encuadrado dentro de los estudios críticos de la discapacidad, el texto refleja la necesidad de trazar una genealogía de la relación entre arte y discapacidad, no como tema, sino como perspectiva crítica y refleja las dificultades para hacerlo.

Museums are in a particularly salient period of a paradigm shift, becoming more socially responsive and considering audience engagement in terms of inclusion and diversity rather than simply numbers of visitors (Kletchka, 2018). For example, in the exhibition Life Beyond the Label, the Birmingham Museum and Art Gallery exhibited audio responses by artists with disabilities and community members who made connections between their experiences with disability and the works of art. These audio responses were exhibited alongside the more traditional art historical descriptions written by curators (Sandell, 2019). Museum theorist Richard Sandell contends that museums have an ethical obligation to not only include and represent people with disabilitiesFootnote2 as part of their public practice; they must move from mere accommodation to action for social justice (Sandell, 2002, 2011, 2019). Even with a shift toward broader inclusion and community engagement, museums still struggle to include people with disabilities in nearly every realm of audience engagement, programming, and representation in museum collections and exhibitions (Kudlick & Luby, 2019; Sandell, 2019).

Despite the large increase of students with learning disabilities entering postsecondary institutions and the legislative emphasis on providing students with disabilities equal access to education, we have yet to develop a more cohesive and comprehensive planning of accommodations for postsecondary students with learning disabilities. The purpose of this review is to synthesize information and research on postsecondary accommodations to examine if more can be done to meet the unique needs of this population. Following the background discussion, relevant themes will be presented. Discussion focuses on the lack of empirical research in efficacy of postsecondary accommodations; promising practices for the use of alternative media; and implication for future research.

Prosthetic devices have been used in museums to tell clinical, technical and personal stories. Here we reflect on the ways artificial limbs and their users were represented in recent museum projects at the Royal College of Surgeons of England and at National Museums Scotland. We consider how these meaningful artefacts illuminate three overlapping themes in museum scholarship and practice: the representation of disabled people and disability in museums; reflections on conflict-acquired limb loss; and the presence or otherwise of user or patient voice in interpretation. In working with and representing people who design and wear prosthetics we advocate a balance between narratives of technique and of use.

toimii Metropoliassa yliopettajana, tutkijana sekä tutkintovastaavana Creativity and Arts in Social and Health Fields (CRASH)-Master's-ohjelmassa. Hän on kiinnostunut kulttuurihyvinvointialan, taiteen soveltavan käytön ja musiikkipedagogiikan kehittämisestä ja tutkii luovuuden ja taiteen mahdollisuuksia osallisuuden, hyvinvoinnin ja kestävän tulevaisuuden edistämisessä.

Viimeisen kymmenen vuoden aikana Suomessa on kehitetty ammattimaisemmin luovuuden, kulttuurin ja taiteen hyödyntämistä ihmisten hyvinvoinnin ja terveyden edistämisessä. Tämä on näkynyt erilaisina projekteina ja käytännön kokeiluina sekä vähitellen myös koulutusohjelmien ja tutkimushankkeiden muodossa. Kunnille on vuoden 2019 lakiuudistuksessa tuotu suurempaa vastuuta kulttuuri- ja taidetoiminnan järjestämisestä koskien myös asukkaiden hyvinvointia, terveyttä, osallisuutta ja yhteisöllisyyttä. Suomeen on muodostumassa kulttuurihyvinvointiala, jolla voi parhaimmillaan olla erinomaiset edellytykset luoda kestävää tulevaisuutta ja osallisuutta.  Tässä onnistuminen edellyttää, että kulttuurihyvinvointia pystytään käsittelemään moninäkökulmaisesti ja -ammatillisesti ja että kyetään tuomaan yhteen sekä kulttuuri- ja taidealan että sosiaali- ja terveysalojen kehittäjät ja tutkijat. 

