Q: Overview

The field of access is changing all the time, in line with developments in how we use technology, and our evolving expectations and experiences of art and culture. In cinemas for example, more people are able to use glasses which show captions within them, rather than having to wait until a subtitled screening time, which is often at an inconvenient or unsociable hour. Gaming and interactive tools have become a greater feature of artistic works than before, and the shutdown of venues during the pandemic changed many people’s habits and behaviours. Some venues are adapting their programmes to build back audience numbers, and while there is a risk that things may return to inaccessible models from the past, it might also prove to be fertile ground for new collaborations, where works with embedded access are appreciated in ways they were not before.

Question 1

Suggested steps

Accepted Answer

	1. Consider why the commission is taking place, and the sought-for benefits or outcomes for you and the disabled artist. What is the basis of the commission, and how will you frame your messaging in the recruitment and delivery phases to avoid common pitfalls around stereotyping?
	2. Consult with disabled people/disability-led groups to inform yourself where you have knowledge gaps. The artist should be asked to identify their support needs and it is these needs that are to be addressed. Merely asking someone if they are disabled and then guessing or assuming what their access needs will cause problems. Equally, don’t expect the commissioned artist to know everything that you do not, or act as a consultant when they are principally a creative leading on a project.
	Identify the commission’s critical path and at what steps along it might an individual require access support, and in what form might this be provided. Support with completing an application may involve a very different kind of skill or input compared to communication support at meetings and events. Consider the different phases and what the artist is expected to do - what kind of facilities might they need and how much travel might be involved? How much of the process can be streamlined and can this feed back into streamlining the way you commission more generally?
	Build access costs into your budget on an informed basis - the panning above will help with this. Not sure what these costs might be? Revert to Point 2.
	Linking to Point 1, consider the commission’s legacy and how you might build on the results of the commission in terms of learning and confidence. While you should not expect the artist to haul in new audiences by virtue of their disabled identity, it may be that audiences you previously found hard to reach or did not have connection with at all, responded to the artist and their work. Monitoring audience responses in an accessible and imaginative way can provide key insights into ensuring these audiences return, combined with programming relevant to their interests of course.
	Every commission will have its high and lows on its way to bringing something new into the world. Using the commissioning process to try out new things, experiment, and take risks is likely to be integral to the way you work as a commissioner, or creative entity. Commissioning a disabled artist ought to be just the same process of blended excitement, creativity and planning, with support put in place as appropriate to keep things running smoothly. By taking a few additional planning steps and being prepared to ask the right questions, have an honest conversation here and there, the ‘risk’ element can remain centred in the work and its creative impact, not in the way you are delivering it.

Interested in knowing more about the artists Shape supports?

Browse our artist profiles

Want to find out about the commissions and projects we've worked on before?

Check out Shape's commissions

Uncertain about starting out? Contact us to find out how we might be able to support you with consultancy and training.

Email training@shapearts.org.uk

Question 2

Promoting choice

Accepted Answer

	1. Consider why the commission is taking place, and the sought-for benefits or outcomes for you and the disabled artist. What is the basis of the commission, and how will you frame your messaging in the recruitment and delivery phases to avoid common pitfalls around stereotyping?
	2. Consult with disabled people/disability-led groups to inform yourself where you have knowledge gaps. The artist should be asked to identify their support needs and it is these needs that are to be addressed. Merely asking someone if they are disabled and then guessing or assuming what their access needs will cause problems. Equally, don’t expect the commissioned artist to know everything that you do not, or act as a consultant when they are principally a creative leading on a project.
	Identify the commission’s critical path and at what steps along it might an individual require access support, and in what form might this be provided. Support with completing an application may involve a very different kind of skill or input compared to communication support at meetings and events. Consider the different phases and what the artist is expected to do - what kind of facilities might they need and how much travel might be involved? How much of the process can be streamlined and can this feed back into streamlining the way you commission more generally?
	Build access costs into your budget on an informed basis - the panning above will help with this. Not sure what these costs might be? Revert to Point 2.
	Linking to Point 1, consider the commission’s legacy and how you might build on the results of the commission in terms of learning and confidence. While you should not expect the artist to haul in new audiences by virtue of their disabled identity, it may be that audiences you previously found hard to reach or did not have connection with at all, responded to the artist and their work. Monitoring audience responses in an accessible and imaginative way can provide key insights into ensuring these audiences return, combined with programming relevant to their interests of course.
	Every commission will have its high and lows on its way to bringing something new into the world. Using the commissioning process to try out new things, experiment, and take risks is likely to be integral to the way you work as a commissioner, or creative entity. Commissioning a disabled artist ought to be just the same process of blended excitement, creativity and planning, with support put in place as appropriate to keep things running smoothly. By taking a few additional planning steps and being prepared to ask the right questions, have an honest conversation here and there, the ‘risk’ element can remain centred in the work and its creative impact, not in the way you are delivering it.

Question 3

Disclosure

Accepted Answer

	1. Consider why the commission is taking place, and the sought-for benefits or outcomes for you and the disabled artist. What is the basis of the commission, and how will you frame your messaging in the recruitment and delivery phases to avoid common pitfalls around stereotyping?
	2. Consult with disabled people/disability-led groups to inform yourself where you have knowledge gaps. The artist should be asked to identify their support needs and it is these needs that are to be addressed. Merely asking someone if they are disabled and then guessing or assuming what their access needs will cause problems. Equally, don’t expect the commissioned artist to know everything that you do not, or act as a consultant when they are principally a creative leading on a project.
	Identify the commission’s critical path and at what steps along it might an individual require access support, and in what form might this be provided. Support with completing an application may involve a very different kind of skill or input compared to communication support at meetings and events. Consider the different phases and what the artist is expected to do - what kind of facilities might they need and how much travel might be involved? How much of the process can be streamlined and can this feed back into streamlining the way you commission more generally?
	Build access costs into your budget on an informed basis - the panning above will help with this. Not sure what these costs might be? Revert to Point 2.
	Linking to Point 1, consider the commission’s legacy and how you might build on the results of the commission in terms of learning and confidence. While you should not expect the artist to haul in new audiences by virtue of their disabled identity, it may be that audiences you previously found hard to reach or did not have connection with at all, responded to the artist and their work. Monitoring audience responses in an accessible and imaginative way can provide key insights into ensuring these audiences return, combined with programming relevant to their interests of course.
	Every commission will have its high and lows on its way to bringing something new into the world. Using the commissioning process to try out new things, experiment, and take risks is likely to be integral to the way you work as a commissioner, or creative entity. Commissioning a disabled artist ought to be just the same process of blended excitement, creativity and planning, with support put in place as appropriate to keep things running smoothly. By taking a few additional planning steps and being prepared to ask the right questions, have an honest conversation here and there, the ‘risk’ element can remain centred in the work and its creative impact, not in the way you are delivering it.

For example, if paying for the services of a support worker on a particular day, is it possible (without being counterproductive to anyone’s wellbeing) to group meetings or sessions together on that day, to prevent having to pay for a series of individual bookings, which are likely to be higher, when call-out and travel costs are factored in?

Pink digital image of a calendar and clock face

Overall, the more planning is in hand, the easier it will be to identify opportunities to make the access budget stretch further.

Over a period of time, you may find that one project incurs low access costs and in the next project these costs are much higher. Building in contingency funding for access in each project can help with unforeseen or escalated expenses.

Question 4

Checking on access needs

Accepted Answer

	1. Consider why the commission is taking place, and the sought-for benefits or outcomes for you and the disabled artist. What is the basis of the commission, and how will you frame your messaging in the recruitment and delivery phases to avoid common pitfalls around stereotyping?
	2. Consult with disabled people/disability-led groups to inform yourself where you have knowledge gaps. The artist should be asked to identify their support needs and it is these needs that are to be addressed. Merely asking someone if they are disabled and then guessing or assuming what their access needs will cause problems. Equally, don’t expect the commissioned artist to know everything that you do not, or act as a consultant when they are principally a creative leading on a project.
	Identify the commission’s critical path and at what steps along it might an individual require access support, and in what form might this be provided. Support with completing an application may involve a very different kind of skill or input compared to communication support at meetings and events. Consider the different phases and what the artist is expected to do - what kind of facilities might they need and how much travel might be involved? How much of the process can be streamlined and can this feed back into streamlining the way you commission more generally?
	Build access costs into your budget on an informed basis - the panning above will help with this. Not sure what these costs might be? Revert to Point 2.
	Linking to Point 1, consider the commission’s legacy and how you might build on the results of the commission in terms of learning and confidence. While you should not expect the artist to haul in new audiences by virtue of their disabled identity, it may be that audiences you previously found hard to reach or did not have connection with at all, responded to the artist and their work. Monitoring audience responses in an accessible and imaginative way can provide key insights into ensuring these audiences return, combined with programming relevant to their interests of course.
	Every commission will have its high and lows on its way to bringing something new into the world. Using the commissioning process to try out new things, experiment, and take risks is likely to be integral to the way you work as a commissioner, or creative entity. Commissioning a disabled artist ought to be just the same process of blended excitement, creativity and planning, with support put in place as appropriate to keep things running smoothly. By taking a few additional planning steps and being prepared to ask the right questions, have an honest conversation here and there, the ‘risk’ element can remain centred in the work and its creative impact, not in the way you are delivering it.

Find out more about Access Riders

Pink digital image of 4 arrows arranged in a cycle

Pink digital image of two hands signing (BSL)

In planning your access budget, consider the full cycle of the project and to what degree the artist may be involved in public-facing activities. As this is also an area where access support may be needed.

Access support can come in a number of forms, and some of this may be delivered by people with specific skills sets or qualifications (for example sign language interpreters or PAs,) who usually charge at rates in line with their experience.

Pink digital image of two people in conversations with speech bubbles

The artist in question may have an existing person or people who provide them with support, or they may not. They may have some form of external funding in place to pay for such support (like Access to Work) or they may not.

Artists may have preferences about the kind of support they receive. The key is to ask the questions without making prior assumptions. Open and honest discussions about this are not just useful, but essential to ensure a smooth path ahead.

Check out our resource on developing an accessible project for some practical tips and suggestions:

Developing an accessible project resource

Some artists may have reason (based on previous negative experiences) to be hesitant about asking for support or guidance, and in some cases even fully disclosing their access needs.

One way to standardise this process and prevent things slipping through the cracks, is to build an access support check into any review points or milestone meetings. This can be an opportunity to check in on any wider issues that might get overlooked when people are busy on the project. Having a main contact who oversees the relationship can be helpful to build in consistency.

Pink digital image of a pound money sign.

Again, thinking about how this is communicated, what budget do you have for access provision and do you know what kinds of access provision might be used by the people you are targeting?

Consider how the process can be streamlined to achieve the same results. You may find that following it, you end up streamlining all your recruitment processes of this kind, no matter who you are targeting.

Question 5

Recruitment phase

Accepted Answer

Pink digital image of a sign post with arrows pointing in opposite directions

Planning the artist’s route through the project, from selection to the execution of the work, will help you set out an accessible foundation for them. It will mean it is less likely that you will be reacting to events, and instead using your resources and energy to guide their course - as you would usually expect to do.

Getting your recruitment or selection right is critical to the success of the commission. The commission should be founded on the quality of the resulting work or contribution, and to ensure this, the recruitment process should have the usual rigour to it.

Pink logo of a page with a checklist and pencil.

Part of this involves requiring the artist to have a certain amount of skill or experience. The main caveat we suggest you consider here is:

Whether you are setting the bar at an appropriate level for disabled artists

or
Or whether this is ruling out people who, with a certain amount of support, could deliver the commission equally as well, or better

Diagram showing different options moving forward.

In particular, if you are running the commission in part to scout new and emerging talent, then some flexibility here can be rewarding for all concerned.

The reason to say this is that there is a lack of high quality and accessible opportunities for disabled artists, giving them much less of a chance to broaden and deepen their experience.

Disabled artists often find that their career starts to stall very early, when they come up against barriers to entry (finding a studio, financial issues, dealing with applications and processes), and end up applying for opportunities at a certain grade or level many years later than their non-disabled peers.

Pink digital image of two hands signing (BSL)

Pink digital audio symbol

Pink digital video symbol

In addition to this, it is important to ensure your call out is accessible to disabled candidates and that you provide comprehensive information phrased to encourage disabled artists to apply.

Providing a range of application formats will reach people for whom purely text based documentation is inaccessible. Consider including visual material and audio versions of your documents, for example.

Because of the reasons given above, many disabled artists may be apprehensive about applying, fearing they lack the talent or experience required, or they may not be clear on what the commission involves them doing, or if support is provided.

Check out our Ways of Seeing resource

Pink digital image of two hands touching.

Simple steps can include providing a contact number or email address offering support with an application. Using welcoming language that is clear in its intentions, around targeting disabled candidates.

Also, consider ways that you could break information down regarding the commission, and allow for people to ask questions.

For example, disabled people receiving benefits may have concerns about how commission payments might work alongside this.

Pink digital image of a person and a speech bubble containing a question mark.

Apart from offering support with an application, you could run a session where access support is provided and someone in your team goes through what the commission involves and answers questions from potential candidates directly. It could be recorded in a way that benefits those unable to attend in person.

There can be hidden benefits to doing this, in terms of understanding how clear your messaging is. Also, the questions you are asked at such an early stage, and by people who might be unfamiliar with you and your work, can be very instructive about areas of planning you may not have thought of previously.

Learn about arranging accessible interviews and meetings

Pink digital diagram of a watch on a persons wrist.

Digital pink image of a diagram of multiple people connected in a network.

Any application process can take time and be demanding for an individual, requiring some people to give up precious time and energy they might devote to other important areas. With no guarantee of success, this can be daunting for disabled people considering making any kind of application.

One approach that is more supportive is to invite applications from a pool of candidates, and provide them with a fee to take account of their time, while offering them support and advice while they work up a proposal.

The advantage of this is that it may introduce you to a variety of new artistic talent without the (often anonymous) admin process involved in a standard call out.

Rather than all the focus being on one individual who may win the commission, it can help to connect you to a wider range of artists, and vice versa.

Digital pink logo. An outline of a lightbulb.

There is a better risk and reward dynamic involved, and an opportunity for less experienced artists to gain valuable experience in creating a proposal that may help them in other areas, where they are applying for funding or describing their work to others. It may encourage them to apply where often they may not do so.

If you plan things on a flexible basis, remember: this itself is a form of access support.

