Australian Major Performing Arts Group

Feedback National Arts and Disability Strategy Survey

Nov 2018

To support participation and ongoing discussion in the development of an updated National Arts and Disability Strategy AMPAG has undertaken the following two activities.

1. AMPAG provided MPA organisations prompts to respond directly to the online survey prepared by the Department for the Arts or to an online AMPAG survey that mirrored the key relevant organisation questions from the government online survey.

Opera Australia and the Australian Chamber Orchestra have indicated they have responded directly to the department’s survey.

AMPAG has collected a further 10 responses via the AMPAG survey link. Those organisations and their responses are summarised below.

2. In addition, we conducted desktop research scanning 2017 annual reports and online websites to capture other relevant initiatives or programs. This an additional resource to inform the review but is not likely to be the full extent of MPA activities given for example, of the 9 organisations that respond to the AMPAG survey had Disability Action Plans but none readily available to the public.

AMPAG www.ampag.com.auContact Bethwyn Serow Email: Bethwyns@ampag.com.auTel: 0293535351

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PO Box 1965 Sydney NSW 1225

National Arts and Disability Strategy SURVEY: AMPAG Survey ResultsWe have provided the summary as received online and added several extended responses received from STC as a compliment to their online response- If you require any further details in relation to survey results please don’t hesitate to contact Bethwyn Serow Executive Director AMPAGBethwyns@ampag.com.au

AMPAG Survey Responses were received from:

Victorian OperaState Opera South AustraliaState Theatre Company South AustraliaBangarra Dance TheatreMusica Viva AustraliaMelbourne Symphony Orchestra

The Australian BalletAdelaide Symphony OrchestraSydney Theatre CompanyQueensland Opera

What states and territories do your organisation operate in? 9 responsesNSW 3QLD 3

VIC 4

WA 2

TAS 3

SA 5

2

NT 2

ACT 2

Does your organisation currently have anyone on its board or in executive or creative leadership positions who identifies as a person with disability? Please consider your privacy obligations before responding to this question. 10 responses

No 60%Don’t Know 30%Prefer not to say 10%

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In the last 3 years, has your organisation collaborated or partnered with disability-led organisations, disability arts organisations or disability service organisations?10 responsesYes 30%No 50%Don’t know 20%

If YES - Who do you collaborate or partner with?4 responses

Vision Australia Access2Arts, The Captioning Studio The MSO worked with e.motion 21 to deliver movement workshops for young dancers with

Down Syndrome. The MSO has also worked with students from the Victorian College for the Deaf (VCD) and deaf musician Danny Lane for a day of musical exploration. We also work with Music Educator Karen Kyriakou to ensure our junior education workshops are Auslan supported.

Belvoir Special Development School (Wodonga, Vic): 2018 & 2016 o Belvoir has 200 students, from foundation level to year 12. Students all have an

intellectual diagnosis, many with a comorbid diagnosis including autism, cerebral palsy and Down syndrome.

o In 2016 two teachers and their students participated in the School Drama Classic program

o In 2018 a further two teachers and their students participated in the program STC & Accessibility Solutions, Jobsupport, Holdsworth Community Centre, Funnelback,

Accessible Arts, Belvoir Special Development School (Wodonga, Vic). Blue Roo Theatre Co

Additional STC Details: (Answers grouped into the three key areas of STC’s renewed National Arts and Disability Strategy)

1. STC Practice Mark Relf, Access Consultant, Accessibility Solutions: 2016

o Accessibility Solutions was engaged as a consultant for STC’s Wharf Renewal Project

o Our draft architectural drawings were reviewed to ensure maximum accessibility compliance for employees, artists, creatives and audience members at the refurbished Wharf (due to open 2020)

Jobsupport: Nov 2015 – Dec 2016 o In 2015 STC & Jobsupport identified an opportunity for a candidate with Down

Syndrome to work part-time at The Theatre Bar at the End of the Wharf. The candidate completed her RSA and worked at the bar three half days a week.

o Casey worked throughout 2016 & the arrangement ended naturally of Casey’s own accord in December 2016

o Casey was paid a supported wage

2. STC Express

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Holdsworth Community Centre provides support across Sydney to children and adults living with disabilities

o STC’s School Drama program is a professional learning program. The primary focus is on the individual teacher's professional learning, exploring how process drama-based strategies with quality children's literature can improve teaching and learning outcomes. The secondary focus is on improving student literacy and engagement.

o A modified version of this program was delivered for Holdsworth in 2018, for all four terms, specifically tailored to the special needs of the classroom. Approximately 15 participants have benefited from this program, with consistent attendance throughout the year.

o he two teaching artists hosting this program participated in the Accessible Arts “Disability Inclusion Training”

o A similar program is currently being considered for 2019 and it is hoped this partnership will continue.

3. STC Connect Funnelback Accessibility Auditor: 2016

o STC engaged Funnelback to complete an accessibility audit of STC’s website to ensure best practice compliance, having rolled out WCAG 2.0 in 2014.

o STC then spent 6 months working through the recommendations for process improvements and back-end website changes.

Accessible Arts: Ongoing o 2018: Accessible Arts conducted “Disability Inclusion Training” for two of STC’s

School Drama Teaching Artists (working in a special needs school, Holdsworth Community Centre)

o 2016: Accessible Arts conducted ‘accessibility awareness training’ for STC’s Front-of-House & Box Office staff

o 2016: Accessible Arts conducted ‘accessibility awareness training’ for STC’s HR Manager

o 2013: Accessible Arts conducted an Accessibility ‘Appraisal Report’ for STC, to inform the development STC’s Community Commitment Plan for Accessibility.

Sydney Opera House 2016: STC’s Front of House Managers participated in the Sydney Opera House’s ‘accessibility awareness’ training

How does your organisation support people with disability to be leaders in the creative and cultural sectors?

Policies and procedures including DAIP, respectful workplace policy, flexible workplace policy,

Unfortunately, Bangarra does not have the resources to support people with disability to be leaders in the creative and cultural sectors.