Library and Archives Canada 1975 Begins editorial apprenticeship at Dundurn Press, Toronto, under the Canada Manpower Apprenticeship Training Programme (1975-76). Organizes Posters 1890-1930 , an exhibition at the Whitby Station Gallery, Whitby, Ontario (September 5-28). Begins work on a critical and biographical study of C.W. Jeff erys (Charles William Jeff erys: A Biographical and Critical Study, with Catalogue Raisonné of His Paintings, Drawings, and Illustrations). 1976 Writes catalogue for Charles William Jefferys, 1869-1951 , an exhibition organized and circulated by the Agnes Etherington Art Centre, Kingston, Ontario (November 7, 1976-August 12, 1977). 1977 Presents lecture entitled "C.W. Jeff erys: Landscapes" at the McLaughlin Gallery, Oshawa, Ontario, to coincide with the exhibition Charles William Jeff erys, 1869-1951 (February 10). Serves as editor and contributing writer for the Lives and Works of the Canadian Artists series, produced with the assistance of the Learning Materials Development Plan of the Ontario Ministry of Education. Toronto: Dundurn Press. Writes issues on William Cruikshank, C.W. Jeff erys, and Joyce Wieland. 1949 Born in Toronto, Ontario (July 2), the son of Harold Stacey, a noted silversmith, and Margaret Jeff erys, a daughter of artist C.W. Jeff erys. 1967 Works part-time as a student library assistant in the Department of Rare Books and Special Collections, University of Toronto (1967-72). One of his assignments is to arrange the J.O.P. Bland Collection. Stacey's one-act play entitled "Th e Dream of Unreason (an Allegory on the Computer Age)" is performed in Simpson's twentyfi rst annual Collegiate Drama Festival at Hart House Th eatre (April 20). 1972 Graduates from University College, University of Toronto, with an Honours BA in English Language and Literature. 1973 Works as an invoice clerk at A. Zwemmer, Ltd., bookseller and publisher, London, England (January-June). Hired as manager of the Pan Gallery, 461 Sackville Street, Toronto, which focuses on "relationships between words and images … commercial graphics, posters, typography, etc. " Stacey organizes eighteen special exhibitions of posters and fi ne-press-printed ephemera while at the Pan Gallery from September 1973 to May 1975. 1974 Publishes the fi rst of several reviews in Artmagazine (Toronto).

Disability is an important and often overlooked component of diversity. Individuals with disabilities bring a unique perspective to science, technology, engineering, mathematics, and medicine (STEMM) because of their unique experiences approaching complex issues related to health and disability, navigating the healthcare system, creatively solving problems unfamiliar to many individuals without disabilities, managing time and resources that are limited by physical or mental constraints, and advocating for themselves and others in the disabled community. Yet, individuals with disabilities are underrepresented in STEMM. Professional organizations can address this underrepresentation by recruiting individuals with disabilities for leadership opportunities, easing financial burdens, providing equal access, fostering peer-mentor groups, and establishing a culture of equity and inclusion spanning all facets of diversity. We are a group of deaf and hard-of-hearing (D/HH) engineers, scienti...

The Fibonacci Forum Cultural Wellbeing Research engaged with 130 cultural practitioners from 8 sectors to investigate the Cultural Wellbeing Framework within community. In each forum community practitioners presented their work and commented on how it related to the framework. In this way the forums could illuminate how important it is to understand and consider the wellbeing needs of a community. The framework is thus an important tool with which to evaluate the wellbeing needs of communities and also to document what is already being done. Therefore, the forums, together with the framework, were able to instigate conversations about wellbeing and potentially germinate new projects that embed cultural wellbeing from the start. Curating the forums (who was asked and why) brought in changemakers who were committed to bringing together arts and wellbeing with innovative strategies and models of creative expression that can send a community message about lived wellbeing. The research found that while many individual researchers and cultural practitioners incorporate arts, culture and wellbeing outcomes in their work, there is currently no Australian State or National body for Cultural Wellbeing. Such a body would make it easier for researchers and practitioners to advocate for the creative cultural wellbeing needs of their communities and work in a cross-sectoral way to address societal inequalities.