Question 6

The information gap

Accepted Answer

	1. Consider why the commission is taking place, and the sought-for benefits or outcomes for you and the disabled artist. What is the basis of the commission, and how will you frame your messaging in the recruitment and delivery phases to avoid common pitfalls around stereotyping?
	2. Consult with disabled people/disability-led groups to inform yourself where you have knowledge gaps. The artist should be asked to identify their support needs and it is these needs that are to be addressed. Merely asking someone if they are disabled and then guessing or assuming what their access needs will cause problems. Equally, don’t expect the commissioned artist to know everything that you do not, or act as a consultant when they are principally a creative leading on a project.
	Identify the commission’s critical path and at what steps along it might an individual require access support, and in what form might this be provided. Support with completing an application may involve a very different kind of skill or input compared to communication support at meetings and events. Consider the different phases and what the artist is expected to do - what kind of facilities might they need and how much travel might be involved? How much of the process can be streamlined and can this feed back into streamlining the way you commission more generally?
	Build access costs into your budget on an informed basis - the panning above will help with this. Not sure what these costs might be? Revert to Point 2.
	Linking to Point 1, consider the commission’s legacy and how you might build on the results of the commission in terms of learning and confidence. While you should not expect the artist to haul in new audiences by virtue of their disabled identity, it may be that audiences you previously found hard to reach or did not have connection with at all, responded to the artist and their work. Monitoring audience responses in an accessible and imaginative way can provide key insights into ensuring these audiences return, combined with programming relevant to their interests of course.
	Every commission will have its high and lows on its way to bringing something new into the world. Using the commissioning process to try out new things, experiment, and take risks is likely to be integral to the way you work as a commissioner, or creative entity. Commissioning a disabled artist ought to be just the same process of blended excitement, creativity and planning, with support put in place as appropriate to keep things running smoothly. By taking a few additional planning steps and being prepared to ask the right questions, have an honest conversation here and there, the ‘risk’ element can remain centred in the work and its creative impact, not in the way you are delivering it.

For example, for a deaf BSL user attending a screening or performance, the information they are missing is the dialogue - the spoken parts. A sign language interpreter therefore has the role of conveying this information to bridge the gap.

In the case of a blind or partially sighted person, an audio describer can bridge the information gap by describing movements or changes to a setting that are not conveyed through sound or dialogue.

By considering access as information, it becomes easier to consider where these gaps might arise and for whom they have an impact.

Below are some examples of access curation in practice:

If we were devising a performance piece with the intention of making it accessible to both deaf and blind/partially sighted audiences, then in considering how to bridge the information gaps, we could explore options to embed audio description, captioning, and signing.

If the piece worked to a fixed script, then pre-recorded sign language interpretation and captions could appear in certain settings via projections. This could be done in a discrete way to match the style, era, or other aspect of the setting, or imaginatively, for example, with characters carrying small projectors with them that fire against walls or hangings as they move around the set.

Alternatively the piece might be devised to include a BSL signer in the cast so that signed dialogue is inbuilt throughout. While audio description could be conveyed in a conventional way, through earpieces to those opting to use them, it’s also possible that conveying the features of a setting or key movements and changes could be embedded into dialogue or a soundtrack.

The writer or dramaturge, as they begin to consider these approaches, may find themselves opting for a multi-access embedded result - or they may favour one route as the embedded route, and leave other access options to be included through discussion with the venue.

It often depends on how seamlessly aspects of access can be embedded so as not to distract or overwhelm your audience or find alternative formats competing with the work itself.

A blind artist devising an exhibition might have as their starting point the intention of displacing the visual, and promoting the experience of touch or sound. In factoring in the audience experience, they may wish to elevate the experience of visitors with a visual impairment, and the resulting show will be, for that particular community, accessible in a way that other exhibitions may not be.

Addressing the access needs of people outside of that impairment group may then depend on their experience in this area, or on discussions with the host gallery or other collaborators.

The issue of embedding access may often be about addressing existing curatorial rules or practice.

For example, an artist might be casting a sculpture for a particular space where sounds travels well. The existing expectation may be that such a work is to be isolated in some way, but the artist may view this as an opportunity for a work to be both touched and even struck in a way that generates sound.

On this basis, the work becomes accessible to wider groups of people who may have impairments, yet we know that these experiences may be different to one another and are not 100% translatable or interchangeable with another. For a deaf person, they may see, touch, and feel the reverberation of the struck work. For a blind or partially sighted person, they may touch and hear the work being struck, and to some degree be able to view it in the space, or wish to listen to descriptions of its appearance.

Neither impairment group has the exact same experience of the work, yet it is clear that we are in a very different and much more highly engaged scenario than if the work was to be seen alone and kept slightly apart for the purposes of making room for people to circulate around it.

Digital pink image of a diagram of multiple people connected in a network.

Pink digital image illustrating a bar chart increasing and a large tick

If we then factor in accessible tours, and accessible formats for discussing the work or having a conversation with the artist, and then broadcasting some or all of this in accessible formats, then the potential for increased numbers of people to appreciate the work, and with deep levels of engagement, are high.

[Include links to other resources for general further reading, both Shape and external]

Once these approaches and ideas are noted, then the next step is to consider to what degree these approaches enhance the artistic aims of the artist or writer.

Disabled creatives may well have an advantage here in bringing in their own lived experience to inform these decisions.

Question 7

Systems to support planning

Accepted Answer

	1. Consider why the commission is taking place, and the sought-for benefits or outcomes for you and the disabled artist. What is the basis of the commission, and how will you frame your messaging in the recruitment and delivery phases to avoid common pitfalls around stereotyping?
	2. Consult with disabled people/disability-led groups to inform yourself where you have knowledge gaps. The artist should be asked to identify their support needs and it is these needs that are to be addressed. Merely asking someone if they are disabled and then guessing or assuming what their access needs will cause problems. Equally, don’t expect the commissioned artist to know everything that you do not, or act as a consultant when they are principally a creative leading on a project.
	Identify the commission’s critical path and at what steps along it might an individual require access support, and in what form might this be provided. Support with completing an application may involve a very different kind of skill or input compared to communication support at meetings and events. Consider the different phases and what the artist is expected to do - what kind of facilities might they need and how much travel might be involved? How much of the process can be streamlined and can this feed back into streamlining the way you commission more generally?
	Build access costs into your budget on an informed basis - the panning above will help with this. Not sure what these costs might be? Revert to Point 2.
	Linking to Point 1, consider the commission’s legacy and how you might build on the results of the commission in terms of learning and confidence. While you should not expect the artist to haul in new audiences by virtue of their disabled identity, it may be that audiences you previously found hard to reach or did not have connection with at all, responded to the artist and their work. Monitoring audience responses in an accessible and imaginative way can provide key insights into ensuring these audiences return, combined with programming relevant to their interests of course.
	Every commission will have its high and lows on its way to bringing something new into the world. Using the commissioning process to try out new things, experiment, and take risks is likely to be integral to the way you work as a commissioner, or creative entity. Commissioning a disabled artist ought to be just the same process of blended excitement, creativity and planning, with support put in place as appropriate to keep things running smoothly. By taking a few additional planning steps and being prepared to ask the right questions, have an honest conversation here and there, the ‘risk’ element can remain centred in the work and its creative impact, not in the way you are delivering it.

For example, you may wish to use spreadsheets to monitor your budget and spending, but use a more flexible system to keep track of what tasks are complete or in progress. Software like Open Office contains free spreadsheet, presentation and word processing documents which work on most computer systems. Some tools, such as Trello, allow team members to keep lists tracking their work that use visual and audio content as well as text. These platforms are free to use (at the time of writing) but may charge for certain services or features. The same applies for software like Discord and Slack. Many people find Google Docs have good levels of accessibility, and with a Google account this opens up use of folder sharing and storage through Google Drive as well as virtual hangouts and calendar and email integration.

Tapping into your team's creativity when organising your project can be a great way to make the most of the experience. Using systems that allow for everyone to contribute, no matter what format or media they prefer, supports this well. Above all, it supports the flow of ideas and communication.

Are all these systems accessible to all the team? You may be fortunate in all your team being able to use the same tools, but sometimes this will not be the case.

For example, the person tracking the budget may find spreadsheets accessible while other team members may not. When the team's access needs are known from the outset, it should be easier to create workarounds that ensure everyone is informed and supported, therefore able to do their tasks and support the wider team. In the case of spreadsheets, there is flexibility to redesign them with access needs and barriers in mind, but you may also prefer to visually represent the data through things like charts and infographics, or simply to talk through the material in conversation.

It's all about what works for your team, so the right people have the right information at the right time.

Question 8

People: communication

Accepted Answer

	1. Consider why the commission is taking place, and the sought-for benefits or outcomes for you and the disabled artist. What is the basis of the commission, and how will you frame your messaging in the recruitment and delivery phases to avoid common pitfalls around stereotyping?
	2. Consult with disabled people/disability-led groups to inform yourself where you have knowledge gaps. The artist should be asked to identify their support needs and it is these needs that are to be addressed. Merely asking someone if they are disabled and then guessing or assuming what their access needs will cause problems. Equally, don’t expect the commissioned artist to know everything that you do not, or act as a consultant when they are principally a creative leading on a project.
	Identify the commission’s critical path and at what steps along it might an individual require access support, and in what form might this be provided. Support with completing an application may involve a very different kind of skill or input compared to communication support at meetings and events. Consider the different phases and what the artist is expected to do - what kind of facilities might they need and how much travel might be involved? How much of the process can be streamlined and can this feed back into streamlining the way you commission more generally?
	Build access costs into your budget on an informed basis - the panning above will help with this. Not sure what these costs might be? Revert to Point 2.
	Linking to Point 1, consider the commission’s legacy and how you might build on the results of the commission in terms of learning and confidence. While you should not expect the artist to haul in new audiences by virtue of their disabled identity, it may be that audiences you previously found hard to reach or did not have connection with at all, responded to the artist and their work. Monitoring audience responses in an accessible and imaginative way can provide key insights into ensuring these audiences return, combined with programming relevant to their interests of course.
	Every commission will have its high and lows on its way to bringing something new into the world. Using the commissioning process to try out new things, experiment, and take risks is likely to be integral to the way you work as a commissioner, or creative entity. Commissioning a disabled artist ought to be just the same process of blended excitement, creativity and planning, with support put in place as appropriate to keep things running smoothly. By taking a few additional planning steps and being prepared to ask the right questions, have an honest conversation here and there, the ‘risk’ element can remain centred in the work and its creative impact, not in the way you are delivering it.

Question 9

Individual or community?

Accepted Answer

	1. Consider why the commission is taking place, and the sought-for benefits or outcomes for you and the disabled artist. What is the basis of the commission, and how will you frame your messaging in the recruitment and delivery phases to avoid common pitfalls around stereotyping?
	2. Consult with disabled people/disability-led groups to inform yourself where you have knowledge gaps. The artist should be asked to identify their support needs and it is these needs that are to be addressed. Merely asking someone if they are disabled and then guessing or assuming what their access needs will cause problems. Equally, don’t expect the commissioned artist to know everything that you do not, or act as a consultant when they are principally a creative leading on a project.
	Identify the commission’s critical path and at what steps along it might an individual require access support, and in what form might this be provided. Support with completing an application may involve a very different kind of skill or input compared to communication support at meetings and events. Consider the different phases and what the artist is expected to do - what kind of facilities might they need and how much travel might be involved? How much of the process can be streamlined and can this feed back into streamlining the way you commission more generally?
	Build access costs into your budget on an informed basis - the panning above will help with this. Not sure what these costs might be? Revert to Point 2.
	Linking to Point 1, consider the commission’s legacy and how you might build on the results of the commission in terms of learning and confidence. While you should not expect the artist to haul in new audiences by virtue of their disabled identity, it may be that audiences you previously found hard to reach or did not have connection with at all, responded to the artist and their work. Monitoring audience responses in an accessible and imaginative way can provide key insights into ensuring these audiences return, combined with programming relevant to their interests of course.
	Every commission will have its high and lows on its way to bringing something new into the world. Using the commissioning process to try out new things, experiment, and take risks is likely to be integral to the way you work as a commissioner, or creative entity. Commissioning a disabled artist ought to be just the same process of blended excitement, creativity and planning, with support put in place as appropriate to keep things running smoothly. By taking a few additional planning steps and being prepared to ask the right questions, have an honest conversation here and there, the ‘risk’ element can remain centred in the work and its creative impact, not in the way you are delivering it.

For example, your organisation may have gained confidence and raised its ambitions around working with deaf communities, and now wishes to commission a deaf artist to lead on a series of engagements with that community.

This can be done through informal meetings or focus group-type research, or working with a deaf-led company as a partner. The latter approach, often thought of as a co-production approach, can yield numerous benefits, and removes the reliance on you having to work out for yourself the best route through, having canvassed a variety of viewpoints.

This kind of discussion can also help you to determine your project’s legacy, so that the same community is not left hanging after the event is over.

Pink digital image of a group of people with one person left out.

Disabled artists rightly have concerns that these kinds of processes serve a limited purpose, after which the artist is jettisoned and the community they are a part of no longer has a meaningful link to the venue or agency concerned.

While it is true that no venue would be expected to endlessly re-commission the same artist or re-run the same project, thought should be given early on as to how to build on learnings or success in a meaningful rather than a tokenistic way.

For example, artists might become associates of your venue or programme, continuing to provide input on selection panels or programming. Any access working party the venue draws ideas and information from could benefit from that community’s representation in the future.

Question 10

Access curation

Accepted Answer

	1. Consider why the commission is taking place, and the sought-for benefits or outcomes for you and the disabled artist. What is the basis of the commission, and how will you frame your messaging in the recruitment and delivery phases to avoid common pitfalls around stereotyping?
	2. Consult with disabled people/disability-led groups to inform yourself where you have knowledge gaps. The artist should be asked to identify their support needs and it is these needs that are to be addressed. Merely asking someone if they are disabled and then guessing or assuming what their access needs will cause problems. Equally, don’t expect the commissioned artist to know everything that you do not, or act as a consultant when they are principally a creative leading on a project.
	Identify the commission’s critical path and at what steps along it might an individual require access support, and in what form might this be provided. Support with completing an application may involve a very different kind of skill or input compared to communication support at meetings and events. Consider the different phases and what the artist is expected to do - what kind of facilities might they need and how much travel might be involved? How much of the process can be streamlined and can this feed back into streamlining the way you commission more generally?
	Build access costs into your budget on an informed basis - the panning above will help with this. Not sure what these costs might be? Revert to Point 2.
	Linking to Point 1, consider the commission’s legacy and how you might build on the results of the commission in terms of learning and confidence. While you should not expect the artist to haul in new audiences by virtue of their disabled identity, it may be that audiences you previously found hard to reach or did not have connection with at all, responded to the artist and their work. Monitoring audience responses in an accessible and imaginative way can provide key insights into ensuring these audiences return, combined with programming relevant to their interests of course.
	Every commission will have its high and lows on its way to bringing something new into the world. Using the commissioning process to try out new things, experiment, and take risks is likely to be integral to the way you work as a commissioner, or creative entity. Commissioning a disabled artist ought to be just the same process of blended excitement, creativity and planning, with support put in place as appropriate to keep things running smoothly. By taking a few additional planning steps and being prepared to ask the right questions, have an honest conversation here and there, the ‘risk’ element can remain centred in the work and its creative impact, not in the way you are delivering it.