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Development of Disability Action Plan 18-21 In-house analysis undertaken at the MVA National Office in 2016 has provided the following data in relation to MVIS reach into special needs schools nationally.

o Musica Viva currently has 347 special schools registered in its database and between 2011 and 2016 engaged with 48 of these schools, with most schools engaging in two or more years of performance.

o In Victoria, Musica Viva has developed 4 residencies in the Melbourne metropolitan area which are designed for students with special needs. The residencies are year-round, and we look to implement this model nationally when appropriate and with successful acquisition of additional funds.

o Teacher professional development sessions are rolled out Nationally. These are face to face sessions which discuss musical techniques to use to engage students with diverse access needs.

The Melbourne Symphony Orchestra (MSO) is working with e.motion21 - a not-for-profit organisation working to enhance lives and change perceptions of Down syndrome within society through dance, fitness and performance - to develop a series of creative dance and music workshops with performance outcomes that enable young people with a disability living in Melbourne and regional Victoria to contribute to Australia's cultural narrative.

While e.motion 21 students have toured and performed internationally, they had never worked with live classical musicians before.

In recognition of the additional work required by the organisation within this area, the recently submitted strategic plan includes the development of a disability action plan for leaders, artists, participants and audience members as a KPI for 2020. In the process of developing this plan we will actively look to establish pathways within our organisation for people with disability to become leaders in the creative and cultural sectors

STC STC Details: (Answers grouped into key areas of STC’s renewed National Arts and Disability Strategy)

1. STC Practice Since 2018 STC includes the following statement in recruitment advertisements to attract

people with a disability:

“We strongly encourage students who are Aboriginal and/or Torres Strait Islander, from culturally and linguistically diverse backgrounds, and those with disabilities to apply “

In 2018 STC initiated a ‘Diversity Action Group’ to ensure STC’s employment makeup & customer service experience reflects the ‘People of Sydney’. The aim is to improve representation of minorities at all levels of the organisation. The initial focus is ‘front of house’ and ‘box office’ as they have several casual and lower level jobs that can be made more accessible. While this is focused on cultural diversity in the short-term, the goal is to evolve this group to include people with a disability too.

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As part of the Wharf Renewal Project, STC has been committed to enhancing accessibility for our staff, actors and creatives. When we return to The Wharf in 2020, we will have:

o Better level access o Shorter paths of travel, with new lifts for front-of-house and back-of-house access o More accessible bathrooms o Previously inaccessible work spaces will now be accessible; for example, rehearsal

space, production areas & the recording studio. o Our refurbished Wharf 1 theatre will also allow for actors in wheelchairs to perform

onstage, which was not previously possible due to space limitations.

In completing this survey and considering our current ability to employ people with a disability we noted the following challenges which need to be overcome, which we thought may be helpful to share:

o The high degree of physically in our workforce poses challenges (in the rehearsal room, on stage, in the workshop, etc.).

o Our workshop areas are like a construction site, which poses OH&S challenges. o Our HR department spends considerable time preventing, monitoring and managing

work place safety, and workers compensation arrangements for existing staff. This unintentionally takes efforts away from inclusivity strategies

o As a not-for-profit we are resource and time poor. We want to do accessibility initiatives properly, rather than simply paying lip service, but due to the resources & time involved this often falls behind the ‘urgent’ issues

o There is still a broader cultural issue across business in general that you are ‘doing a favour’ by employing a person with a disability rather than valuing their individual contribution.

2. STC Express

STC’s student learning programs are to inspire future artists and cultural professions, regardless of their ability. Our work experience programs include the following statement for recruitment & take place in accessible venues:

“We strongly encourage students who are Aboriginal and/or Torres Strait Islander, from culturally and linguistically diverse backgrounds, and those with disabilities to apply”

STC’s School Drama program, as mentioned above, is also for students of all abilities. Feedback from our Teaching Artists reveal that they are unlikely to ever teach a class without at least one student having a disability.

STC has received City of Sydney funding to take School Drama to specific areas of high need (for example, Redfern’s Jarjum College, whose mission is to educate urban Aboriginal and Torres Strait Islander children who are not participating or coping in mainstream primary schools as a result of their domestic circumstances). Often areas of high need have a high percentage of students with a disability

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STC’s Teaching Artists have an annual training week. In 2018 this training included a session on working with children with autism. It is expected a session for students with special needs will be incorporated into the schedule each year.

STC also tailors the classic School Drama program for certain partnerships as needs, as with Holdsworth Community Centre as detailed above. STC provides additional training for Teaching Artists facilitating these partnerships to support the special needs of the classroom.

Does your organisation train and develop artists with disability?10 responses Yes 10%No 90%

If YES - How does your organisation train and develop artists with disability? During the collaboration with Blue Roo Theatre Co, Opera Queensland artists mentored Blue

Roo artists in singing and performance skills. This culminated in the two companies performing together in an inclusive opera at the Judith Wright Centre. In addition, Opera Queensland conducts skills development workshops that are available to all participants which have included three artists with disability.

Note: While STC does not specifically train and develop artists with a disability, they provided the following reflection.

o STC typically works with actors and creatives who have had formal training – NIDA, WAAPA, VCA etc. Does this training pathway exist for people with a disability wanting to work in theatre?

o How do artists with disability make the journey from school, and from enjoying art as a passion / hobby, to professional employment?

Could lessons be learnt from NAISDA Dance College and Aboriginal and Torres Strait Islander performers?

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In the last 3 years, has your organisation applied for government funding to create artwork or arts events with artists with disability? (This includes mainstream artwork or events that include artists with disability.) [tick all that apply] 9 responsesYes 2 responses (22.2%)No there are barriers 3 responses (33.3%)No – we don’t want or need funding 1 response (11.1%)Does not apply to our organisation 3 responses (33.3%)

If yes 3 responsesSuccessfully applied for funding from an Australian Government department or agency 33.3%Successfully applied for funding from a state or territory government department or agency 33.3%

Unsuccessfully applied for funding from a state or territory government department or agency 33.3%

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If No what are the barriers? 6 responsesWe don’t have the resources to pursue this funding 16.7%We don’t have the skills or knowledge needed to pursue this funding 16.7%Our organisation is not eligible for this funding 16.7%We don't know if our organisation is eligible for this funding 16.7% Whilst Musica Viva has a commitment to access and the representation of diverse artists, presenting the work of artists with a disability is not our primary remit. 16.7%Due to our MPA status we are not eligible for all sources of funding, we have a plan to seek out more options should the right project arise. We also are challenged with a small development team, with limited resources to write and prepare multiple grants. 16.7%Operationally, STC has focused on achieving our existing tri-partite funding access KPIs 16.7%

STC Note: Operationally, STC has focused on achieving our existing tri-partite funding access KPIs. We have several performances each year that offer ancillary services and programs for people with disabilities (in addition to in-venue services). In both 2017 & 2016 we staged 29 accessibility performances. With our capital works campaign underway, we have also been focused on securing significant state support to make this project possible.