Disability is an important and often overlooked component of diversity. Individuals with disabilities bring a unique perspective to science, technology, engineering, mathematics, and medicine (STEMM) because of their unique experiences approaching complex issues related to health and disability, navigating the healthcare system, creatively solving problems unfamiliar to many individuals without disabilities, managing time and resources that are limited by physical or mental constraints, and advocating for themselves and others in the disabled community. Yet, individuals with disabilities are underrepresented in STEMM. Professional organizations can address this underrepresentation by recruiting individuals with disabilities for leadership opportunities, easing financial burdens, providing equal access, fostering peer-mentor groups, and establishing a culture of equity and inclusion spanning all facets of diversity. We are a group of deaf and hard-of-hearing (D/HH) engineers, scienti...

This publication is one of the outcomes of the With uniqueness of art expression for inclusive art education project, which is being dealt with on the Faculty of Education on Palacký University in Olomouc. We’re all born with specific gifts – whether it is some kind of imaginary talents ready to
be fulfilled or other predispositions, abilities, peculiarities and specifics which make each one of us unique. We tend to think of some of them as “gifts”, particularly when it is a skill, a talent, or “having genes for it”, and we also tent to mark others as inability, flaw or even disability in the sense of impaired ability, of handicap of motorial, sensorial or cognitive area. However, such “in-abilities” often fulfil their potentiality – to varying degrees – only due to the application of certain, not necessary, point of view in which they become alive in opposition to the gifts praised by majority. It is only up to us to decide which point of view we choose for ourselves in order to evaluate. Whether we will believe in existence
of clear, impenetrable line between normality and disability or between ability, talent and inability – or we will admit to ourselves the relativity of the terms and admit that normality is, as well as ableism, eventually only a binding category to us – and that we don’t need to obey it if we do not wish to. The described turn has already occurred both in art, where
people commonly work with uniqueness, originality or otherness, and in art education, which includes all that is necessary for attentive, supportive approach to all students, and for application pro-inclusive approaches in practice. As we will show in our surveillance study, which includes pictorial part – pandan to the exhibition organized in Arts Centre of Palacký University in Olomouc within activities for the With uniqueness of art expression for inclusive art education project – in the last century, art education absorbed all necessary for the realisation of optimal condition, when every child without difference will´have – accordingly to their interest and will – the possibility to use and show their skills. We will firstly introduce the roots of present pro-inclusive, respecting approaches in the book – whether they grow from work of personages of art or special education or psychology or art itself, which have been wonderfully changing during the 20th century and now. The most interesting part of the publication is the picturial part, in which unique works of interesting artists and their pedagogues are reproduced. These works are not only lovely to see and think about but also, they testify of will and need to create.

We try to support pro-inclusive tendencies and respecting approach to children and adults with a mental, sensual or physical otherness in the book. We’ll therefore introduce a relatively new, inspiring field of study called Disability Studies, which rightly highlights persistent social mechanisms of exclusion and stigmatization of people with “disability” which we would like to refuse and eliminate. We deem it right, and in accordance with the condition in art, that this field of study and activism of artists with certain otherness, which is connected to the field, is putting the word disability into quotation marks and deconstructs it as a social, ideological construct opposing normality. We deem it right that disability is not objective or biological fact but more of secondary condition according to the surrounding. It is also essential that it gives voice to people with otherness and lets them speak about their experience with this condition. Disability is not thought of as something primarily negative, something that needs to be cured, remedy or pitty, within this approach – which fully corresponds with up to now findings of current society,
acquired on the way to knowledge of cultural and anthropological fundaments and influence of various postmodern phenomena (plurality included). Disability is deemed normal and so it is possible to perceive it with attention to uniqueness of every person and all in all as primarily neutral, potentially positive more than negative – so that its holders could
identify themselves with pride and could develop their potentialities. This approach would not be possible without up to now knowledge and the journey of our society from stigmatization and repressive or segregating procedures – through charitable and humanistic approaches – to present inclusive approaches. Within art and its theoretical reflexion, it
would not be possible without journey to knowledge of people with disabilities or mental illness and without modernistic refusal of existing forms of portrayal and concept of art as imitation of reality according to esthetical models of renaissance. A change in looking at art of people with a mental or physical otherness and engaging of the perspective of Disability Studies into art education (which we’re observing mainly in North American academic environment and practice) enabled and made easier changes that have occurred because of newly set modernistic esthetical frames. Modern style started to value something else then what art up till then had and while searching for inspiration, it turned to expressions of art, unspoiled from academism, which could be found in certain position particularly with children and untrained people with certain otherness – or in art of natural peoples, forgotten folk culture or art of various untrained solitaires. On this journey, concept of art brut and children art had evolved, a number of artists had been finding value and inspiration in pure, authentic work of children and “weird” adults, collectors, curators and specialists had aimed their focused attention this way, shows had started being organised and the given phenomenon had started to seriously theoretically and empirically examine.