Question 11

What access support is available?

Accepted Answer

	1. Consider why the commission is taking place, and the sought-for benefits or outcomes for you and the disabled artist. What is the basis of the commission, and how will you frame your messaging in the recruitment and delivery phases to avoid common pitfalls around stereotyping?
	2. Consult with disabled people/disability-led groups to inform yourself where you have knowledge gaps. The artist should be asked to identify their support needs and it is these needs that are to be addressed. Merely asking someone if they are disabled and then guessing or assuming what their access needs will cause problems. Equally, don’t expect the commissioned artist to know everything that you do not, or act as a consultant when they are principally a creative leading on a project.
	Identify the commission’s critical path and at what steps along it might an individual require access support, and in what form might this be provided. Support with completing an application may involve a very different kind of skill or input compared to communication support at meetings and events. Consider the different phases and what the artist is expected to do - what kind of facilities might they need and how much travel might be involved? How much of the process can be streamlined and can this feed back into streamlining the way you commission more generally?
	Build access costs into your budget on an informed basis - the panning above will help with this. Not sure what these costs might be? Revert to Point 2.
	Linking to Point 1, consider the commission’s legacy and how you might build on the results of the commission in terms of learning and confidence. While you should not expect the artist to haul in new audiences by virtue of their disabled identity, it may be that audiences you previously found hard to reach or did not have connection with at all, responded to the artist and their work. Monitoring audience responses in an accessible and imaginative way can provide key insights into ensuring these audiences return, combined with programming relevant to their interests of course.
	Every commission will have its high and lows on its way to bringing something new into the world. Using the commissioning process to try out new things, experiment, and take risks is likely to be integral to the way you work as a commissioner, or creative entity. Commissioning a disabled artist ought to be just the same process of blended excitement, creativity and planning, with support put in place as appropriate to keep things running smoothly. By taking a few additional planning steps and being prepared to ask the right questions, have an honest conversation here and there, the ‘risk’ element can remain centred in the work and its creative impact, not in the way you are delivering it.

For example, arranging meeting times to suit a team member who has difficulty concentrating at particular times of the day, or using a tool for communication that is accessible for all team members. As with your project tracking tools, certain communication platforms such as Zoom, Slack, or Discord can provide alternative ways of meeting and sharing information that might be more accessible than relying exclusively on text-based systems such as email.

Pink digital image of two hands touching.

Pink digital image of a qualification certificate.

Access support workers are people who take on the responsibilities and duties that present barriers to the disabled person working on the project, functioning as support for their role.

What these duties are will depend on the disabled person's role in the project and the barriers they anticipate facing. The support worker will be selected for the job according to their skills and experience.

For some areas, they may need certain qualifications or to have passed particular checks, particularly if their role entails any personal care or support.

Other roles where the support worker might need specific skills include communication support, such as speech to text reporting or sign language interpretation.

Digital pink image of a magnifying glass with an exclamation mark in it.

Pink digital icon of two people with speech bubbles above their head.

If the access needs of the team are known, then barriers can be identified through discussion, and adjustments and provisions put in place before the project gets underway.

The resources you need to do this may be external, like funding from Access to Work or elsewhere, but barriers might not always require funding to navigate, instead requiring a certain atmosphere or working relationship in order to best suit individual needs.

It can be useful for yourself and your team to keep a record of individual access needs through the creation of Access Riders. Don't forget that the focus is on what support they require in order to do their job.

Find out more about Access Riders

Pink digital image of a fluctuating line.

It's important to remember that access needs can fluctuate. You should encourage honesty and openness while discussing the barriers you and your team face in order to best plan to support one another.

Some people may have had negative experiences when disclosing their access needs in the past, possibly because their needs were misunderstood or the information held against them. You should bear this in mind and ensure discussions around individual access needs are sensitively handled.

You will need to obtain their consent to hold personal information and keep it somewhere secure.

Question 12

What do we mean by 'embedded access'?

Accepted Answer

	1. Consider why the commission is taking place, and the sought-for benefits or outcomes for you and the disabled artist. What is the basis of the commission, and how will you frame your messaging in the recruitment and delivery phases to avoid common pitfalls around stereotyping?
	2. Consult with disabled people/disability-led groups to inform yourself where you have knowledge gaps. The artist should be asked to identify their support needs and it is these needs that are to be addressed. Merely asking someone if they are disabled and then guessing or assuming what their access needs will cause problems. Equally, don’t expect the commissioned artist to know everything that you do not, or act as a consultant when they are principally a creative leading on a project.
	Identify the commission’s critical path and at what steps along it might an individual require access support, and in what form might this be provided. Support with completing an application may involve a very different kind of skill or input compared to communication support at meetings and events. Consider the different phases and what the artist is expected to do - what kind of facilities might they need and how much travel might be involved? How much of the process can be streamlined and can this feed back into streamlining the way you commission more generally?
	Build access costs into your budget on an informed basis - the panning above will help with this. Not sure what these costs might be? Revert to Point 2.
	Linking to Point 1, consider the commission’s legacy and how you might build on the results of the commission in terms of learning and confidence. While you should not expect the artist to haul in new audiences by virtue of their disabled identity, it may be that audiences you previously found hard to reach or did not have connection with at all, responded to the artist and their work. Monitoring audience responses in an accessible and imaginative way can provide key insights into ensuring these audiences return, combined with programming relevant to their interests of course.
	Every commission will have its high and lows on its way to bringing something new into the world. Using the commissioning process to try out new things, experiment, and take risks is likely to be integral to the way you work as a commissioner, or creative entity. Commissioning a disabled artist ought to be just the same process of blended excitement, creativity and planning, with support put in place as appropriate to keep things running smoothly. By taking a few additional planning steps and being prepared to ask the right questions, have an honest conversation here and there, the ‘risk’ element can remain centred in the work and its creative impact, not in the way you are delivering it.

Question 13

People: roles and responsibilities

Accepted Answer

	1. Consider why the commission is taking place, and the sought-for benefits or outcomes for you and the disabled artist. What is the basis of the commission, and how will you frame your messaging in the recruitment and delivery phases to avoid common pitfalls around stereotyping?
	2. Consult with disabled people/disability-led groups to inform yourself where you have knowledge gaps. The artist should be asked to identify their support needs and it is these needs that are to be addressed. Merely asking someone if they are disabled and then guessing or assuming what their access needs will cause problems. Equally, don’t expect the commissioned artist to know everything that you do not, or act as a consultant when they are principally a creative leading on a project.
	Identify the commission’s critical path and at what steps along it might an individual require access support, and in what form might this be provided. Support with completing an application may involve a very different kind of skill or input compared to communication support at meetings and events. Consider the different phases and what the artist is expected to do - what kind of facilities might they need and how much travel might be involved? How much of the process can be streamlined and can this feed back into streamlining the way you commission more generally?
	Build access costs into your budget on an informed basis - the panning above will help with this. Not sure what these costs might be? Revert to Point 2.
	Linking to Point 1, consider the commission’s legacy and how you might build on the results of the commission in terms of learning and confidence. While you should not expect the artist to haul in new audiences by virtue of their disabled identity, it may be that audiences you previously found hard to reach or did not have connection with at all, responded to the artist and their work. Monitoring audience responses in an accessible and imaginative way can provide key insights into ensuring these audiences return, combined with programming relevant to their interests of course.
	Every commission will have its high and lows on its way to bringing something new into the world. Using the commissioning process to try out new things, experiment, and take risks is likely to be integral to the way you work as a commissioner, or creative entity. Commissioning a disabled artist ought to be just the same process of blended excitement, creativity and planning, with support put in place as appropriate to keep things running smoothly. By taking a few additional planning steps and being prepared to ask the right questions, have an honest conversation here and there, the ‘risk’ element can remain centred in the work and its creative impact, not in the way you are delivering it.

For example: you may be the lead artist working with a producer. You might require access support with managing your diary, organising meetings, keeping records and notes, or assistance with travel.

Two things need doing here:

1. Establish your PA/access worker's role and look at whether this is to be funded within the project or by an external source such as Access to Work.

2. Define the producer's role, which likely includes various kinds of organising. This makes it clear which duties and responsibilities are your own and which are the producer's. The tasks that are your responsibility and require support from an access worker need to be defined and provided to the access worker in the form of a job description.

Find out more about Access to Work

Question 14

Messaging and intention

Accepted Answer

	1. Consider why the commission is taking place, and the sought-for benefits or outcomes for you and the disabled artist. What is the basis of the commission, and how will you frame your messaging in the recruitment and delivery phases to avoid common pitfalls around stereotyping?
	2. Consult with disabled people/disability-led groups to inform yourself where you have knowledge gaps. The artist should be asked to identify their support needs and it is these needs that are to be addressed. Merely asking someone if they are disabled and then guessing or assuming what their access needs will cause problems. Equally, don’t expect the commissioned artist to know everything that you do not, or act as a consultant when they are principally a creative leading on a project.
	Identify the commission’s critical path and at what steps along it might an individual require access support, and in what form might this be provided. Support with completing an application may involve a very different kind of skill or input compared to communication support at meetings and events. Consider the different phases and what the artist is expected to do - what kind of facilities might they need and how much travel might be involved? How much of the process can be streamlined and can this feed back into streamlining the way you commission more generally?
	Build access costs into your budget on an informed basis - the panning above will help with this. Not sure what these costs might be? Revert to Point 2.
	Linking to Point 1, consider the commission’s legacy and how you might build on the results of the commission in terms of learning and confidence. While you should not expect the artist to haul in new audiences by virtue of their disabled identity, it may be that audiences you previously found hard to reach or did not have connection with at all, responded to the artist and their work. Monitoring audience responses in an accessible and imaginative way can provide key insights into ensuring these audiences return, combined with programming relevant to their interests of course.
	Every commission will have its high and lows on its way to bringing something new into the world. Using the commissioning process to try out new things, experiment, and take risks is likely to be integral to the way you work as a commissioner, or creative entity. Commissioning a disabled artist ought to be just the same process of blended excitement, creativity and planning, with support put in place as appropriate to keep things running smoothly. By taking a few additional planning steps and being prepared to ask the right questions, have an honest conversation here and there, the ‘risk’ element can remain centred in the work and its creative impact, not in the way you are delivering it.

For example, there is a huge difference between making statements with a general message, such as:

“We were delighted to further diversify our programme this year with bespoke commissions to people from under-represented communities”

… and messages that are more specific, or focus on an individual, like:

“We look back with great pride at a year of fantastic commissions, including a moving new work by blind artist G”

Does this empower artist G? Or might it risk isolating them in some way?
What is the reason to identify G as a blind artist rather than simply an artist?
Does G describe the work they make as ‘moving’? If they don’t, then where does this idea come from? Try to be conscious of any bias in the language you use.

Context is key, of course. Let’s say you commissioned artist G as one of a group of artists for a project: perhaps they all responded to the same call.

Is there a reason why the disabled artist is identified as such, if the artists are not identified in a similar way with regards to protected characteristics like gender, age, ethnicity, or sexuality?

Pink digital labels

There may be reasons to be transparent about targeting disabled people in particular for your commission - your organisation may wish to demonstrate how it is improving its accessibility and inclusivity - but beyond the recruitment phase, does the awarded artist want or need to be identified as disabled?

In other words, if they do not define themselves by their health condition or impairment, why should you?

And if they do use certain identifiers - for example, an artist might describe themselves as neurodivergent - in which context do they use such a term, and what is its relation to their practice and the way they describe their work, and its relation to the work they are being commissioned for?

One way of approaching varied descriptions of disability and access is allowing artists and team members to share an Access Rider with you.

Find out more about Access Riders

To give another example:

“This year we are commissioning three artists from Scotland and a disabled artist from England.”

This automatically creates a two tier construct in the way that the disabled artist’s work will be approached or received.

The reason we make this point is because often there are lower expectations around work made by disabled people. Whether consciously made or not, the public perception may be that the three works from Scotland are of a certain professional standard, while the work from England has something about it that requires a different kind of evaluation.

Compare this to:

“This year we are commissioning four artists from around the UK, three from Scotland and one from England.”

This latter description creates a level playing field of expectation about the artists and their work.

The follow-on question is likely to be, what if all four artists were disabled?

“This year we are commissioning four disabled artists from around the UK, three from Scotland and one from England.”

This certainly is factual, and treats each artist in the same way. It would work if you were meeting certain funding criteria, targeting support for disabled people, for example. The point is to be aware of the motivation for the commission, and how you achieve consistency of messaging that is helpful to disabled communities.

Pink digital image of a paint brush and palette.

As mentioned, there may be occasions where the artists are profiled individually. So, thought needs to go into whether the focus is justifiably on the artist being a disabled person versus their artistic work or ability.

For example:

“D, whose experiences as a wheelchair user informs his approach to film making…”’

This is a neutral description that tells us something useful to know and does not dramatise the fact of the artist being a wheelchair user.

In another example:

“H, a lifelong achiever, having being diagnosed as deaf at birth, paints large canvases using huge, heavy brush strokes…”

Here, audiences are immediately taken into a stereotypical narrative about expectations of what people can or cannot do, even if it is unclear how their impairment or disability has any connection to their work.

Returning to our four UK artists example again, dramatising the fact of them being disabled is certain to be counterproductive:

“This year we are commissioning four incredibly inspiring disabled artists from around the UK, three from Scotland and one from England.”

Whatever the intentions behind this kind of wording, setting people up as ‘incredibly inspiring’ places them in a charitable narrative that is usually divorced from reality.

It also jeopardises the likelihood of their work being taken seriously (as professional artists) before it is viewed or experienced, thereby working against their career interests.

Why? Because it suggests that we are evaluating them instead of their work. Where does the term ‘incredibly inspiring’ come from? Is this how they define themselves or their artistic practice?

Another way of asking how language might empower them is to ask: in what ways can the messaging support their agency as artists?

Multiple digital pink road barriers

Pink digital image of a sign post with arrows pointing in opposite directions

It is important to remember that (in the media and elsewhere) disabled people are often portrayed in using tropes, such as heroic people, superheroes, figures of inspiration, objects of pity, or objects of scorn, such as the 'benefits scrounger' stereotype.

If your commission is founded to some degree on these notions, or chimes with this kind of language, it is quite possible that the commission, while perhaps useful to the awardee, can add to the barriers that disabled people face more widely.

In order to ensure you are not reinforcing these unhelpful messages, consult with disabled people directly, or disability-led agencies such as Shape.

The Social Model of Disability, which Shape works to, outlines ways to achieve consistency of message and build in language that empowers disabled people.