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In the last 3 years, has your organisation sought philanthropic or private sector funding or support (e.g. sponsorship or in-kind support) to create artwork or arts events with artists with disability?( This includes mainstream artwork or events that include artists with disability.) 10 responsesYes 40%No 20%No we don’t need or want this funding or support 10%Does not apply 20%No – does not seem to be a priority 10%

If yes – did you seek this funding from? 4 responsesBusiness sponsorship 2 responses

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Philanthropic organisations 3 response

In kind support from Judith Wright Centre 1 response

If no what are the barriers? 3 responsesWe don’t have the financial or human resources to pursue this funding 1 responseWe don’t have the skills or knowledge needed to pursue this funding 1 responseThere is a lack of opportunities for this type of funding in our local area 1 response

--STC Note: With our capital works campaign underway, we have been focused on securing significant private support to make this project possible. This initiative has required significant time and energy from the philanthropy team.The Corporate Partnerships team has identified ‘accessibility’ as an area of growth. Corporates are often interested in ‘socio-economic accessibility’ but there is the potential to extend their interest in supporting our disability initiatives.

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If yes – were you successful in securing this support?– 4 responsesYES 75%NO we were not successful 25%

If yes where di d you secure this support from? 3 responses

Successfully secured philanthropic support 2 responses (66.7%)

Successfully secured a business sponsorship 1 response (33.3%)

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Section 2 Art Making

Do you deliver art making activities specifically for people with disability? 10 responsesYes 50%No 30 %No – there are barriers 20%

If yes - Tell us about your experience delivering these programs? This relates to our special schools’ residencies programs. We find that these schools highly

value and are aware of the benefit that music brings to their students and for teachers, more effectively teaching to their students.

Our Education program is tailored as needed for children with additional needs. We partnered with the Sydney Opera House ACCESS Program to deliver workshops and a performance to children with special education needs. See case study https://australianballet.com.au/learning-and-development/education-case-studies/nsw-sydney-opera-house-access-program

we don't deliver these programs specifically, but we endeavour to make all our programming accessible based on venue selection. Additionally, we have a robust school and family program and have been touring regionally in community centres as well.

STC A core STC strategic goal is to support and promote new and diverse stories and voices.

Recent on-stage activity, involving people with a disability and / or disability themes, has included:

2019: Lord of the Flies An actor with a disability has been cast for this production: Daniel Monks, Hemiplegia

2016: Machu Picchu - A STC and State Theatre Company of South Australia Production Synopsis: Gabby has everything she could want – a successful career, a loving husband, a brilliant daughter and the best of friends. But still, something is missing. When a terrible

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accident leaves her husband paralysed, she has to confront secrets and desires that have lain dormant for years. The question is, what will stand the test of time?

2014: The Long Way Home - A collaboration between STC and the Australian Defence Force (ADF) The Long Way Home was a new play, conveying the personal stories of Australian servicemen and women who had been wounded, injured or become ill during ADF operations in Iraq, Afghanistan and East Timor.

o 15 servicemen and women participated in an intensive research and development program at STC sharing their experiences with director Stephen Rayne & playwright Daniel Keene

o The servicemen and women participating in the program had sustained a range of physical and psychological wounds or injuries and the development process and the production itself supported their rehabilitation and recovery

o They play itself featured several real soldiers alongside professional actors.

o The show toured to Sydney, Darwin, Brisbane, Wollongong, Townsville, Canberra, Melbourne, Adelaide and Perth.

o The production gave audiences a unique insight into the challenges these men and women and their families confront.

o A key outcome of this collaboration has been an ongoing ADF Arts for Recovery, Resilience, Teamwork and Skills Program (ARRTS). It is a month-long introduction to, and exploration of, artistic disciplines to enable wounded, injured or ill ADF members to experience new life skills and recreation opportunities. The Program has proved to have significant rehabilitation benefits, with previous participants reporting improved well-being, increased self-confidence and resilience, as well as an enhanced ability to 'move on' in their lives.

2013: Super Discount – Co presented by STC and Back to Back Theatre This new play was inspired by the work of writer / comic Tim Sharp, an artist with autism

o It was co-presented by STC and Geelong’s Back to Back Theatre, an ensemble of performers with disabilities, who also stared in the show.

o The play explored the parallels between superheroes and people with disabilities: a focus on their ability, the obstacles that must be overcome, and lives perceived by others to be at the fringes of society.

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If no – what are the barriers? (tick all that apply) 4 responses We don’t have skills or knowledge 3 reponses ( 75%)Not our primary objective 1 response (25%)Funding to support additional expenditure 1 (25%)

If yes: How do you make the art making activities you run accessible? [tick all that apply] 6 responsesOur staff have disability awareness or accessibility training 4 responses (66.7%)We offer accessible venues or facilities 5 responses (83.3%)We have adapted venues or facilities for accessibility 2 responses (33.3%) Our website meets WCAG 2.0 standards 1 response (16.7%)We provide information about accessibility at our activities 3 responses (50%)We provide information in accessible formats 4 responses (66.7%)We cover the costs of support workers 1 response (16.7%)

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We allow support workers to attend activities at no additional cost 3 responses (50%)

If yes: How do you know if the art making activities, you run are accessible? [tick all that apply] 6 responsesWe evaluate all or some of our activities 5 responses (83.5%)We actively collect feedback from participants 4 responses (66.7%)We employ an external consultant or service to independently advise on accessibility 2 responses (33.3%)Informal or anecdotal feedback from participants 4 responses (66.7%)

If yes: Do you include accessibility costs in your budget when you are planning art making activities? (Accessibility costs could include, for example, hiring an Auslan interpreter or support worker, or producing accessible formats of written materials.) 7 responses

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Yes 71.4 %No 28.6%

Does your organisation employ arts professionals (with or without disability) to deliver art making activities specifically for people with disability?Yes 60%No—Our organisation has not thought about employing arts professionals 10%No—but we employ arts professionals to run mainstream art making activities 30%