And so, a new, inspiring fountain of creativity and new, fresh expression enriching art of new, novel and in many ways extraordinary shared positions had been found for art (and later for art education, too). A view on gifts and skills to create had also been relativized – and any otherness had no longer been refused, ugly and embarrassing but had become sought-after with the aim to find strong expression, share both new and traditional contents in innovative, non-emptiable forms, to communicate about the essence of human, to search for the human nature again – which many had marked as impaired by civilization, lost or repressed. This publication is also prepared with the cognition of all these contexts. Majority of artists – both children and adults – whose works we reproduce here, is gifted with unnoticeable or visible otherness (from small learning struggles or communication difficulties and mental otherness to inability to use hands or eye), but there is no doubt they’re all gifted. The gift we’re talking about is gift of creativity and art expression. Every one of us is gifted and we can use the gift as much as we want to.

1 Assignment co-financed by the European Regional Development Fund (ERDF) through the COMPETE 2020-Operational Programme Competitiveness and Internationalization (POCI) and national funds by the Fundação para a Ciência e a Tecnologia (FCT) under the POCI-01-0145-FEDER-007460 project. REPRESENTING DISABILITY IN MUSEUMS. IMAGINARY AND IDENTITIES 14 distancing of this social group. In this sense, this chapter addresses the importance of museums as essential spaces for communicating ideas that may lead to social transformation and to a change of attitudes towards disability.

Tämän artikkelin tavoite on tuottaa tietoa taide- ja luontotoimijoista osallisuudentukijoina. Haastattelimme 11 sosiaali-, terveys- ja kasvatusalojen toimijaa, jotka sovelsivat käytäntöön Parasta Etelä-Savoon -hankkeen yhteiskehittämispajoissakehittämiään taide- ja luontomenetelmiä. Haastatteluissa haimme vastausta siihen, miten nämä taide- ja luontotoimijat arvioivat käyttämiensä menetelmien lisänneen toimintoihin osallistuneiden osallisuutta. Lisäksi olimme kiinnostuneita siitä, miten he kuvasivat omaa työtään ja työtapaansa. Kaikilla toimijoilla näytti olevan samansuuntainen orientaatio organisoidessaan demokraattista, arvostavaa ja turvallista toimintaa. Heillä oli rohkeutta kokeilla uusia työtapoja. Löysimme orientaatioista myös tyypillisiä eroja, jotka koottiin viideksi taide- ja luontotoimijatyypiksi. Toimijatyyppien tarkastelun kautta voidaan pohtia sosiaali-, terveys- ja kasvatusalan työn kehittämistä sosiokulttuurisen innostamisen suuntaan. Tämä artikkeli tarjoaa yhden näk...