Find out more about the Social Model

Question 15

Overview

Accepted Answer

	1. Consider why the commission is taking place, and the sought-for benefits or outcomes for you and the disabled artist. What is the basis of the commission, and how will you frame your messaging in the recruitment and delivery phases to avoid common pitfalls around stereotyping?
	2. Consult with disabled people/disability-led groups to inform yourself where you have knowledge gaps. The artist should be asked to identify their support needs and it is these needs that are to be addressed. Merely asking someone if they are disabled and then guessing or assuming what their access needs will cause problems. Equally, don’t expect the commissioned artist to know everything that you do not, or act as a consultant when they are principally a creative leading on a project.
	Identify the commission’s critical path and at what steps along it might an individual require access support, and in what form might this be provided. Support with completing an application may involve a very different kind of skill or input compared to communication support at meetings and events. Consider the different phases and what the artist is expected to do - what kind of facilities might they need and how much travel might be involved? How much of the process can be streamlined and can this feed back into streamlining the way you commission more generally?
	Build access costs into your budget on an informed basis - the panning above will help with this. Not sure what these costs might be? Revert to Point 2.
	Linking to Point 1, consider the commission’s legacy and how you might build on the results of the commission in terms of learning and confidence. While you should not expect the artist to haul in new audiences by virtue of their disabled identity, it may be that audiences you previously found hard to reach or did not have connection with at all, responded to the artist and their work. Monitoring audience responses in an accessible and imaginative way can provide key insights into ensuring these audiences return, combined with programming relevant to their interests of course.
	Every commission will have its high and lows on its way to bringing something new into the world. Using the commissioning process to try out new things, experiment, and take risks is likely to be integral to the way you work as a commissioner, or creative entity. Commissioning a disabled artist ought to be just the same process of blended excitement, creativity and planning, with support put in place as appropriate to keep things running smoothly. By taking a few additional planning steps and being prepared to ask the right questions, have an honest conversation here and there, the ‘risk’ element can remain centred in the work and its creative impact, not in the way you are delivering it.

Question 16

Planning: identify the barriers

Accepted Answer

	1. Consider why the commission is taking place, and the sought-for benefits or outcomes for you and the disabled artist. What is the basis of the commission, and how will you frame your messaging in the recruitment and delivery phases to avoid common pitfalls around stereotyping?
	2. Consult with disabled people/disability-led groups to inform yourself where you have knowledge gaps. The artist should be asked to identify their support needs and it is these needs that are to be addressed. Merely asking someone if they are disabled and then guessing or assuming what their access needs will cause problems. Equally, don’t expect the commissioned artist to know everything that you do not, or act as a consultant when they are principally a creative leading on a project.
	Identify the commission’s critical path and at what steps along it might an individual require access support, and in what form might this be provided. Support with completing an application may involve a very different kind of skill or input compared to communication support at meetings and events. Consider the different phases and what the artist is expected to do - what kind of facilities might they need and how much travel might be involved? How much of the process can be streamlined and can this feed back into streamlining the way you commission more generally?
	Build access costs into your budget on an informed basis - the panning above will help with this. Not sure what these costs might be? Revert to Point 2.
	Linking to Point 1, consider the commission’s legacy and how you might build on the results of the commission in terms of learning and confidence. While you should not expect the artist to haul in new audiences by virtue of their disabled identity, it may be that audiences you previously found hard to reach or did not have connection with at all, responded to the artist and their work. Monitoring audience responses in an accessible and imaginative way can provide key insights into ensuring these audiences return, combined with programming relevant to their interests of course.
	Every commission will have its high and lows on its way to bringing something new into the world. Using the commissioning process to try out new things, experiment, and take risks is likely to be integral to the way you work as a commissioner, or creative entity. Commissioning a disabled artist ought to be just the same process of blended excitement, creativity and planning, with support put in place as appropriate to keep things running smoothly. By taking a few additional planning steps and being prepared to ask the right questions, have an honest conversation here and there, the ‘risk’ element can remain centred in the work and its creative impact, not in the way you are delivering it.

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Find out more about the Social Model

What might the barriers be? Commonly identified barriers faced by both internal and external groups centre on:

Team collaboration methods
Team and partners relationship(s)
Event logistics
Event marketing (e.g. reaching target audiences, ticketing, and websites)
Location practicalities (getting there, facilities, parking)
Audience experience (interpretive tools, physical access, atmosphere, welcome, and inclusivity)
Feedback and quality assessment

Responsibility for public access in a host venue will need to be discussed with them, to clarify approaches, cost, and what the venue provides already, or wishes to build on. This will be covered in our audience access resource.

Innovative or experimental approaches to access are explored in our access as a creative tool resource.

Question 17

Rayvenn D'Clark

Accepted Answer

Rayvenn Shaleigha D’Clark MA, FHEA is a Textu(r)al Sculptor and Counter-Intuitive Researcher assisting Shape Arts across a number of projects. Currently, she is working on the Shape Presents The DAM in Venice 2024, formerly contributing to the ACE-CRF + NDACA Project Bids which proposed solutions to Digital Adaptation, Marketing Tools Creation, and Placing across the organisation.

Question 18

Sarah Saunders

Accepted Answer

I am the DAMS and Thesaurus consultant for Shape’s NDMAC, and the consultant for NDMAC Development and Delivery Phases. I am a consultant in photo and metadata management and media archiving for the museums and not-for-profit sectors. I helps organisations scope and implement online archive projects, engage communities, and preserve collections for the future.

Question 19

Liam Hevey

Accepted Answer

I work as Shape's Game Producer, creating and helping others create analogue games that engage with environmental, class, and material politics. As an in-house, multi-skilling creative producer, I also provide layout editing, graphic design, sound design, and more for Shape across several Shape projects, and have been lead-producer on Shape’s Transforming Leadership, NDACA, and NDMAC projects, too.

Question 20

Jon Dunicliff

Accepted Answer

Portrait shot of Jon, a middle-aged white man with very short dark hair, wearing a blue checked shirt. I have over 30 years experience of partnership working across the public sector. This has ranged from national voluntary organisations, local authorities, and voluntary sector organisations managed, staffed, and controlled by Disabled People.

My professional life has been focused on working with Disabled People. I have developed, implemented, managed, and commissioned a wide variety of projects that are at the cutting edge of service development.

I am a Disabled Person, I have a strong commitment to social justice, and equal opportunities is an important part of my professional and personal life.

I strongly believe that by asserting our place in the arts, we assert the importance of Disability Arts, our culture, and their relevance to the lives of both Disabled People and non-disabled people alike. I am delighted to be able to pursue this belief through my involvement with Shape.

Question 21

Mandi Stewart

Accepted Answer

Photograph of Mandi, a middle-aged white woman with short blonde hair, stood in front of a blossoming tree. Mandi is a disabled artist who specialises in Printmaking. She currently lives between St Ives and London whilst studying a MA in Print at the Royal College of Art where she is a Leverhulme Scholar. Mandi is a largely self-taught artist who turned to printmaking later in life following life changing treatment for cancer. She had previous career as a Welfare Rights worker and a Social Worker.

Mandi explores a range of autobiographical and political issues within her practice. Her current work considers identity and the body and through colour, cell, and helix type imagery. Mandi often uses collaged and personal materials within her work and there is frequently reference to disability arts.

Mandi currently manages the Disabled Student Network Instagram at the RCA. She has helped develop the network during the past year and is passionate about promoting the work of disabled students and getting Disability Arts a bigger platform both in Universities and galleries.

When she is not printmaking Mandi is either gardening, taking photos, or swimming.

Question 22

Emily Roderick

Accepted Answer

I am Assistant Producer across our NPO programme and additional projects, where I work directly with artists throughout the year in a variety of settings including support, marketing, access consultancy and curation. Previous experience includes arebyte Gallery, Compton Verney, Barbican and National Portrait Gallery.

Outside of my work at Shape I am a practicing artist with a focus on socially-engaged works and performance. Currently I am completing a DYCP from Arts Council England.

Question 23

Michelle Duxbury

Accepted Answer

A selfie of a woman with brown hair wearing red lipstick. I am a largely self-taught, working-class, disabled artist based in Leeds. As a disabled person, who has struggled to find their feet in the art world, I hope to advocate for others who find themselves in a similar position, and I feel the best way to be able to do that is to get involved and do what I can to effect change and support organisations that are leading the way in making the art world a more accessible place for us all.

I create art under the artist name alabamathirteen, my practice is focused around bodies, spaces and places, both public and private, and how we experience and occupy them both as individuals and as a society. Specifically referencing my own personal limitations navigating and negotiating the spaces and places I occupy as a disabled woman, underpinned by the notion of ‘non-conforming’ bodies as an act of defiance. I work predominantly with photography, embroidery and sound recordings.

I am also an Artist Ambassador for Outside In, a national charity that aims to provide a platform for artists who face significant barriers to the art world due to health, disability, social circumstance or isolation.

Question 24

Jon Tibbits-Smyth

Accepted Answer

Photo of a man wearing a grey suit, white shirt, and blue tie. He has short brown hair and a short brown beard. He wears dark glasses and has one hand in a pocket. Jon Tibbits-Smyth is a qualified Charted Accountant. He has worked as an auditor predominately in the charities and social housing sectors for 14 years. He is currently an audit manager at BDO LLP.

Jon has also been involved in the delivery of training on charity auditing and accounting matters and was involved in the publication of the Charity Administration Handbook (6th ed).

Question 25

Jen Clarke

Accepted Answer

Woman with a blonde bob and a fringe smiles at the camera. She is wearing transparent square glasses and a blazer. Jen Clarke is Legal Counsel at Red Bull Media House UK. Prior to moving in house, she sat in the music team at a London boutique media law firm after training as a solicitor in the City. Jen is a classically trained pianist, vocalist and experienced songwriter and performer. Before studying law she toured with indie bands internationally and released multiple recordings as a solo artist. In her spare time she enjoys yoga, attending visual art exhibitions, and supporting the local music scene. Her favourite London art gallery is the Tate Modern.

Question 26

Owen Kimm

Accepted Answer

A photo portrait of Owen Kimm. He wears an orange denim jacket and square glasses. He is visibly happy!

Owen is the Marketing and Communications Manager for visionary arts charity Creative Folkestone. He brings to the Shape board almost 10 years of experience from across the arts and culture sector having worked for organisations including Waltham Forest London Borough of Culture, Siobhan Davies Dance, Brunel’s ss Great Britain and more.

Owen specialises in digital communications and helping organisations to become more digitally savvy and futureproof. He has a passion for improving access and opportunities for everyone to engage and enjoy the arts.

Beyond the world of work, Owen is also a practising artist and musician, although he says that how good he is at either of those things is up for debate!

Question 27

Alex Cowan

Accepted Answer

I’ve worked as an archive researcher / producer since the early 1990s, working in TV, films and the museums and archives sectors. This included the BBC historical documentary series, “Disabled Century.” In 2014 I became project archivist on NDACA. Now I’m working in a similar role for the NDMAC project, locating potential depositors and developing the NDMAC offer. I enjoy helping to uncover histories and stories and making them accessible to wider audiences.

Question 28

Elinor Hayes

Accepted Answer

I am Creative Producer for content and communications at Shape Arts. I am committed to the principles of accessibility, intersectionality, and equity as cornerstones of a viable cultural landscape. I have previously worked in commercial and public arts environments, including Wellcome Collection, Museum of London, Bold Tendencies, and Sotheby’s Institute of Art. I am part of the British Art Network's 2023 Emerging Curators Group.

Question 29

Adeolu Adesola

Accepted Answer

Shape Arts

Adeolu works as a junior portfolio manager with Deutsche Alternative Asset Management having joined the wider Deutsche Bank Group in 2012 as a Graduate Analyst. He initially undertook a 1.5 year rotation program before a 2.5 years stint as credit analyst covering various sectors for the European Leveraged and Structured Finance and Dutch MidCap Leveraged Finance businesses in London. Adeolu is an avid supporter of the arts having had previous volunteer experience with Shakespeare’s Globe and the University of Warwick’s One World Week Music Festival.

Question 30

Other links and resources

Accepted Answer

Free Guides from Disability Rights UK

Disability Rights UK (DRUK) have produced the following guides which you can read for free.

Get Back 16 - our free of charge guide on education, training and employment options for disabled people

http://www.disabilityrightsuk.org/sites/default/files/pdf/GetBack16.pdf

We have been commissioned by the Department for Business, Innovation and Skills (BIS) to produce this new information guide on the education, training and employment opportunities available to people with a newly acquired disability or health condition.

The guide entitled “Get back to where we do belong: An employment skills guide for people with newly acquired disabilities or health conditions” has been endorsed by Professor Dame Carol Black and includes the following information: what to expect from employers; advice and signposting on careers, education, training opportunities and welfare benefits; coping strategies and resilience. Personal stories are used throughout the guide.

Please inform anyone who you think would benefit from the guide. We would also appreciate your feedback on how the guide has helped make a difference to you or your members by completing the very short survey on our website

“This document should find its place on every employer’s and manager’s desk, or better, in their pocket.” Professor Dame Carol Black (Department of Health’s Expert Advisor on improving the welfare of working people).

Good practice in supporting disabled learners:

Disability Rights UK is developing a toolkit of resources for education providers to showcase good practice in supporting disabled learners to make the transition to internships and paid employment. The first set of materials has been published

Our new Into Further Education guide published:

http://www.disabilityrightsuk.org/sites/default/files/pdf/IntoFE-11Apr2016.pdf

This publication is for anyone with a health condition, learning difficulty or disability thinking about studying in further education in England. Into Further Education 2016 aims to answer common questions such as whether colleges will be accessible to disabled students, how to choose a course and what support will be available.

Question 31

Multi-Arts Centres

Accepted Answer

Barbican

Telephone: 0207 638 8891
Website: http://www.barbican.org.uk/visitor-information/disability-access

Battersea Art Centre

Telephone: 020 7223 2223 Minicom: 020 7223 5311
Email: boxoffice@bac.org.uk
Website: https://www.bac.org.uk/content/39605/your_visit/access/access

Cecil Sharp House

Telephone: 020 7485 2206
Email: access@efdss.org
Website: http://www.efdss.org/efdss-contact-us/access

Roundhouse

Telephone (tickets): 0300 6789 222
Website: http://help.roundhouse.org.uk/customer/en/portal/topics/693768-venue-accessibility/articles

Southbank Centre

Telephone: 0844 875 0073 (select option 2)
Email: accesslist@southbankcentre.co.uk
Website: http://www.southbankcentre.co.uk/visitor-info/access

Stratford Circus Arts Centre

Telephone: 020 8279 1080 Email: dutymanager@stratford-circus.com
Website: https://stratford-circus.com/visit/access-1/

Question 32

Funding links

Accepted Answer

Access to Work
An Access to Work grant can pay for practical support if you have a disability, health or mental health condition to help you:

start working
stay in work
move into self-employment or start a business

How much you get depends on your circumstances.

The money doesn’t have to be paid back and will not affect your other benefits.

Artquest
Everything a visual artist needs to know.