If yes- What are the benefits of employing arts professionals? [tick all that apply] 6 responsesThere are high quality artistic outcomes from the activities 5 Reponses (83.3%)There are high quality wellbeing outcomes from the activities 6 reposnes (100%)

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If no -What are the barriers to employing arts professionals? [tick all that apply] 3 responsesIt is more cost effective to employ other professionals or people 1 response (33.5%)We don’t know how to recruit arts professionals with the right skill set 2 responses (66.7%)

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Section 3

Do you have a current Disability Action Plan or Disability Access and Inclusion Plan? 10 responsesYes 60%No 40%

If yes - Our plan is: [tick all that apply] 6 responsesAvailable to the public on request 1 response (16.7%)An internal document 5 reponses (83.3)

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Are your facilities accessible to people with disability? (Including facilities that your organisation presents, exhibits or operates in.) 10 responsesAlways 30%Often 70%

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Section 4

Has your business/organisation accessed an employment provider or government program to support the employment of people with disability in creative and cultural roles? (Such as Disability Employment Services or wage subsidy programs.) 10 responsesYes 10%No we employ people with disability but have not used these supports 40%No – there are barriers 20%Does not apply 30%

If yes - Has this resulted in the employment of a person beyond 13 weeks? 1 responseYES 100%

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If yes - Has your experience with these programs or providers been: 1 responseSomewhat positive 100%

No – there are no barriers 3 responsesOur organisation is not aware of any of these programs 2 reposnes (66.7%)Government owned heritage buildings in which we are based are not accessible for people with mobility restrictions 1 response (33.3%)

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Section 5

Does your organisation specifically aim to attract people with disability as audience members? 10 responsesYes 90 % No there are barriers to attracting people with disability as audience members 10%

If Yes - What does your organisation do to attract people with disability to your programming? [tick all that apply] 7 responsesWe make work or have programs/events specifically for people with disability 4 responses (44.4 %)We market specifically to people with disability 3 responses (33.3%)Our staff have disability awareness or accessibility training 3 responses (33.3%)We offer accessible venues, facilities or programs 9 responses (100%)We have adapted venues, facilities or programs 3 responses (33.3%)Our website meets WCAG 2.0 standards 2 responses (22.2%)We provide information about accessibility at our events and programs 6 responses (66.6%)

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We provide information in accessible formats 5 responses (55.6%)

The MSO programs relaxed performances and was the first Orchestra in Australia to present a relaxed and autism friendly performance (Pixar in Concert) specifically designed for young people, families and carers experiencing or managing Down Syndrome, autism spectrum disorder or sensory and communication disorders. 1 response (11.1%)

If no —there are barriers to attracting people with disability as audience members / What would you need to target people with disability as audience members? [tick all that apply] 3 responses

We need more advice about how to make our venues and facilities accessible 1 response (33.3%)We need more advice about how to provide information about accessibility at our events 1 response (33.3%)

We need more advice about how to provide information in accessible formats 1 response (33.3%)Funding or financial support to meet accessibility costs 2 responses (66.7%)

Funding or financial support to meet accessibility costs 2 responses (66.7%)

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Does your organisation aim to attract people with disability to art making activities? 10 responsesYes 70 %

Does not apply – we don’t run workshops or other activities 20 %

No – There are barriers to attracting people with disability to our activities 10%

If yes - What does your organisation do to attract people with disability to your activities? [tick all that apply] 7 responsesWe make work or have programs/events specifically for people with disability 4 repsonses (57.1%)We market specifically to people with disability 1 response (14.3%)Our staff have disability awareness or accessibility training 4 responses (57.1%)We offer accessible venues, facilities or programs 5 responses (71.4%)We have adapted venues, facilities or programs for accessibility 1 response (14.3%)

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Our website meets WCAG 2.0 standards 2 responses (28.6%)We provide information about accessibility at our events and programs 3 responses (42.9%)We provide information in accessible formats 4 responses (57.1%)Our organisation programs relaxed performances 1 response (14.3%)

If no – there are barriers to attracting people with disability to our activities – What would you need to overcome this? 1 response

We need more advice about how to make our venues and facilities accessible We need more advice about how to provide information about accessibility at our events We need more advice about how to provide information in accessible formatsFunding or financial support to meet accessibility costsWe don’t know how to market our events or programs to people with disability

If your organisation has experienced high levels of engagement and participation by people with disability, what have been the factors that made this possible?

Additional funding support Commitment from senior managers and executive leaders to access for people with

disability Partnering with like-minded organisations (e.g. SOH) and collaborating with disability service

providers STC STC has “positive access and participation initiatives” as identified in Accessible Arts’ 2013

Appraisal Report. Our access activity includes: o A range of ticket booking options web, email, phone, mail, in person

o A range of portals for feedback; web, email, phone, mail, in person

o A CRM system which records support needs to assist future visits

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o Our theatres have accessible access, seating and amenities o We have a broad, accessible, theatre offering o We have invested in ‘front of house’ training for front of house staff (including

manual OH&S procedures, to physically assist people with mobility issues) o We roster additional staff for matinee events, which tend to be preferred time for

people with disabilities o We offer ‘curb-side’ meetings, where a front-of-house staff member can meet a

theatre patron at the entrance of the theatre, to help with their mobility issues (limited to 3 patrons per show, due to staffing limitations)

o We offer a matinee shuttle bus service to / from Roslyn Packer Theatre

o For all performances we offer the following services:

o Seating near the stage for visually impaired patrons

o Hearing enhancements

o Wheelchair facilities

o Guide dog access

o Companion card (the take up has grown from 79 tickets provided ‘free of charge’ in 2015 to 177 in 2018, with numbers growing year upon year)

o We also offer several bespoke sensory access services: However, the size of the audience who benefits from these activities continues to be very small.

o Touch Tour & Audio-described performances x 6 performances in 2018: audience size ranged from 12 - 16 pax per show (91 tickets sold across the year)

o Captioned performances x 6 performances in 2018: audience size ranged from 4 - 30 pax per show (124 tickets sold across the year)

o Note: as we market captioned performances, there may have been additional audience members who purchased tickets for this service who did not self-identity to the box office when booking their ticket(s)

o Auslan x 3 performances in 2018: audience size ranged from 2 – 6 per show (13 tickets sold across the year)

o Note; as we market Auslan performances, there may have been additional audience members who purchased tickets for this service who did not self-identity to the box office when booking their ticket(s)

o Our next challenge is to grow the audience that can benefit from this offering: We communicate our accessibility events through our bulk communications;

our website & our annual subscription brochure. We rely heavily on the service provides we work with to promote the

events: Vision Australia; audio-described performances Captioning Studio; captioned performances Auslan Stage Left; Auslan interpreted performances

o We respond to requests as they arise: for example, we produced a dedicated flyer for the 2018 Deal Festival.

