Protest is the right of all artists. Photo by Oladimeji Odunsi on Unsplash
It is unclear just how many artists with disabilities identify themselves as activists in Australia, but many would argue that the very act of going about their daily lives and making work as professional artists living with disability, is a statement of defiance and advocacy.
It was a topic that UK artist and Disability Arts Advocate, Rachel Gadsden made in her keynote address, Making it Happen Today, at the recent Arts Activated Conference 2019 in Sydney.
‘As a disabled person many of us have challenges daily and they can get on top of you … I have to use my activism to ensure that generations beyond me have an easier ride than I have had,’ said Gadsden.
‘Sometimes I wonder if I am out of my depth, but I know that if we all do what we need to do, it is that connective voice that will come together and change who we are, and how the world sees us,’ she continued.
Gadsden made the shift from a traditional studio practice to one that is collaborative, working cross-disciplinary and across geographical boarders since 2007. She had been invited to be an artist in residency at Hampton Court Palace (UK), the first artist in 400 years, or since Holbein.
‘I had a very public year and I became aware that this constant interaction with people was something that inspired me and generated the work I was creating – it took a very psycho-geographic view,’ she explained.
That collaborative voice for change is a point that Robin Lynne Marquis believes can be bought into the institution.
‘Institutions are built on communities so if you remember that – remember where we come from – then you are going to be naturally inclusive,’ said Marquis.
Marquis has over 15 years of experience in small community focused organisations in Washington DC and Baltimore (USA) – what she described as ‘institutions with zero resources’.
She currently works as the Access Smithsonian Project and Community Outreach Coordinator at The Smithsonian Institution. Marquis joined department director Beth Ziebarth at The Smithsonian Institution for a second keynote at the conference titled Making Cultural Venues Work For Everyone.
Ziebarth says she is most proud of the fact that other staff care enough now to ‘take on’ the work even when it is not required of them. ‘They’re motivated to make sure that their organisation is inclusive,’ she added.
This is what advocacy looks like when it has punched beyond the barriers.
The burden of responsibility as an activist
Gadsden believes it is often the simple acts of activism that we need to push for most.
‘I can’t travel on my own, and I will go into board meetings or CEO meetings with commissions and they will say, “No we don’t pay for someone to come with you – our Directors can’t even do that – we couldn’t possible do it for artists.” But I have learnt to say, “Hang on a minute, I need this because it is part of my work.” It is humiliating, but every time I shout and say, “This is what I need”, it means the next person will get an easier time,’ Gadsden said.
She admitted that she does feel the weight of the responsibility that comes with being an advocate and activist.
‘Recently I have been doing a lot of work in Palestine. You work with women who are just trying to survive. I can’t fix any of that; I can’t fix that conflict – but what I can fix is to give those women the opportunity to say – through creativity – how they feel, and when her voice is out there, that will enable politicians and other people to be able to pick up on what is happening,’ said Gadsden.
Her message was clear – it is about voice and visibility. There is no dignity in being rendered invisible.
Read: Leading for change – who’s leading disability arts?
Having worked in the arts disability sector for 31 years, Ziebarth is of the feeling that the hard work for change is being felt. ‘Younger people with disability, who have grown up with accessibility being the law of the land, for them the challenges in trans-accessibility are very diff now.’
Marquis continued: ‘We come from different generation where it is: “OK let’s just do this now, make it happen”. I think communities – and my generation – can learn from institutions in how to pay attention to the long haul. This is really slow work and you forget that sometimes, so remembering that long process is really important [to sustain that advocacy].’
Embracing failure
Ziebarth said that while the community part of the work is essential – listening to the disability community – also speaking with other arts cultural organisations is critical to advancing acceptance and inclusion.
‘Having the opportunity to share successes and failures, and being really open about those failures, is really important,’ said Ziebarth.
‘[Over the years] I have seen how all the good ideas come around again, and again. You can re-examine the idea and see if anything has changed in the environment – maybe this old idea has something for this time, or if there was a lot of cautionary things it is a reminder that there was a really good reason why not do it now. Sharing info and practices is key to having more accessible culture and arts environment.’
‘It is not hierarchical,’ Gadsden added. She said that her mentors are her collaborators.
‘Sometimes as artists we just react to what is happening at the time – you take on the opportunities that come your way – and it is really only years later that you start to think about what you have done.
‘I have failed more than anyone,’ continued Gadsden. ‘The only way you get work is if you apply a lot, and if you apply a lot, you fail a lot too. The art world is very competitive; it’s part of what being an artist is about – not what being a disabled person is about – but being an artist.’
This discussion was presented at The Arts Activated 2019 Conference, 22-23 August.
The writer was a conference guest of Accessible Arts.