Arts Awards
Arts Awards support imaginative and experimental arts projects that investigate biomedical science. The scheme aims
to:
- stimulate interest, excitement and debate about biomedical science through the arts
- examine the social, cultural, and ethical impact of biomedical science
- support formal and informal learning
- encourage new ways of thinking
- encourage high quality interdisciplinary practice and collaborative partnerships in arts, science and/or education practice.
All art forms are covered by the programme: dance, drama, performance arts, visual arts, music, film, craft, photography, creativewriting or digital media.

Arts Council England
We work to get great art to everyone by championing, developing and investing in experiences that enrich people's lives. Grants for the arts are the activities carried out over a set period and which engage people in England arts activities and help artists and organisations in England carry out their work. This link takes you to the main funding page on the ACE website, which includes organisational funding. Below are links to areas of support for independent artists.

Developing your creative practice: https://www.artscouncil.org.uk/DYCP

Project grants: https://www.artscouncil.org.uk/projectgrants

Arts Fundraising & Philanthropy
The Arts Fundraising and Philanthropy Programme offers people across the arts and cultural sector training, traineeships, coaching, and digital skills development to encourage innovative and effective practice in arts fundraising and encourage a more entrepreneurial approach to income generation.

Creative Industry Finance - for creative organisations

Critical Network
Critical Network lists residencies and grants together with opportunities for festivals, group shows and commissions.

Crowdfunder
Crowdfunder is a new way for people to pool small amounts of money to back a good idea or project. If you need funding for a project or idea, Crowdfunder really is a no-brainer. Crowdfunder aims to fund all sorts of crazy, arty, funny, ingenious and jaw-dropping projects. So if you are an artist, explorer, musician, writer, entreprenuer or thrill seeker get in touch and kick start your project with Crowdfunder today.

Elephant Trust - small arts grants for individuals up to £2k

Gane Trust - small grants to artists up to £1k

Guidestar UK - Free directory where you can input different search criteria on charities that may give money.

Help Musicians - We welcome musicians who play, create, sing or teach all styles of music and we are working hard to dispel the myth that we only help older classical musicians. We help musicians of all ages and all genres.

Indie Fund
Indie Fund is a funding source for independent developers, created by a group of successful indies looking to encourage the next wave of game developers.

J4B Community - Free funding directory for the voluntary & community sector; requires registration.

PRS for Music Foundation
PRS for Music Foundation is looking to support music creators, performaers and promoters who are involved in creatively adventurous of pioneering musical activity. It does this by offering a wide range of funding schemes for new music activity/ For full details of each scheme and how to apply.

Question 33

2012

Accepted Answer

2012 - Shape Diamonds.
2012 - Access All Areas - Live Art and Disability published.
2012 - Bobby Baker's Mad Gyms & Kitchens.
2012 - Candoco Dance Company's 12 by Claire Cunningham.
2012 - Candoco Dance Company, Dance performance by Marc Brew for Unlimited Parallel Lines.
2012, April - Stumble DanceCircus (Mish Weaver) Box of Frogs.
2012, April - Paul Cummins' The English Flower Garden installation.
2012, May - Ramesh Meyyappan's Snails & Ketchup.
2012, May - DASH Arts's M21.
2012, May - Tin Bath Theatre Company's Bee Detective.
2012, May - Lawnmowers's Boomba Down the Tyne.
2012, May - Fittings Multimedia Arts Ltd, The Ugly Spirit.
2012, June - August - Rachel Gadsden, Unlimited Global Alchemy.
2012, June - August - Maurice Orr, The Screaming Silence of the Wind.
2012, June - Ramesh Meyyappan Skewered Snails.
2012, June - Laurence Clark, Preview - Inspired.
2012, June - Jez Colborne, Irresistible.
2012, July - August - Kaite O'Reilly, In Water I'm Weightless.
2012, July - Caroline Bowditch, Leaving Limbo Landing.
2012, July - Joel Simon, MACROPOLIS.
2012, July - Marc Brew, Fusional Fragments.
2012, July - Diverse City, Breathe.
2012, August - September - Sinead O'Donnell, CAUTION.
2012, August - September - Sue Austin, Creating the Spectacle.
2012, August - September - Dean Rodney Singers by Heart n Soul.
2012, August - September - Simon McKeown, Motion Disabled.
2012, August - Claire Cunningham, Menage a Trois.
2012, September - Simon Allen, Resonance at the Still Point of Change.
2012, September - The Garden by Graeae and Strange Fruit.

Question 34

2011

Accepted Answer

2011 - Specimens to Superhumans - A series of four events curated by The Arts Catalyst and Shape.
2011 - Shape announced 29 Unlimited commissions in preparation for London 2012.
2011 - National Theatre and Shape.
2011 - Big Lottery Fund and Shape Diamonds.
2011 - Shape wins the prestigious AMI Visual Arts Award 2011.
2011, February - March - Shape's Uninterpreted exhibition.
2011, March- August - Read Aloud at The Camden Summer University.
2011 - May - Shape's Articulate conference.
2011 - May - A positive choice - Jenny Taylor shares Shape’s vision for disabled people to participate fully in the arts and cultural sector.
2011 - May - Labyrinth of Living Exhibits.
2011 - May - 100 Houses by Colin Hambrook.
2011 - July - September - Re-framing disability: portraits from the Royal College of Physicians.
2011 - September - Liberty Festival 2011.

Question 35

2010

Accepted Answer

2010 - Shape were successful in gaining the contract to support the implementation and development of Unlimited.
2010 - Beyond Cultural Diversity: The Case for Creativity rdited by Richard Appignanesi.
2010 - Shape's Creative Steps programme. This programme offers free professional development training to disabled people working in, or wanting to work in, the creative industries.
2010 - Shape CEO Tony Heaton OBE joins the national network as part of the cultural leadership programme.
2010 - DaDaFest International 10.
2010 - Shape's Articulate UK conference.
2010 - The Adam Reynolds Memorial Bursary.
2010, June - July - Matthew Lloyd's Duke of York Steps.
2010, June - Disability Pride.
2010, September - Liberty Festival.

Question 36

2009

Accepted Answer

2009 - Shape launched two substantial BLF funded programmes of work.
2009 - Shape won three ESF contracts (as part of consortia).
2009 - Shape delivered 12 Live on Air workshops in collaboration with Sound Minds.
2009 - Shape's Portraits exhibition - Opened by the Director of the National Portrait Gallery Sandy Nairne.
2009 - The Adam Reynolds Memorial Bursary - The bursary is establishing itself as one of the most significant opportunities for disabled visual artists in the UK.
2009 - Shape's Articulate UK project - a Big Lottery funded project which works with young learning disabled people across 10 boroughs in London.
2009 - Chris Tally Evans wins Creative Wales Award of £25,000.
2009, January - March - Holton Lee 3rd Disability Arts Open Exhibition.
2009, January - Sally Booth receives the Adam Reynolds Memorial Bursary 2009.
2009, January - Jenny Sealey, Artistic Director of Graeae Theatre, awarded MBE.
2009, February - March - My Mile of the River- 5 part radio series looking at a year in the life of Welsh disabled artist Chris Tally Evans.
2009, February - Kaite O'Reilly shortlisted as finalist for the Susan Smith Blackburn Prize, an international playwriting award.
2009, April - Wolverhampton Disability Film Festival.
2009, April - June - Shape's Science-Art Exhibition. This exhibition showcased work that examined many areas of scientific research, development or delivery through artistic practice.
2009, May - Holton Lee informed by Arts Council England that their Grants for the Arts Application has not been successful.
2009, May - July - As part of Shape Artist Commissions Shape presents a series of events at Southbank.
2009, July - Shape's The Shortlist Exhibition. Shape showcases the work from the shortlisted artists for this year's Adam Reynolds Memorial Bursary.
2009, August - Liz Crow spends an hour sitting in her wheelchair wearing full Nazi regalia on the fourth plinth in Trafalgar Square.
2009, September - March 2010: Shape's Animate project. Noëmi Lakmaier; Tony Heaton; Samuel Dore; Julie McNamara.
2009, September - Disability Arts Online publishes The Explorer by Allan Sutherland.
2009, October - Deafinitely Theatre, Double Sentence directed by Paula Garfield and written by Andrew Muir.
2009, October - November - Jon Adams The Goose on the Hill - Exhibition of works by portsmouth-based Outsider artist.
2009, November -December - DaDaFest International 09.

Question 37

2008

Accepted Answer

2008 - 'Performances, Videos, Collaborations' by Aaron Williamson
2008 - Shape's Articulate project supports young learning disabled people to voice their aspirations for their future through workshops, information sessions, panel discussions, performances and access assessments. Shape also supports organisations with practical advice on how best to recruit and support young employees.
2008 - Shape's Explore project - eight galleries worked with disabled people from their communities in Spring 2008.
2008 - Shape's Open the Door programme of seminars, training and access audits, came to an end in 2008. The project's work develops and continues through Shape Training.
2008 - Bobby Baker: Redeeming Features of Daily Life by Bobby Baker. Published by Routledge, this book is a retrospective of the 35 years of her career.
2008 - NDAF publishes its final issue of EtCetera. The publication continues to be issued by a new company, Disability Cultural Projects.
2008, 19 January - 8 March - Second Holton Lee Disability Arts Competitive Exhibition. Exhibiting artists include 2007 winners Jon Adams and Rachel Gadsden, as well as John Mondino and Nick Ward, recipients of 2007 Holton Lee and Dorset County Council Visual Arts Bursary.
2008, 14-19 February - London's 8th International Disability Film Festival, at BFI Southbank.
2008, 18 February - BAFTA backs out of a decision to show Richard Butchin's The Last American Freak Show as part of X'08
2008, February - Artist Tony Heaton, Director of Holton Lee, is appointed as Shape's new Chief Executive.
2008, 15 March - 19 May - 'Who's Who: Pioneers form the Disability Arts movement', exhibition by Tanya Raabe at Faith House Gallery, Holton Lee. Portraits of 'established and new emerging disabled artists who have and continue to pioneer Disability Arts and Culture.' Portraits include Dr Paul Darke, Mat Fraser, Colin Hambrook, Tony Heaton, Nikki Hewish, David King, Julie McNamara, Zoe Partington-Sollinger, Allan Sutherland and Joy Tudor.
2008, March - Kaite O'Reilly secures Art Council funding to create an oral history record of diverse disabled individuals in Wales and to write a selection of monologues - The 'D' Monologues, informed by her learning and her practice as a dramatic writer.
2008, March - Shape announces that it will commission four disabled arts practitioners or disabled-led organisations to develop work inspired by the 2012 Olympics.
2008, 26 March - 11 May - Events with Noemi Lakmaier as part of her Adam Reynolds Memorial Bursary residency, at Camden Arts Centre. 26 March - Talk and open studio with Noemi Lakmaier in conversation with writer and curator Lisa Le Feuvre. 9 April - Screening: Freaks by Tod Browning 1932 and Das Experiment by Oliver Hirshbiegel 2001. Films selected and introduced by Noemi Lakmaier. 11 May - Open studio, showing work produced during the residency.
2008, April - The Arts Council agrees to give LDAF transitional funding with the proviso that they use their funds to wind the organisation up.
2008, 1 April - Attitude Is Everything leaves Artsline, becoming an independent organisation.
2008, July - LDAF closes.
2008, July - Shape's Link Up project, supporting disabled people seeking work in the creative industries.
2008, July-August - Spastic Fantastic, late stand up show by Laurence Clark previews at the Edinburgh Fringe.
2008, August - '21: The Last Avant Garde', photographic portraiture project by Fisheye.
2008, August - Liberty, London's Disability Rights Festival.
2008, September - DaDaFest International '08.
2008, September - Gus Cummins presents Ictal 2008 at Foundation, Liverpool.
2008, September - Meet the Artists Seminar - Shape presents its artists commissions for 2012.
2008, November - Mind The Gap set up an Actors Agency.
2008, November - Shape participates in a panel discussion at Exodos, a contemporary performing arts festival in Slovenia.
2008, November - Art + Power celebrate their tenth birthday.
2008, November - Opening of Mind the Gap's new home in Bradford.
2008, November - Graeae present Hunchback of Notre Dame by Alex Bulmer and Jack Thorne.
2008, December - North West Disability Arts Forum relaunch as DaDa.

Question 38

2007

Accepted Answer

2007, 20 January - 10 March - Holton Lee Disability Arts Competitive Exhibition
2007, March - Deaf Arts carries out a comprehensive programme for deaf and hard of hearing arts professionals and artists.
2007, April - 18 May - 'Intimate ENCOUNTERS' photographic exhibition by Australian photographer Belinda Mason. At Holton Lee, Dorset.
2007, May - The First To Go by Nabil Shaban, published by Sirius Book Works. Shaban's new play about the Nazi euthanasia programme.
2007, May - July - 'Open the Door' seminars. Shape's training for the arts, cultural and leisure sectors.
2007, June - Shape launches the Adam Reynolds Memorial Bursary, a £5,000 award for disabled or deaf visual artists, based (in the first year) at Camden Arts Centre, where Adam himself had a residency.
2007, 1 June - 'Space Between' conference, Bristol. With Paul Betney (compere), Tony Heaton, Jon Adams, Richard Cragg, Laurence Clark, and The Fingersmiths.
2007, July - 'Link Up Written Word Career Development Day', Shape event for creative writers, in association with the Arvon Foundation.
2007, July-September - 'East Meets West' Sally Booth exhibition at Faith House Gallery, Holton Lee.
2007, 30 July - 4 August - DASh multi-media project artist residency on the theme of 'Barriers'
2007, September-October - 'Critical Writing in Disability Arts.' Two New Writing South masterclasses on critical writing and reviewing for artists and writers working in disability arts.
2007, 1 September - 'Liberty', London's Disability Rights Festival, at Trafalgar Square. Featuring Freeslave, Heart n Soul, Heavy Load, Liz Carr, Vicky Malin, the Laundrettas and the Alexandras.
2007, October - Disability Theatre Lab and Masterclasses. Professional development and training project for disabled actors in the North East region. Conceived and designed by theatre director Vici Wreford Sinnott for Arcadea. With Julie McNamara.
2007, October-November - 'Mental Image', a month of events showcasing nationally acclaimed learning disabled artists working in theatre, dance, film, music, visual arts and club nights.
2007, 5-27 October - Graeae present Flower Girls by Richard Cameron. A play telling the true story of a group of disabled women who lived and work at The Crippleage, Edgeware. 5-13 October, New Wolsey Theatre, Ipswich. 19-20 October, Drum Theatre, Plymouth; 23-27 October, Hampstead Theatre, London.
2007, 16 October - First Adam Reynolds Memorial Bursary awarded to Austrian-born Noemi Lakmaier. The bursary continues to establish itself as one of the most significant opportunities for disabled visual artists in the UK. Lakmaier receives £5,000 and an artist residency at Camden Arts Centre from March to April of 2008.
2007, 16 November - 19 December - DaDaFest '07. 32 events in 16 different venues across Merseyside and Greater Manchester.
2007, 16 November - Elegy for the Elswick Envoy, film by Nancy Willis. At BFI, London. Directed by Nancy Willis, featuring Tony Heaton, Martha Leskard and Lord Montagu of Beaulieu.
2007, December - Rachel Gadsden appointed the first Historic Royal Palaces Artist in Residence at Hampton Court Palace. An exhibition of artwork resulting from this collaboration was shown at the Palace in July 2008.
2007, December - DaDaFest '07 Awards. Newcomer award: Millie Dollar. Writer's award: Charlie Swinbourne. Visual Arts award: Gus Cummins. Performance award: Rosie Lugosi. New Media award: Liz Crow. Community Event or Group award: 3D Derby Deaf Drama Company. Music award: Andrew Coleman. Lifetime Achievement award: Mandy Colleran.
2007, December - At a meeting held In Camera, so that neither staff nor advisers are allowed to be present, the Board of Directos of the National Disability Arts Forum decide on its closure on 31 January 2008 and the subsequent withdrawal of its services.
2007, December - LDAF hears it has lost its Arts Council funding. The organisation resolves to appeal and to get on with organising X'08, London's 8th International Disability Film Festival at BFI Southbank, already schedules for February 2008.
2007, December - Shape produces Online Tools for Artists with funding from Arst Council England, a range of online resources for disabled creative professionals.
2007, 3 December - London Disability Arts Forum debate 'Should disability and deaf arts be dead and buried in the 21st century?', at Tate Modern. Featuring Melvyn Bragg (chair), Paddy Masefield, Ju Gosling, Jenny Sealey, Nabil Shaban, Sandy Nairne and Yinka
Shonibare. The motion is roundly defeated.