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We have also identified through this review that we do not know how people with disabilities are using and engaging with social media and what we could be doing in this space and will explore this area.

However, we are not resourced to proactively market our access events to help find and develop this audience. Assistance in this area would be of particular benefit.

STC Wharf Renewal Project A key goal of our Wharf Renewal Project is to make our refurbished Wharf as accessible as

possible for our audience. In 2020 when we return to the Wharf audiences will enjoy: o Better level access throughout The Wharf

o Shorter paths of travel; with two new lifts for the general public

o More accessible bathrooms

o Significantly more wheelchair seats in the theatres

o More options for where people in wheelchairs can sit in the theatres

o A pedestrian only apron around The Wharf, making it a safer and more enjoyable space

o Enhanced theatre production facilities, which means we will have the means to conduct Auslan interpreted, captioned and audio-described performances at The Wharf for the first time.

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Section 6: Are organisations taking advantage of the opportunities of the National Disability Insurance Scheme (NDIS) to maintain or increase access to the arts for people with disability?

Has your business changed since the introduction of the NDIS?10 responses No 100 %

What does your business need to take full advantage of the opportunities presented by the NDIS? 9 responsesFunding to assist transition to new systems and administration 11.1% We don’t know yet 88.9% Is there anything else you want to tell us?

Audiences with a disability have declined in recent times, we're not sure why, we need to review our programs and communication strategies to re-energise engagement with our audiences

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Providing access to workshops and other development activities for artists with disabilities and modified performances suitable for people with disabilities is a real objective for the organisation. Information about how to achieve this and how to communicate to relevant organisations would be appreciated. In addition, we are aiming to ensure our action plan is as inclusive as possible to ensure it provides greater access to artists and audiences with a disability while informing the development of the art.

STC know that physical access to our theatres continue to be major barrier. o All three theatres are expensive to access in terms of transport and parking (The

Wharf, Roslyn Packer Theatre, Drama Theatre – Sydney Opera House) o All three theatres are challenging for people in wheelchairs without assistance, by

nature of their location & design (despite our best efforts) o The Wharf; a pier and therefore a long walkway of timber floorboards o Drama Theatre, Sydney Opera House; a long way from street entrance

STC also know that ticket price is a challenge o A special discounted ticket offer is provided through our three service provides

(Vision Australia, Captioning Studio & Auslan Stage Left) for sensory access performances, to assist this audience with affordability.

o However, anecdotal feedback (particularly for Auslan performances) indicates that even with a 50% discount tickets are beyond reach.

o Note: we don’t promote this price on our mass marketing initiatives, as it can be difficult to sensitively ask people for proof of their disability at time of ticket purchase.

Audience Accessibility initiatives are not being used exclusively by people with disabilities o With the aging population, and STC’s aging demographic, our accessibility services

are increasingly being used by general audience members who are hard of hearing, have failing eyesight, and / or have mobility issues.

o For example, we have 30 audio enhancement headsets for our Wharf 1 Theatre (approx. 350 seats) and we could often use double this number

Technology: STC would be very interested to learn how technology can further enhance / extend our accessibility initiatives & practices

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PART 2 AMPAG Desktop Scan MPA 2017Arts Disability Strategic Review: Annual reports & online disability access and programs

Adelaide Symphony Orchestra

ASO Encore in VR? It’s a project funded by a Positive Ageing Grant from Office for the Ageing, which enables us to take an ASO virtual concert experience to people who, for a variety of reasons, can’t get to a live concert. In the process, our volunteers are modelling the way older people can master new technology to bring our project to life.

Various music tracks recorded at a Great Classics concert in 2015 are introduced by conductor Guy Noble, in the world-first virtual reality concert recorded by Adelaide-based technology company Jumpgate VR. Using a special headset, smartphone and headphones, the viewer is positioned in the middle of the orchestra and can swivel through 360 degrees to view all the players as they perform the music.

Australian Chamber Orchestra

ACO Move workshops engaged ten young adults with disability in four, two-hour workshops in June 2017 at the ACO Studio. A one-hour workshop for eight secondary school-aged students was held in the Utzon Room at the Sydney Opera House in November.

“It was a great experience for me and really opened up new perceptions on disability for me. Seeing the other participants engage with the music and bring new ideas was a heart-warming experience. I especially loved how inclusive the group was.” – Tilly Jones, ACO Move Participant

The ACO’s 2015 – 2017 Disability Action Plan was approved by the Board in 2015 and successfully realised by the ACO over this time. In 2018 the ACO has adopted an interim Disability Action Plan so that it is able to bring the planning cycle for the ACO’s Strategic Plan and Disability Action plan into alignment from 2019 onwards. The development of a Diversity Policy is being explored by the ACO in 2018 in the context of an overall review of organisational policies.

Disability Advisory Committee - The role of the ACO Disability Advisory Committee is to provide strategic direction and leadership to ensure that the ACO finds pathways to connect with all sectors of the Australian community and provides equity of access to the ACO’s activities.

Open rehearsals for students who are blind or have vision impairment held annually in association with International Day of People with Disability.

Innovative conceptual ways of presenting concerts and Education Programs, for example videos of particular concerts uploaded to YouTube, the development of the ACO VIRTUAL Orchestra, Skype music lessons with ACO musicians, Open Rehearsals via video conferencing and auditions for the ACO Academy via YouTube.

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Bell Shakespeare

In 2018 Bell Shakespeare launched a range of activities targeted at attracting and including audiences with accessibility requirements. On the mainstage Bell presented three Auslan interpreted performances; one at Canberra Theatre Centre for the season of Antony and Cleopatra, one at Arts Centre Melbourne and one at the State Theatre Centre of WA for Julius Caesar. These were presented in full collaboration with the venues, and in consultation with the Auslan service Auslan Stage Left.