The purpose of this study was to explore the extent to which hospital based social workers were actively involved in community practice on behalf of disabled people. The study attempted to identify what variables influence social workers in health settings to engage in community practice. A sample of 286 social workers employed in 57 different hospital and rehabilitation settings participated in a survey that focused on advocacy and related topics. A questionnaire explored participants' perspectives and the levels and kinds of practice activities thej engaged in relation to the needs of people with disabilities. Most respondents indicated that community practice was part of their professional responsibility and that disabled clients needed such assistance. Regres:,ion analyses showed that self-reports of community practice activities were nevertheless highly related to selfreported advocacy activities. However, their reports of their actual advocacy activities consistentlyfell below their recognition of need.

This dispatch recounts a panel conversation on disability and D/deaf futurity that took place at the Cripping the Arts Symposium. The artists on this panel discuss how they assert disability and D/deaf futurity in the midst of the Anthropocene through their artistic activist practices. By discussing topics such as interdependence, the internet as increasing both community and the privatization of ideas, and how the arts can transform understandings of difference, these artists share their visions for the future. Elizabeth Sweeney: I'm going to start this panel with the words of Stephen Fakiyesi, 1 a Black visual artist based here in Toronto: I think there will always be a need for individuals, groups, and most certainly artists, to imagine the world, not as it is, but as it can be. I do not lament the present order of things, rather, one of the privileges of being an artist on the peripherals, as it were, is that you have the distance to more readily perceive the status quo, and possibly challenge it. I have a pretty active imagination and faith in something greater than myself to think that even now, all things are possible.

1 University of Hawaii at Manoa; 2 Northern Arizona University Abstract Pacific Alliance project staff developed an internship program for postsecondary students with disabilities (SWD) in the science, technology, engineering, and mathematics (STEM) pipeline. The aim of the internship was to improve students’ persistence in postsecondary education by improving their motivation, self-confidence, social and communication skills, and organizational and time management skills. In this practice brief, the authors describe the Pacific Alliance project housed at the Center on Disability Studies at the University of Hawaii at Manoa, its internship program, and the experiences of three interns as examples of successful outcomes of the Pacific Alliance internship program. The authors conclude with a discussion on the importance of one-on-one coaching and support beyond academics for SWD to succeed in the STEM pipeline.

This article links the research on the status of adults with learning disabilities in the United States with the growing movement of selfdetermination for individuals with disabilities. From this knowledge base, practical implications are extracted for literacy providers on strategies for encouraging the development of self-determination in learners and for making program services more responsive to the needs of persons with learning disabilities. These implications include modifications in professional staff development, curriculum development, and mentoring and modeling, as well as increased learner involvement in planning. Resume Cet article fait le lien entre la recherche sur les adultes eprouvant des difficultes d'apprentissage aux Etats-Unis et le mouvement en pleine expansion de I'affirmation de ces individus ayant des difficultes. Dans cette banque d"information, les intervenants en alphabetisation trouveront des applications pratiques sur les strategies pour promouvoir I 'affirmation des apprenants et pour mettre sur pied des programmes qui repondent mieux aux besoins de ces apprenants eprouvant des difficultes d 'apprentissage. Ces applications incluent des modifications sur le plan du personnel professionnel, du developpement du curriculum, du mentorat et du modelage de meme que I 'implication accrue de I 'apprenant dans la planification. The quest for literacy can be elusive for many adults with learning disabilities. Research indicates that learning disabilities are persistent and lifelong. Furthermore, longitudinal studies indicate that adults with learning disabilities can experience success. Nonetheless, many persons with disabilities may enter adult literacy programs seeking to improve their

Australia has legislation in the form of the Disability Discrimination Act 1992 (Cth) and the Disability Standards for Education 2005 (Cth) that has the objective of eliminating disability discrimination. The purpose of this scoping review was to determine the extent to which this legislation is achieving the elimination of discrimination against students with disability in primary and secondary schooling. The review reports on the findings of a systematic search of law and education databases that identified 18 peer-reviewed articles discussing the legislation, relevant literature and related case law in the context of the education of students with disability in Australia.