Question 39

2006

Accepted Answer

2006 - Shape celebrates its 30th birthday. Shape was born out of frustration with the exclusion of the 70s and 80s, and grew up surrounded by prejudice and ignorance. It is, therefore, no surprise that Shape developed a militant edge in those early days, having to fight a hostile political climate to get disability rights recognised on anyone's agenda.
2006, January - Autistic artist Stephen Wiltshire given MBE for 'services to art' in New Year's Honours List.
2006, January - Strength: Broadsides from Disability on the Arts Paddy Masefield. Published by Trentham Books. Foreword by Lord Puttnam. Specialist bibliography, directory and chronology of Disability Arts by Allan Sutherland. Consultant Editors Dr Scilla Dyke MBE FRSA, Julie McNamara BA FRSA, Dr Alastair Niven OBE, Adrian Phillips, Sarah Scott and Allan Sutherland.
2006, January - 'We Are Here!' exhibition by members of FASED, including Aidan Shingler, Tan Draig, Annie Delin and Dave Everitt. At various sites in Derby, including Q Arts, Derby Dance Centre and the Guildhall.
2006, 15 February - South West Disability Film Festival. The best of the London Disability Film Festival, including Harvie Krumpet (Australia, 2003), 21 Things to Remember (UK, 2003), Waiting for Ronald (USA, 2003), Nectar (UK, 2005), Afterlife (UK, 2003). At Exeter Pheonix.
2006, February - 'Access to Culture for Disabled and Deaf People in London', Shape report commissioned by the Mayor's Office.
2006, 15-16 March - The Dis:cover ! Conference - disability explored, exposed, exhibited
2006, March - 'Beam', a month of events showcasing nationally acclaimed learning disabled artists working in theatre, dance, film, music, visual arts and club nights.
2006, 14 March - 'Octopus Crew With a Licence to Kill', at Club Evolution, Kirkstall, Leeds. The Beautiful Octopus Club's 007th appearance at Club Evolution. DJs from The Octopus Crew and Heart n Soul, Heart n Soul's Clubs Posse (singing and digital arts) and the Beautiful Octopus Band. Also includes Leeds-based Interplay Theatre, and music by Jex Colbourne.
2005, 25 March - 4 May - 'Beyond the Asylum', Faith House, Holton Lee. Exhibition of paintings and drawings by Rachel Gadsden.
2006, March-April - 'Space Between' exhibition, commissioned by Artshape. Tour includes WWT Slimbridge Glos, Brewhouse Theatre Taunton, Holton Lee Arts Centre Dorset and Salisbury Library and Galleries. Includes Jon Adams works 'Intrusion structure 11' and 'Dyslexic Library'
2006, April - West Midlands Disability Arts Forum's board decide to close the company.
2006, 17 May - Shape's 'The Colour of Music' project. This series of Theatre in Education workshops for 25 deaf children and young people from Oak Lodge School, enabled the student to explore their creativity, increase their confidence, and get emotionally involved in art and music.
2006, 1 May - First Blogging against Disablism Day
2006, 5 May - The Drill Hall presents Signs of a Diva by Nona Shepphard, national tour. Performed by Caroline Parker, directed Jenny Sealey and Nona Shepphard
2006, May - Anna Marie Heslop, a learning disabled actor and founding member of Mind the Gap, gains a part in BBC's daytime drama Doctors.
2006, May - DaDaFest wins Partnership Annual Tourism Awards 'Best Small Event' Award.
2006, June - Graeae Theatre Company presents Blasted by Sarah Kane. With David Toole, Daryl Jackson, Gerard McDermott and Jennifer Jay Ellison.
2006, 9 June - Arts and music festival at Holton Lee, Dorset. Includes Signdance Collective, 'But Beautiful', with Luke Barlow Band, plus Bournemouth-based The Viff and exhibition 'Elemental Landscapes'
2006, 23 June - Paddy Masefield workshop for aspiring disabled writers at The Winchester Writers' Conference. This is the first in a series following the publication for Masefield's new book Strength: Broadsides from Disability on the Arts, Trentham Books. Also tours to Dartington, Ilkley, Sheffield, Birmingham, Newcastle Upon Tyne.
2006, 28 June - Deborah A Williams masterclass for experienced performers/writers.
2006, July - Jim Fixed It For Me, book by Laurence Clark
2006, 6 July - Opening of Theatre Museum exhibition marking Graeae's 25th anniversary
2006, 10 July - Paddy Masefield workshop for aspirant disabled writers at Dartington's Way With Words Literature Festival
2006, August-December - When to Run by Sophie Woolley. National tour, launching at Edinburgh Festival, then touring York, Ilkley Literature Festival, Royal Festival Hall, London, All Saints centre Lewes, and Birmingham Repertory.
2006, August - 'Giants', photographed by David Hevey, designed by Helena Roden, produced by Shape. At North Edinburgh Arts Centre, then touring Edinburgh throughout the festival.
2006, September - Shape's 'Link Up' project supports deaf and disabled people seeking work in the creative industries.
2006, 2 September - Liberty, London's Disability Rights Festival, at Trafalgar Square, London. Celebrates 20 years of the London Disability Arts Forum and includes performances by: CandoCo, Johnny Crescendo and Andy Morgan, Marlo Donato, The Heroes, Carousel, Ramesh Meyyappan, Creative Routes, Rory Heap, and Kickin' Kangaroo Club.
2006, 8 September - 22 October - Katherine Araniello and Aaron Williamson present The Disabled Avant Garde Today! at Gasworks Gallery, Vauxhall Street, London. Collaborative exhibition of video works and paintings, revisiting the work of such practictioners as Leigh Bowery, Karlheinz Stockhausen, Tom and Jerry, Jake and Dinos Chapman, Simon and Garfunkel, Martin Kippenberger and Busby Berkeley.
2006, 21 September - Shape launch 'Open the Door Campaign', at Unicorn Theatre. Improved access to London's creative industries for disabled people.
2006 October - 2007 October - London Disability Arts Forum's fourth year-long exhibition of works by disabled visual artists at ICI headquarters. At Manchester Square, London.
2006, October - Shape launches training course in arts journalism for disabled peoople, led by Allan Sutherland.
2006, 4 October - Deafinitely Theatre presents 'Dysfunction', at The Albany, Deptford.
2006, 14 November - 12 December - DaDaFest is the largest celebration of disability and deaf art in the UK, bringing together internationally-acclaimed professional artists, local home-grown talent, and up-and-coming young artists.

Question 40

2005

Accepted Answer

2005, 14 January - 16 February - 'The Way Ahead', exhibition of road signs by Caroline Cardus starts a national tour, Faith House, Holton Lee
2005, January - 'Dreams My Father Sold Me', poems and graphic art of Nabil Shaban.
2005, January - DASh set up Digital Now II project to encourage the development of Digital Art skills for disabled people
2005, 3 February - Alison Lapper and Tanya Raabe discuss the portayal of beauty and identity in the context of disability arts, Whitechapel Art Gallery
2005, February - Holton Lee assembles a Project Team to further develop and plan for the National Disability Arts Collection and Archive. Director Tony Heaton said: "Presently there is no central place in the UK to see and understand the history and culture of the Disabled Peoples movement and Disability Arts; this heritage is in danger of disappearing or being misrepresented. The project will articulate this social phenomenon and give disabled people and those interested in the social and psychological development of this culture a centre of excellence for study. This will be the first national archive of its kind."
2005, March - Disabled filmmakers and supporters party outside London's Cafe de Paris in protest against the exclusion of filmmaker Liz Crow from the closing night party of the Birds Eye View film festival.
2005, 31 March - Dada South, newly formed disability arts development agency, hold their launch event, Fabrica Art Gallery, Brighton. Featuring Ruby Slippers, a photograph by Caroline Cardus; an object installation by Noëmi Lakmaier; a film by Gary Thomas; a film installation by Caroline Ward; a dance film by Laura Jones; poetry reading by Sean Burn.
2005, April - Shape completes its Arts Venues Access Auditor Training programme, designed to address the current scarcity of deaf and disabled people working as Access Auditors.
2005, April - Shape, in partnership with Arts and Business, launches its Arts Bursary Scheme, a new professional development programme for disabled artists.
2005, April-May - 'Giants', an exhibition charting the history of the disability movement, exploring how disabled people have been medicalised, marginalised and incarcerated.
2005, May - Fittings: The Last Freakshow opens at Arena Theatre, Wolverhampton. Prior to the opening, local Liberal Democrat councillor Malcolm Gwinnett calls for the show to be banned.
2005, 12 June - Liz Crow's film Frida Kahlo's Corset screens at Tate Modern as part of 'Angel of Fire', the Frida Kahlo Film Programme. Screenings also on 10 July, 7 August, 4 September and 9 October.
2005, 20 June - Aaron Williamson The Staircase Miracles (2005) and Simon Raven The Filmmaker's Way (2005) screened at Ikon Gallery, Birmingham
2005, 21-22 June - 'Abnormally Funny People!', a new show with Simon Minty, Liz Carr, Chris McCausland, Steve Day, Tanya Lee Davis, Steve Best. 21-22 June at Soho Theatre, 26-28 July at Jackson's Lane, 3-28 August at Pleasance Dome, Edinburgh.
2005, June - Launch of 'Inside Out', an online exhibition exploring the relationship between disability and architecture, using a team of artists to make a work responding to places and spaces in the South East.
2005, June - Paddy: A Life, transcription poems by Allan Sutherland, based on an oral history interview with Paddy Masefield.
2005, June - The Edward Lear Foundation releases the Chronology of Disability Arts. Compiled by Allan Sutherland, this chronology covers the major events of disability arts from the movement's inception in the late 1970's to the end of March 2003. It is subsequently published onlince by DAO, NDAF, DASh and others.
2005, July - Shape present 'Open The Door', a series of disability access seminars in London for anyone who works in the arts, creative and leisure sectors. The programme was designed to answer all the question that the arts and entertainment sectors have about making their venues accessible to disabled people. First three seminars cover: Disability Equality Seminar, Deaf Awareness Seminar, and Customer Care Training.
2005, 21 June - 30 July - Jo Spence 'Works from the Archive', Street Level Photoworks, Glasgow
2005, August - Shape's Deaf Theatre Academy, a theatre summer school for Deaf adults taught in British Sign Language.
2005, 11 August - Adam Reynolds dies, two days before his piece Sisyphus with Sign Dance Collective, was to be performed in front of Tate Modern.
2005, 16-20 August - Pig's Sister, written by Julie McNamara and directed by Jessica Higgs, in association with Theatre Workshop, Degenerate 3.
2005, September - Signdance Collective announce two films called Secret Signs, created during a residency in Birmingham, and featuring well known BBC presenters working with members of Signdance Collective
2005, September - Funding cut to Survivors' Poetry
2005, 3 September - Liberty, London's Disability Rights Festival, at Trafalgar Square, London. Includes performances by Blue Eyed Soul, Dead Beat International, Sign Dance Collective, Besta Vista Social Club, Caroline Parker, Heart n Soul Club Posse, Mat Fraser, Minika Green, Totlyn Jackson, Susan Hedges, Unity & Devision, and The Way Ahead exhibition by Caroline Cardus.
2005, 8 September - Launch of 'Eclectic', LDAF's third visual arts exhibition at ICI Corporate Centre, London. Artists exhibiting include Helen McConnell, Rachel Duerden, Roger Maycox, Tony Heaton, Kate Wells, James Lake, Alice Dass, Mike Juggins, Cathy Woolley, Mary Ellen Archer, Maureen Oliver, Ursula Pfister, James Hall, Elmoudni Abderrahmane, Theresa Kiyota Rahman, David C. Williams.
2005, September - Marc Quinn's sculpture Alison Lapper Pregnant installed on the fourth plinth in Trafalgar Square.
2005, September-October - September/October issue of DAIL magazine marks the Chronology of Disability Arts by reprinting Allan Sutherland's introductory text.
2005, 19 September - 27 November - Mind the Gap present Of Mice and Men, adapted by Mike Kenny from John Steinbeck's novel - production tours.
2005, 1 November - 12 December - Xposure 05, London Disability and Deaf Arts Festival, at Jacksons Lane. Half Moon Young People's Theatre Mermaid and the Mirror, Mind The Gap present an adaptation of Of Mice and Man by Mike Kenny, and an exhibition of work by German photographer Sabine Gruhn.
2005, 24 November - 3 December - DaDaFest 5
2005, November - December - Seventh Disability Film Festival. Includes Nightmare On Old Street, about a wheelchair soccer team, Back to Bombay, exploring issues of deafness in Inda, and What Do Stick People Wear Under Their Clothes?, a 2-minute short which aims to give the 'definitive answer to this burning question'.