Bell also presented three tactile tours, supported by Vision Australia at Canberra Theatre Centre and State Theatre Centre of WA, as well as three audio description performances across Canberra, Perth and Sydney seasons. Captioning services were provided using the Caption Studio at performances in Canberra, Melbourne and Sydney.

As part of the national tour of Julius Caesar, Bell commissioned Vision Australia to produce 4 braille cast sheets, to ensure that information freely available to patrons with full vision was also accessible to low vision and blind patrons.

All of Bell’s major venues provided Audio Loop facilities, which are promoted through Bell’s Accessibility page on our website - https://www.bellshakespeare.com.au/whats-on/accessibility/. They also provided production and technical support to regional venues for accessibility performances in Albury and Brisbane.

As part of the organisation’s education program we presented two relaxed performances of our family friendly offering from The Players. This was planned in consultation with the venue, Riverside Parramatta, as well as with Vanessa Lucas, a music therapist who has extensive experience in working with young people on the Autism Spectrum. Adjustments were made to the performances to make them appropriate for the audience, as well as developing a Social Story as a way of introducing the experience.

Bell’s Head of Marketing took part in the Accessible Arts Disability Inclusion Training and has since consulted with industry colleagues including at Carriageworks, Sydney Festival, Sydney Opera House and Arts Centre Melbourne in preparation to developing Bell Shakespeare’s first Disability Inclusion Strategy in 2019.

Belvoir

Belvoir can accommodate patrons in wheelchairs and their guests. Belvoir offers Vision Australia’s live audio description service. There is an induction coil hearing loop in the Upstairs theatre, which can be accessed via the

t-switch on hearing aids. For hearing impaired patrons, we provide mobile device captioned performances. These

captions will detail actors’ dialogue, adlibs, asides, song lyrics, musical descriptions and other sound effects

Belvoir is a Companion Card affiliate.

Black Swan State Theatre

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All Black Swan mainstage productions have Audio Described performances for blind or vision impaired patrons is offered on particular dates.

Tactile tours may also be provided as part of the Audio Description service and the purpose of the tour is to give patrons an understanding of the costumes and stage set. Patrons will be escorted onto the set, so they get an idea of the dimensions and will be able to touch the props being used on stage. Patrons will also be able to handle the costumes being worn by the actors. While the tour is taking place the audio describers will describe where the different props are located on stage and what colour, shape and material has been used for the costumes.

Assistance Animals - Guide dogs or any animals trained to assist people with disabilities are welcome inside all areas of the State Theatre Centre.

Auslan Service: In 2018 Black Swan presented two productions with Auslan Interpretation – Summer of the Seventeenth Doll and The Events.

Assisted Hearing System - The State Theatre Centre has been equipped with a Sennheiser Infra-Red Assisted Hearing System to assist those who are hard of hearing or who have hearing aids. The hearing system is installed in the Heath Ledger Theatre as well as the Studio Underground.

Captioned Performances - All Black Swan mainstage productions have captioned performances on particular dates

Mobility - The State Theatre Centre and the Box office is accessible to patrons with impaired mobility.

Theatre Access & Accessible Seating - Wheelchair seating is available and easily accessible in the Heath Ledger Theatre and the Studio Underground, with lifts serving the Main Foyer and Studio levels.

Companion Card - Black Swan recognises the Companion Card for all performances. Companion cardholders will not be required to pay for the cost of tickets for their carer.

Circus Oz

Accepts Companion Cards and have wheelchair seating available at all Big Top performances.

In both Melbourne and Sydney Big Top 2016 season, two performances were Auslan-interpreted, and audiences were provided a range of accessibility services, including wheelchair seating and acceptance of companion cards.

During their 2016 Melbourne Season, with the support of The Mazda Foundation, Circus Oz provided audio description for two shows and a specifically tailored “relaxed” show for people who experience sensory disorders such as autism. With valuable expertise and training provided by Arts Centre Melbourne, Arts Access Victoria and AMAZE Victoria, this unique adapted performance sold out. “It was engaging and thrilling for the students. They were captivated” - Teacher of audience group for the ‘relaxed’ show.

Malthouse

Wheelchair bookings can be made for all performances at The Coopers Malthouse.

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Malthouse Theatre offers AUSLAN interpretation and Audio Description for a select number of performances. Concession price tickets are available for patrons accessing these services.

The Companion Card has been developed by the Victorian Network on Recreation and Disability (VICNORD). It admits carers to shows as complimentary guests. Holders of this card are welcome at all Malthouse Theatre mainstage season performances.

Malthouse Theatre offers a Hearing Assistance System which allows patrons who use hearing aid to tune into the frequency of that venue. For patrons without a hearing aid, they offer a similar system and provide the patron with headphones.

Relaxed Performances are for patrons who prefer a more relaxed environment. Designed to welcome audience members with Autism Spectrum Disorder (ASD) or disabilities that create sensory sensitivity. Lights and sounds will be adjusted, and the doors will remain open to allow patrons to take a break.

Musica Viva

Musica Viva In Schools performed a concert at a school for autism in suburban Melbourne and was able to relate to students in profound ways. MVIS ensemble Amanaska took the students on an interactive auditory and visual tour of world music.

“Amazing learning happened both in the lead-up to the concert and the actual concert experience. Many of our students have difficulties with expressive language. Through encouraging them to sing the ‘oo’ melodic phrase in Freedom Dance as part of our welcome song, students practised using a singing voice and approximating a tune. One student actually began to produce an ‘oo’ sound, making a very good start towards developing speech! Students also enjoyed taking part in circle dances providing safe and social opportunities for them to move to music.”

Musica Viva In Schools WA continued to work with Healthway, the West Australian Health Promotion Foundation. Musica Viva and Healthway will work together over the next three years to deliver the positive mental health message ‘Act-Belong-Commit ’through the Musica Viva In Schools, Live Performance Plus and New Life Instrument program.

Through this program, many thousands of students will have the opportunity to demonstrate the three main elements of this important message:

• Act by attending a performance• Belong by joining others in a school band• Commit to learning an instrument or volunteering to help others

Healthway and Musica Viva share a long history of working together to deliver key Healthway messages through the highly effective vehicle of the Musica Viva In Schools program, further demonstrating the great outcomes that can occur when combining the arts and health in prevention and rehabilitation contexts and Musica Viva’s ability to work with our supporters towards mutually beneficial outcomes.

Musica Viva began a program in 2016 following a pilot project conducted in collaboration with the University of Western Australia and Musica Viva, which presented overwhelming results showing happiness in patients post engagement in music.

Speech Pathologist Senior Clinician and Music for Wellness Coordinator Jenny Shurdington said the program could improve physical, communication, and emotional skills of individuals

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living with Parkinson’s disease, as well as those with respiratory issues, chronic pain and other debilitating illnesses.

“Participating in the program helps boost confidence levels, transforms attitudes about living with a chronic illness, and helps manage some of the symptoms associated with their condition,” Jenny said.

Weekly singing and song writing workshops are conducted with Musician in Residence, Colleen Rees, to holistically improve patient care.

Melbourne Symphony Orchestra

2018 Pilot program with e.Motion21 - Working to develop a long-term creative and educational partnership, MSO and e.Motion21 undertook a 2.5-hour exploratory workshop in which 21 dancers with Down Syndrome worked with MSO percussionists Robert Cossam and John Arcaro, and cellist Miranda Brockman. The session encouraged dancers to explore the timbre and sound worlds created. In turn, MSO’s players explored creating a musical response to the dancers’ improvised movements. The session concluded with an informal performance of the music and dance works created for parents and family members.

Hands-on, tactile post-concert experiences for vision-impaired children to connect with instruments of the orchestra.

Large print concert information sheets available for vision-impaired audience members. Companion Cards – 575 complimentary tickets issued to carers of people with disabilities in

2017. 32 Auslan-supported Jams for Juniors workshops delivered in 2017. Arts Access Professional Development MSO staff members with Arts Access Victoria. On 8 April 2017 MSO presented Pixar in Concert which was adapted to reduce the possibility

of anxiety and discomfort. The relaxed performance included: brighter venue lighting, modified repertoire to keep unexpected and loud noises to a minimum and welcomed audience movement during the performance with breakout spaces offered for people to use at their discretion.

Melbourne Theatre Company

MTC partners with Arts Centre Melbourne and Auslan Stage Left offer Auslan interpretation for selected performances.

The Captioning Studio provide live captioning for selected productions. During these performances, text is displayed on a screen to the side of the stage, relaying actors’ dialogue, nuances, music and sound effects. Where possible, seats near the screen are held for those who require them.

Hearing assistance can be provided for all productions in the form of a closed system Listen Pack at Southbank Theatre, and an FM Hearing Loop or Listen Pack at Arts Centre Melbourne.

Audio described performances are narrated by volunteer audio describers who describe actions, expressions and gestures during gaps between dialogue throughout the performance.

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Tactile tours commence one hour before the designated performance. Guests are given a tour of the stage and invited to touch the sets, costumes and props whilst the Stage Manager, and often cast members, describe them.

Assistance animals are welcome at all venues and water bowls can be provided upon request.

MTC productions are staged at Southbank Theatre and Arts Centre Melbourne. Facilities for wheelchair access and seating that allows more room for the use of mobility aids are available in all theatres, for all performances.

Opera Australia

The Schools Tour’s Auslan Shadow Interpreting programs remained popular, with 6,026 children seeing an interpreted performance in 2017 – their largest ever attendance.

Ability to book wheelchair positions, wheelchair companion seats and/or level access seats. For people who are blind or have low vision, Opera Australia, in association with Vision

Australia schedule Audio Described performances where a description of key scenic, costume and lighting elements as well as pivotal action, entrances and exits of the cast are broadcast by professional audio describers to a small radio headset, supplied prior to the performance.

Surtitles allow those with hearing limitations to follow the libretto (text) in real time

Opera Queensland

Successful three-year (2014-2016) partnership with Blue Roo Theatre Co. The 28-strong Brisbane-based ensemble provides opportunities for people with disabilities to become actively involved in the performing arts.

Blue Roo Theatre Company announced its success as a recipient of Arts Queensland Organisational Funding which, for the next four years, will allow the Company to continue to provide opportunities for people with a disability to become actively involved and engaged in the performing arts.

Queensland Ballet

Sensory-friendly performances are designed to create a performing arts experience that is welcoming to all families with children with autism or with other disabilities that create sensory sensitivities.

Wheelchair and disability access. In 2013, Queensland Ballet (QB) launched a pilot program offering specialised dance classes

to people with PD, based on the internationally recognised Dance for PD® program. As part of the pilot program, which ran from October 2013 – July 2014, QB partnered with

the Queensland University of Technology – Creative Industries (Dance) and Health (Movement Neuroscience), and the University of Queensland – Health and Behavioural Sciences (Physiotherapy) faculties to conduct initial research into the effects of these dance classes.

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This was the first study of its kind in Australia with the results concluding the QB Dance for Parkinson’s pilot program classes affected people living with Parkinson’s in multiple ways including valuable physical, emotional, social, and cognitive benefits.

The pilot program and research outcomes continue to inform and support the ongoing delivery of the QB Dance for Parkinson’s classes, which are delivered weekly all year round.

In 2018 Queensland Ballet ran a masterclass with AllPlay Dance an initiave of Deakin’s Child Study Centre within the School of Psychology. AllPlay Dance provides resources and opportunities to help children, their parents and dance teachers ensure dance schools are an inclusive space for kids of all abilities.

Queensland Theatre

All performance venues are accessible to wheelchair users and people with individual needs. Offers Audio Description and Auslan services to selected performances. Following each of these performances is a “Night with the Artists” session where the

audience can meet the cast and creative team and ask questions about the production. These 30-minute ‘Night with the Artists’ Q&A sessions will also be Auslan Interpreted and are a free event for ticket holders.

State Opera South Australia

The State Opera Disability Access and Inclusion Plan is enshrined in both its strategic and Business Plan and ensures that members of the community with disabilities have access to the company’s premises and to the performing arts venues. These include The Opera Studio at Netley and the Adelaide Festival theatre, both of which are equipped with disability access and facilities for disabled people.

Information on disability access and facilities is included in State Opera annual season brochures.

The State Opera has adopted a practice of encouraging community theatre groups to use the Opera Studio at Netley because the venue provides excellent facilities, parking and access for people with disabilities.

State Theatre Company of South Australia

Provide access for visual and hearing-impaired audiences through audio described performances, captioned performances and audio enhanced performances to select subscription shows.