Question 41

2004

Accepted Answer

2004 - Shape's Art Signs programme, a unique training programme for Deaf BSL users to train as gallery guides continued once more with great success at Tate Modern. Students who graduated from Art Signs have gone on to work regularly in some of the most prestigious and exciting arts venues in London. Shape is grateful to our partners Tate Modern and City Lit.
2004 - Shape's Deaf Theatre Academny - theatre summer school for Deaf adults taught in BSL
2004 - Shape's Citizenship programme continues to work in schools, with the support of the Bridge House Trust. Working with a disabled writer, poet and film maker, the young people made a DVD around the theme of slavery and empowerment.
2004 - Shape's Visual Echoes arts workshops at the Pump House Gallery for disabled children.
2004 - Shape's Saturday Art Club programme, which provided disabled children with the chance to take part in arts and social activities such as painting and sculpture.
2004, 31 January - Powerful and Proud, a day of disability arts with Greater Manchester Coalition of Disabled People, at the Sure Start Centre, Bolton
2004, 12 February - 1 May - Mind the Gap present Cyrano. National tour: Bradford; Gulbenkian, Canterbury Arena, Wolverhampton; Swan, Worcester; Bowen West, Bedford; Rose, Ormskirk; The Point, Eastleigh; Croydon Clocktower; Plowright, Scunthorpe; South Hill Park, Bracknell; The Hawth, Crawley; Third Floor, Portsmouth; Southport Arts Centre; Darlington Arts Centre; West Yorkshire Playhouse.
2004, 13 February - 9 March - Graeae and Paines Plough present On Blindness by Glyn Cannon. At the Soho Theatre and Writers' Centre, London, then touring West Yorkshire Playhouse, Birmingham Repertory Theatre.
2004, 10-13 March - Deafinitely Theatre present Dysfunction, at Oval House Theatre Downstairs, London
2004, 17 March - Every Time You Look At Me, TV drama with Mat Fraser and Lisa Hammond
2004, 18 March - Still Inspired, LDAF organised exhibition at ICI headquarters, London. With Beverley Fish, Colin Pethick, Miles Thomas, Georgina Birch, Jacqueline Graining, Jayni Anderton, Jethro Woudhuysen, Mark Clay, Michelle Leon, Mike Fryer, Pauline Alexander, Steve Blundell, Tolleck Winner.
2004, 17-20 April - London Disability Art Forum's 'First Disability Film Conference', at Holton Lee Dorset. Labyrinth of Living Exhibites considered specimens and curiosities through infiltrating and responding to the exotic and disturbing collection of London's Hunterian Museum at the Royal College of Surgeons. Artists includes Aaron Williamson, Brian Catling, Katherine Araniello and Sinead O'Donnell.
2004, May - Hidden Dragons: New Writing by Disabled People in Wales, edited by Allan Sutherland and Elin ap Hywel. From Arts Disability Wales, in partnership with Parthian Books, published as part of ADW's project, The Write Stuff.
2004, 7-8 June - Pig Tales by Julie McNamara, and The Big Cabaret, fetauring Julie McNamara (compere), Laurence Clark The Jim Davidson Guide to Equality, Karen Sheader, Fathom Dance Project, Seven Stars Theatre Co, and Grin and Bare It, at Live Theatre, Newcastle. Organised by NorDAF as part of an upcoming symposium. Shape was working in partnership with The Reader Organisation and Wandsworth Borough Council, ran for six months during 2011. Shape worked with 100 young people, delivering weekly one hour reading sessions for six weeks in their school or college.
2004, June - Inter-Action Milton Keynes launches 'The Way Ahead 2004' with disabled artist Caroline Cardus. Some of the designs will be made into real road signs to be included in an exhibition being launched in Milton Keynes on 1 October 2004 to coincide with the final stage of the access to goods and servies rpovisions of the Disability Discrimination Act coming into force. The aim was to raise people's awareness of the access needs of disabled people and the requirements of the legislation.
2004, June - Bluecoat Arts Centre Liverpool seeks to contract a disabled artist or artists to lead a 12-month creative project. Working in collaboration with groups of disabled users to explore effective ways of making Bluecoat more accessible to disabled people.
2004, 10 July - 31 August - 'Into the Light', a visual arts exhibition by Artists First (the visual arts group of Art + Power), at Thelma Hulbert Gallery, Honiton
2004, 13 July - Nasty Girls present Molotov Crip Tales as part of Liverpool Comedy Festival, at Unity Theatre Liverpool
2004, 14 July - Laurence Clark presents The Jim Davidson Guide to Equality.
2004, July - Greater Manchester Coalition of Disabled People receives funding from the Heritage Lottery Fund to collate and promote the history of the disabled people's movement.
2004, 14 July - 1 September - 'Unseen Bodies of Work' by Mark Annis, Penny Goater and Juliet Prentice
2004, 16 July - Thinking Aloud, a day of discussion about setting up a Disability Arts Archive at Holton Lee in Dorset, at Faith House, Holton Lee
2004, 4-29 August - Laurence Clark presents The Jim Davidson Guide to Equality, at Pod Deco, Edinburgh, as part of Edinburgh Fringe Festival
2004, 12-13, 17 July, 18 August and 2-3 September - 'Hidden Relics, Hidden Histories', a Dada South project with sculptor Adam Reynolds and Sign Dance Collectie about the stories of disabled people within Sevenoaks Museum, Library and Gallery.
2004, September - Mike O'Hara becomes first artist to take up residency in new accessible studios at Holton Lee, Dorset
2004, 4 September - Liberty, a free one-day festival, with performances by Susan Hedges, 1st Chancers, Nasty Girls, Muskaan Dance Group, Minika Green and Caroline Parker, Sidiki Conde, Denise Leigh, Francesca Martinez, Rebelz, Amphitheatre of the Arts, Julie McNamara and Mat Fraser (comperes)
2004, 16 September - Live @ Evolution The Beautfil Octopus Club, by people with learning disabilities, at Leed's largest nightclub. A co-operation with West Yorkshire Playhouse.
2004, 1 October onwards - 'The Way Ahead Exhibition', at Midsummer Place, Milton Keynes, and touring the UK in 2005. Exhibition of life-sized metal road signs designed by disabled people in Milton Keynes to speak out about their everyday experiences of access and integration, a project by artist Caroline Cardus to coincide with the final stage of the access to goods and services provision of the Disability Discrimination Act coming into force.
2004, 1-5 October - Mat Fraser presents Thalidomide! A Musical at Battersea Arts Centre, London. Written and composed by Mat Fraser, directed by Bill Bankes, starring Mat Fraser and Anna Winslet.
2004, 20 October - Launch of Disability Arts Cymru (the new name for Arts Disability Wales), at Grand Theatre, Swansea. Includes performance by Swansea-based master musician Hassan Erraji, and Laurence Clark performing The Jim Davidson Guide to Equality.
2004, October - Full Circle Arts release European Year of Disabled People Legacy DVD, highlighting arts events and projects that received EYDP funding
2004, 1-27 November - The third Xposure Arts Festival. 3-6, 9-13 - Children of a Greater God by Tomato Lichy at Jackson's Lane Arts Centre, hub of the festival; 18 - comedy night, including Philip Patston and The Nasty Girls, 19 - Heart n Soul present A Sense of Time, 20 - Kevin Kling presents The Frozen Moose and Other Stories, 23 - Laurence Clark presents The Jim Davidson Guide to Equality, 25 - StopGap Dance Company triple bill, exhibition by Ali Kamalati and Gillian Street.
2004, 24 November - 3 December - 41 productions taking place in 9 different venues across Merseyside.
2004, 1-5 December - 6th Disability Film Festival, organised by the London Disability Arts Forums and the BFI. The festival aimed to raise awareness to issues of disability and filmmaking across the UK and in other countries. It included panel discussions but most importantly featured a wide range of documentaries, experimental films and shorts by disabled filmmakers.
2004, December - Brenda Cook wins second Paddy Masefield Award for her picture 'Strength' Award presented by Sandy Nairne, Director of the National Portrait Gallery.

Question 42

2003

Accepted Answer

2003 - art+power artist's residency at Tate Liverpool
2003 - The Wrong Flowers, a film about the life and poetry of Brenda Cook wins Best International Film at Kynnskino Film Festival in Helsinki
2003 - Faustus, art+power's own interpretation of Christopher Marlowe's play is premiered at Bristol Old Vic
2003, January - Pete Shaughnessy, visual artist, writer and activist, one of the founders of Mad Pride, dies
2003, 25 January - 5 March - 'Only Smarties have the Answer', new exhibition by Aidan Shingler, curated by Tony Heaton. At Holton Lee, Dorset.
2003, February - EYDP funding. Includes Nabil Shabhan for play About to Go, Blue Eyed Soul, Shoot Your Mouth Off, Equata and Ithaca
2003, February - Survivors in Performance. Featuring Celia Potterton (MC), Giten and Kath Tait
2003, 11-28 February - Tolleck Winner sculpture exhibited at Diorama Gallery
2003, 13 February - 2 March - Graeae Theatre Company and Unicorn Theatre present Diary of an Action Man by Mie Kenny, directed by Mike Kenny. Production is for 7-11 year olds with David Ellington, Cherylee Houston, Anit Sharma and Karen Spicer. At Stratford Circus, Oval House and Lilian Baylis Theatre
2003, 13 February - Survivors' Poetry at the Poetry Cafe. Featuring Wired on Words, MC Emerald and Razz
2003, 15 February - Jigsaw Theatre present Face2Face at Limelight Theatre, Aylesbury
2003, March - 'Connection', an exhibition of new work by disabled artists based in Wales, tours venues including Theatr Brycheiniog, Brecon and Pontardawe Arts Centre
2003, March - New exhibitions at Project Ability, Glasgow. 'Planes, Trains and Automobiles part 2', a grooup exhibition by participants from their developmental workshops for people with learning disabilities. 'Imprints' - an exhibition of prints and ceramics by members of the Trongate Studios, their space for people with mental health issues
2003, March - HooT Music runs a range of music workshopsfor people with mental health needs in Kirklees. The group produces a CD - A Different Kettle of Fish
2003, March - StopGAP showcase their three latest dances - Rough N'Tumble choreographed by Maxine Doyle and the dancers, Orbit choreographed by Becky Edmunds, and Thank You For The Eggs! by Bettina Strickler
2003, March - April - New video work by Aaron Williamson as part of exhibition 'The Translator's Notes', two performances based on a contemporary interpretation of the Latin translation
2003, March - NDAF publishes Shelf Life, a book of writing by people with conditions that will shorten their lives. This is based on a series of writing workshops, and has illustrations by professional disability artists
2003, 2 March - Graeae Theatre Company present a one-off production of Vagina Monologues
by Eve Ensler
2003, 2 March - Nabil Shaban, in protest at the war in Iraq, hands back funding cheque for £24,800. The first half of an award for his theatre project 'The First to Go', about the murder of disabled people by the Nazis
2003, 5 March - CandoCo Dance Company triple bill of new work at QEH - Sour Milk choreographed by Javier de Frutus, Shadow choreographed by Fin Walker, and Phasing choreographed by Jamie Wotton
2003, 10 March - Mad Women hold a cabaret event for women in Liverpool to register opposition to the impending war with Iraq
2003, 11 March - 'Write on the Edge' poetry workshop with Anna Menmuir and Hilary Porter, as part of Survivors' Poetry at Diorama Arts Centre
2003, 18 March - British Sign Language gains formal recognition as an official langauge in its own right. The language has not, however, achieved full legal status yet
2003, March - Faltered States, performance with artists Mat Fraser, Patience Agbabi, Rachel Pantechnicon and ju 90, as part of the Science Museum's 'Naked Science' series
2003, 25 March - Ealing Soundscape launch at Action Space. This is the start of a showcase of work by artists with learning disabilities, continuing into April
2003, 28 March - StopGAP perform Thank You For The Eggs! and Rough N'Tumble in Eastbourne
2003, 28 March - Faltered States performed at Battersea Arts Centre
2003, 28 March - The Boing Club, 'an event to highlight and celebrate the innovatory work that is taking place involving people with learning disabilities'. Featuring theatre company Oily Cart, who present a series of their trampoline based shows for young people with profound and multiple learning disabilities, Action Space, who run a workshop and open exhibition of their work, the Baked Bean Theatre Company, and Shape artists. At BAC, Lavender Hill, London
2003, 29 March - Survivors' Poetry featuring Dave Russell (MC) and The Children (music)
2003, 29 March - 'Write on the Edge' poetry workshop with Ference and Razz, part of Survivors' Poetry at Diorama Arts Centre
2003, April - Edward Lear Foundation, a new Disability Arts think tank, is established 'to create new thinking in disability arts, thinking that is not led by the policy making of arts funding bodies'
2003, April - British Film Institute's Disability Film Catalogue White Sticks, Wheels and Critches: Disability and the moving image published, including specially commissioned essays written by Dr Paul Darke
2003, April - Desires, collection of short stories by Penny Pepper, published by Bejamo Press
2003, April - Shape launches Deaf Theatre Programme to celebrate EYDP
2003, 1-26 April - Action Space studio exhibition, at D4 Gallery
2003, 2 April - Spider's Web Open Storytelling Circle Workshop, at Jackson's Lane
2003, 4 April - Portsmouth Work created with local groups, culminating in StopGAP performing Thank You For The Eggs!
2003, 5 April - Action Space Croydon video screening, at Croydon Clocktower
2003, 5 April - 18 May - 'The Hand of Time' exhibition by photographer Clifford Morris and poet Semba Jallow Rutherford, at Faith House, Dorset
2003, 8 April - Bar Code by Greengoose, 'an expressive arts company for people with learning difficulties or disabilities', at Bromley College
2003, 10 April - Survivors Poetry 'Wired on Words' open mic at the Poetry Café
2003, April - DASh training course for disabled artists in carnival arts, culminating procession through the streets of Ludlow, part of DASh's second inclusive community carnival
2003, April - Shape runs 'A Rough Guide to Communicating with Deaf and Hard of Hearing People' - a new, practical one-day course aimed at people working in arts venues
2003, 21 April - 8 May - Smudge by Alex Bulmer, at Oval House. Play about a young woman's journey towards blindness, based on the author's own experience of progressive sight loss
2003, 21 April - LDAF present 'Hollywood and Disability', a talk by Martin F. Norden, author of The Cinema of Isolation. At Diorama Arts Centre
2003, 22 April - 'Write on the Edge' poetry workshop with Alison Clayburn and Hilary Porter
2003, 24 April - 'Recovery', exhibition of photos taken by people who have been helped or supported by the mental health services. At Cheltenham Clarene St Library 24 April - 9 May, Hucclecote Gloucester Library 24 April - 6 May. The exhibition was finally located within the acute psychiatric hospitals in Gloucestershire for permanent display
2003, 24 April - Beautiful Octopus Club, Deptford Albany
2003, 26 April - Survivors Poetry in Performance
2003, April - 1 May - Sculpture by Tolleck Winner at Charity Fair 2013, Islington Business Centre
2003, May - NDAF creates The Ghetto Disability Arts Online Store to sell disability artwork. Includes original artwork, copies of artwork (prints, books, videos, CDs, tapes and postcards), downloadable artwork, background and research documents related to the field of disability and the arts in the UK
2003, May - Equata set up The Paddy Masefield Award, a new arts award for the South West region. £1,000 is to be awarded to 'a disabled artist with learning difficulties who best uses visual art to change people's attitudes to disabled people'. The first award is to be presented at Equata's international Above and Beyond Festival, 19-21 September 2003.
2003 6 May - 'Write on the Edge' poetry workshop - performance workshop with Isha and Kit Parke
2003, May - 'Pathways: a Conference on Art, Disability and Culture' - aims to provide a focus to debate quality issues in relation to disability-related arts practice
2003, May - 'Hidden Visions', an exhibition by Resonant, new co-operative which aims to celebrate Deaf women in the arts
2003, 16 May - 27 June - 'The Same as You', an exhibition exploring the themes from the Scottish Executive's review on learning disability, showcasing the work of five learning disabled artists from Glasgow: Edward Henry, Tommy Mason, Cameron Morgan, John Cocozza and Stephen Reilly. At Project Ability, Glasgow
2003, 1 June - Out of Place by Louis Keith published by Crocus Books. Keith received the inaugral Sue Napolitano Award for Disabled Writers to complete this novel, the story of a Jewish teenager who saves a disabled child from death at the hands of Nazi doctors
2003, 5-8 June - Fifth Disability Film Festival, at NFT
2003, 9-14 June - Birmingham Disability History Week. Birmingham City Council and The Coalition of Disabled People produce a series of linked exhibitions and events, highlighting the growth of the disabled people's civil rights movement internationally
2003, June - 'Me, Blue and You', MENCAP exhibition of paintings and drawings by European artists with learning disabilities. At Prince's Trust Gallery, Hoxton
2003, July - Magpie, a group of dancers with learning disabilities, publish 85 photographs by Phil Polglaze online, documenting 10 years of work
2003, July - Graeae's production of Lee Hall's adaptation of Brecht's Mother Courage and Her Children, an outcome of the Missing Piece 3 training course, tours London venues. Directed bby Jan Willem van den Bosch
2003, 2-3 July - Citadel Arts Centre, St Helens, runs an Arts and Disability Celebration month. Includes Dragonfly Dreams, a play about mental health problems caused by street drugs. The production was also performed at the Edinburgh Festival in August. July 10 - Interlink Women's Theatre Group present Nocturn Beyond Imagination. July 22 - The Lakeside Students of Wargrave House present Murder on the Earlestown Express
2003, 5-6 July - Deaf Focus Film Festival (DFFF) in Scotland. Includes the following shorts: Tricks by Sam Dore (Channel 4 commission), Skye by Bim Ajadi, Hear No Evil by Amanda Mundin, Key to the Stars by Pierre Louis Levacher, Dream On by Cilla Ware, Sea Song (a Canadian animation), Margarette's Feast (a Brazilian feature), and RUSH 3, which was followed by a Q&A with deaf actress Sarah Beauvoisin
2003, 18 July - 10 August - 'Another Perspective Wales', exhibition of new work by disabled Welsh artists in celebration of the European Year of Disabled People 2003. At Oriel Washington Gallery, Penarth
2003, 26-31 July - Liz Crow's film Frida Kahlo's Corset is screened at the Arnolfini, accompanying the feature film Frida
2003, 28-29 July - Oily Cart present Moving Pictures. Written and directed by Tim Webb. At Bush Hall, Hammersmith
2003, July - August - 'Identity', exhibition drawn ffrom workshops with 30 children and yound people with Autistic Spectrum Disorders and five professional artists
2003, 2-3 August - The Weekend Academny, summer school open studios. Artists in residence: Nancy Willis (painter and printmaker) and Lynn Cox (sculptor). At Byam Shaw School of Art, Islington
2003, 28 August - The Big Big Show, a celebration of EYDP presented by disabled artists in the Hartlepool region. Including Roaring Mouse Drama Group (theatre company for learning disabled adults), Shoot Your Mouth Off (disability arts film company), Get Off Our Backs (disability theatre group) and Laurence Clark
2003, 7-16 August - Degenerate2 at theatre workshop, Edinburgh, showcases disability arts and artists within the Edinburgh Festival. 7-15 August - The All Star Charity Show, written and performed by Laurence Clark. Narration recorded by Mat Fraser, directed by Rikki Beadle Blair. 11-15 August - Molotov Crip Tales, with the Nasty Girls (Liz Carr, Anne Cunningham and Natalie Markham. Music and vocals by Keith Alexander
2003, 18-30 August - Shape's Theatre Summer School for Deaf Adults, London Metropolitan University
2003, 18 August - 25 October - Graeae present Peeling by Kaite O'Reilly, directed by Jenny Sealey. UK tour
2003, 20-26 August - WIT Women's Music Festival. Artists for the Disability Arts Cabaret include Susan Hedges, Siwsann George and Julie McNamara (compere)
2003, September - Holton Lee publish Disability Arts and Culture in the 21st Century, the report from their 2001 conference
2003, 1-30 September - 'Out to Lunch: A Personal Exploration of the Psychiatric System' by artist and photograper Mandy Legg. At Holton Lee, Dorset
2003, 1-30 September - 'Giants - Disabled People Reaching for Equality', exhibition written and photographed by David Hevey, designed by Helena Roden and produced by Shape
2003, 7 September - Liberty, London's Disability Rights Festival. Performances by disabled artists, musicians and dancers including Mat Fraser, Besta Vista Social Club, and Julie Fernandez
2003, 19-21 September - 'Above and Beyond', a celebration of the world-wide development of disability arts and culture, at Cheltenham Town Hall
2003, 3 October - 3 December - DaDaFest 2003. As 2003 celebrates European Year of Disabled People, the DaDaFest working group wanted to rejoice in style with a two-month festival of activities
2003, December - Arts Council of England, North West withdraw funding from New Breed Theatre Company, leaving the company no option but to close down
2003, December - Arts Council England publishes Celebrating Disability Arts, a publication as part of their work linked to the European Year of Disabled People