Sydney Dance Company

Make Your Move is Sydney Dance Company's dance program for adults with mobility restrictions. It consists of a series of creative workshops designed to get participants with mobility restrictions moving, making and participating in contemporary dance.

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“Over the eight weeks I learnt to trust myself again. I found a new range of movement that I had not previously experienced. I really loved the health benefits. I feel like I trust myself more, I feel like my language is unique and my body has definitely grown because of the program. I could only highly recommend Make Your Move to my friends.” Tom,

Over the course of the 8 weeks, participants develop skills and confidence in dance movement, and will explore some of the creative processes used in rehearsal at Sydney Dance Company.

Prior dance experience or training is not a pre-requisite and wheelchairs, walkers and mobility aids are welcome.

Sydney Symphony Orchestra

SSO continues its award-winning Music4Health program, which sees SSO musicians perform in retirement homes and hospitals throughout Sydney and NSW. SSO musicians also continue to contribute to the wider community as teachers and members of community music groups.

On October 20th, 2017 the SSO musicians performed for the first time in the Starlight Express Room at the Sydney Children’s Hospital, Randwick and The Children’s Hospital at Westmead. They played a mixed program of works and movie scores designed to entertain and educate young audiences. The collaboration will continue with several more performances scheduled for the remainder of 2017 and over 2018.

The SSO’s most recent annual Autism Association Music4Health concert for children with autism and their families was attended by over 306 children.

Sydney Theatre Company

STC offers a variety of access including audio described performances, hearing enhancement and headsets, captioned performances, Auslan interpreted performances and wheelchair access. Guide dogs are also welcome.

A block of seats is reserved for deaf and hearing-impaired patrons to ensure a good view of the interpreter and the stage.

Touch-tours are available before the production help to capture the atmosphere, costumes, characters and action before and during a performance. Description is relayed via a discreet headset linked to the infrared audio system.

In 2016 STC engaged Accessibility Solutions as a consultant for STC’s Wharf Renewal Project Our draft architectural drawings were reviewed to ensure maximum accessibility compliance for employees, artists, creatives and audience members at the refurbished Wharf (due to open 2020)

See survey results for further actives

Tasmanian Symphony Orchestra

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The Tasmanian Symphony Orchestra runs an AccessTix program which targets Tasmanians experiencing disability and disadvantage. The program offers free concert tickets to those who might otherwise miss out on the very special experience of hearing a live orchestra. AccessTix also provides tickets to support workers and carers who are accompanying an eligible individual.

The Australian Ballet

The Australian Ballet Education team partnered with the Sydney Opera ACCESS program to deliver Out There workshops and a performance of The Sleeping Beauty to children with special education needs.

The program gave students the opportunity to engage with the program on multiple levels. Students were able to explore dance movement through the workshops and experience a performance by The Australian Ballet’s Dance Education team. The aim is always to give students the opportunity to explore the world of the ballet in a safe, creative and supported environment.

Penelope Earp, a teacher at Waiora Special needs school in Bondi ““[For] those students who are non-communicative, [who] do not have expressive communication, it is a means of communicating yourself without needing to have language. So that is a major thing. It's so very accessible. And if nothing else, it's an experience. Particularly if you have a severe intellectual disability … it is hard to go out, it's hard to do things, so therefore you miss out on many experiences; your experiences might be limited to home and school.”

Case study can be found https://australianballet.com.au/learning-and-development/education-case-studies

Victorian Opera

Audio Description is provided at select performances across the year. There is a narration of the action on stage for audience members who are blind or visually impaired via a wireless receiver pack and ear piece.

Tactile Tours are for ticket holders with a vision impairment and their companion to explore the props and costumes of the production. Tactile Tours take place in the auditorium 60 minutes prior to the start time of the performance and participants need to arrive 15 minutes before the tour to sign in.

Victorian Opera provide several relaxed performances each year providing a calm environment for audiences with elements of the production adapted to reduce anxiety or stress. This environment is ideal for audience members with autism spectrum disorder, Down syndrome and those sensitive to sensory variance. Lighting and sound levels are adjusted to soften their impact; making noise and moving around the auditorium is welcome during the performance; and there are designated ‘chill-out’ areas in the foyer.

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Wheelchair and mobility Victorian Opera presents in venues that provide access and seating for wheelchairs and mobility aids. Please let the box office know of your requirements when booking.

West Australian Ballet

WAB has a long history of providing people with limited access to the arts the opportunity to share in the magic of live ballet performances. They believe the arts plays a huge role in healing and connecting our community. By working in partnership with various community support organisations we want people experiencing disadvantage to feel welcome, valued and a part of the WA community.

WAB’s Community Matinée and Jumpstart Dress Rehearsal programs have brought joy, inspiration and respite to the people most in need.

West Australian Symphony Orchestra

WASO encourages people with disability to apply for work experience or co-curriculum placements.

WASO has a strong relationship with several schools Special Educational Needs departments, and this program allows them to share their music with students with disabilities in the comfort of their school environment such as Harmony Music.

Harmony Music – a program for children with special educational needs in five schools, and Crescendo program that operates in two Primary schools in Kwinana. These programs see small ensembles perform informal classroom presentations, share stories about life working in an orchestra and introduce students to the instruments of the orchestra through interactive have-a-go sessions and performances of well-known and popular repertoire.

Hospital Orchestra Project (HOP) - Profiled at the 8th Annual International Arts and Healthcare Conference and featured on the front cover of The Chamber of Arts and Culture Western Australia's Report on the 'Examination of the Use of Arts to Improve Health and Healing in Western Australian Hospitals', HOP has been running since 2008 in partnership with the School of Special Educational Needs: Medical and Mental Health.

Through HOP WASO provides vital emotionally supportive experiences, a connection to the community outside hospital and access to The Arts Learning Area through the presentation of a broad range of performance and participatory music programs, as well as visits to children in classrooms and on the wards.

Music for The Ages - This program has been designed to reach individuals who are unable to attend a symphony orchestra concert or rehearsal. It provides engaging chamber ensemble performances across the Aged Care and Healthcare Sectors and encourages a lifelong journey with WASO's music and musicians.

CONNECT - this program provided avenues for adults with disabilities to enjoy the orchestra in tailored open rehearsals.

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