Question 43

2002

Accepted Answer

2002 - Disability Arts in Shropshire becomes independent of SDC
2002 - art+power present 'Expressing Our Lives' at Bristol Old Vic. Includes theatre piece Sharing the Stars, video animation This River Winding, and art installation Dormitory Beds
2002, January - Equal Opportunities Policy Into Practice: Disability by Ruth Bailey, with the Indepenent Theatre Commission
2002, January - Painting from a New Perspective, accounts from six blind and visually impaired artists of their work. Published by RNIB
2002, January and February - Survivor's Open Mic at the Poetry Cafe
2002, 28 January - Deadline for submissions to Survivors' Poetry on the theme of 'We Have Come Through'
2002, February - launch of CD from Frankie Miller Songwriting Project
2002, February - DA 21 Disability Arts Conference at Holton Lee. Speakers include Tony Heaton, Elspeth Morrison, Paul Darke, Barbara Lisicki and Moya Harris
2002, 6-16 February - Sealboy: Freak by Mat Fraser at Oval House
2002, 8-10 February - 'Dancing Differently?: Independence, Inclusion and Diversity' - three day national conference on dance and disabled people
2002, 11 February - 2 March - 'From the Rebus' exhibition of works by Jacqui Anderton, Yvonne Francis and Jennifer Hunter, at Diorama Gallery
2002, March - INNOVATE, new London Arts funding strand aimed at supporting the development of new work by disabled artists
2002, March - KISS by Catherine Long and Mat Fraser - a response to Marc Quinn's reinterpretation of Rodin's The Kiss, for which they were both models
2002, March - New Breed Theatre looking for disabled actors for The Irish Giant, new play to tour Autumn 2002
2002, March - Graeae Theatre Company present Peeling by Kaite O'Reilly. Featuring Lisa Hammond, Caroline Parker, Sophie Partridge, directed by Jenny Sealey
2002, March - Imaging the Body
2002, 5 March - 26 April - Mind the Gap presents Pygmalion, national tour. Adapted by Mike Kenny to be a retelling that challenges stereotypes surrounding people with learning disabilities
2002, 23 March - Mat Fraser and Catherine Long perform with the Nasty Girls (LIPA)
2002, 30 March - Survivors' Poetry in Performance at Diorama Gallery. Razz MC, Dave Russell, Viv Youell, Pascale Petit
2002, April- Strathcona Theatre Company presents The Yellow Wallpaper. Production tours
2002, 18-21 April - DARE featuring Nabil Shaban, Jim McSharry, Garry Robson and John Hollywood, directed by Robert Rae (ICA)
2002, 27 April - Survivors' Poetry in Performance at Diorama Gallery. Featuring Steve Tasane (MC), Bruin's Ruin (music), Frank Bangay, John Rety and Isha, Viv Youell and Pascale Petit
2002, 19-26 May - Walking Among the Sleepers by Caroline Parker, featuring Jamie Beddard and directed by Garry Robson. At The Bull 19 May, Chat's Palace 23-24 May, Southwark Playhouse 26 May
2002, 20 May - 15 July - Spider's Web Story Circle at Jackson's Lane Community Centre
2002 May - Graeae Theatre Company Plays published - Soft Vengeance by Angel de Angelis, Sympathy for the Devil by Ray Harrison Graham, Fittings: The Last Freak Show by Mike Kenny, Into the Mystic by Peter Wolf, and Peeling by Kaite O'Reilly
2002, 25 May - Survivors' Poetry at Diorama Gallery. Featuring Carrie Thomas (MC), Steve Freeman (music), Queenie (poetry) and The Children (music)
2002, May - A True Voice Singing, CD by Frank Bangay
2002, June - Survivors' Poetry at Diorama Gallery. Featuring Carrie Thomas (MC), Steve Freeman (music), Queenie (poetry) and The Children (music)
2002, June - Keith Pickard dies
2002, June - Meena Jaffarey dies
2002, 11 June - 'Vinyl Dreams 2' launch, featuring Minika Green, Shahla Spence, Chas de Swiet and Greg Brooker (Spitz)
2002, 22-26 June - 'Visualise', second in a series of special projects at the Serpentine Gallery in conjunction with Turtle Key Arts. This was a five day workshop with young deaf artists and those with hearing impairments, in response to Gilbert and George exhibition
2002, July - Shelf Life, NDAF national initiative, poetic exploration of death and disability. Book planned for April 2003
2002, July - Disability channel within artsonline.com
2002, July - 'Vinyl Dreams 2' CDs released - Grounded by Minika Green, Libertine by Greg Brooker and Glass Tone, Goddess of Rain by Airbubble (Shahla Spence), and The P4 Collection by Chas de Swiet and the Escapists
2002, 13-18 August - Paines Plough in association with Graeae present The Drowned World by Gary Owen, directed by Vicky Featherstone, at Traverse Theatre, Edinburgh
2002, October - Presto, or the Secret Life of Swift and Gulliver, inclusive touring theatre production by Mat Frased and Group K
2002, Allan Sutherland founds The Edward Lear Foundation, a disability arts think tank
2002, October - The Trouble with Richard by Jamie Beddard - forum theatre, touring mainstream secondary schools
2002, October - New Breed Theatre present The Irish Giant by Garry Robson
2002, October - 'Intimate Encounters', exhibition of photos by Belinda Mason-Lovering on the theme of disability, sexuality and body image, at Diorama
2002, November - Xposure Festival, at Jackson's Lane, Oval House, Sadler's Wells, Croydon Clocktower, Stratford Circus and Lauderdale House
2002, November - International Day of Disabled People, event at Centennial Centre, Edgbaston. Working towards first disability History Week in 2003. Cabaret featuring The Nasty Girls, The Incurables, and Lawrence Clark
2002, November - VISION exhibition curated by Cathy Woolley. Featuring Matthew Fenton, Miles Thomas, Dana Martin, Fiona McLean, Juan DelGado and Jon Hempstead
2002, November - Survivors' Poetry at Diorama
2002, November - Adaptation in BSL and spoken language by Jean St Clair and Jeni Draper, directed Jenny Sealey
2002, November - New Life Theatre Co presents Zeros and Nils by D.I. Harms. Extant produces the first-ever use of audio description and simultaneous language translation in their premiere of Croatias's New Life theatre, which tours the UK
2002, 14 November - Survivors' Poetry 'Wired on Words' at the Poetry Café. Featuring John Arthur and Jeanette Ju Pierre
2002, 15-17 November - seventh Deaf Film and TV Festival, at Lighthouse, Wolverhampton. Featuring Bat Kol dancers, Key to the Stars, Skye DrEAdFul Productions, JOhn Wilson retrospective of portrayal on film and TV, Not the Usual Victim by Sofya Gollan, All the Small Things by Sam Dore, and Silent River by Ning Jingwu
2002, 26 November - Survivors' Poetry 'The Krazy Kats and Dogs Klub' at the Chat's Palace. Celebration of 10 years of Survivors' Poetry, featuring MC Emerald
2002, 11 December - Young producers concert from project to support unsigned musicians developing their careers, at Union Chapel, Islington. Featuring Eugena Bertin (rap artist), Lyn Levett and Matthew Holmes (electronic dance musicians and composers), Rona Topaz (singer/songwriter) and Stephen Hurren (blues and bluegrass guitarist)
2002, 21-22 December - production of The Snow Queen by Hans Christian Anderson

Question 44

2001

Accepted Answer

2001 - 'Strength to Strength: Year of the Artist Exhibition' at Spike Island by art+power
2001 - Blue Eyed Soul Dance Company Wicked Bodies tour
2001, January - 'Vinyl Dreams' recording programme for disabled musicians - second project begins
2001, January - Archive Enabled by James Weir - 'a portable filing system addressing the relationship of Disability Arts to the rest of the world'
2001, 19 March - Mat Fraser performs Sealboy Freak, one-man show, at Bull Theatre, Barnet
2001, 21 March - Mind The Gap present Dr Jekyll and Mr Hyde, at Bull Theatre, Barnet
2001, 27-31 March - Heart n Soul Large, Albany Empire, Deptford
2001, June - July - Signdance collective perform at the Ana Desetnica Festival
2001, June - July - Signdance collaborative perform at the Lent Festival Maribor Slovenia
2001, June - A True Voice Singing, new CD from Frank Bangay
2001, June - Don't Look Under the Bed, video installation by Juan Delgado, exploring Clause 28 and its effects on young people
2001, 23 June - 'Deaf Eyes' exhibition, Queensland Multimedia Centre
2001, 30 June - Somers Town Blues Night, featuring Christina Dunhill and Frank Bangay
2001, July - Make It So, one day festival in Milton Keynes
2001, July - You're Really Cutting Me Up by Jenni Meredith, published by Colchester and Tendring Arts Project
2001, 2-20 July - 'Miles' Eyes' exhibition by photographer Miles Thomas, at The Ability Gallery
2001, 28 July - Survivors' Poetry, launch of Write on the Edge anthology, Somers Town Community Centre
2001, August - Candoco Dance Company, tenth anniversary double bill. I hastened through my death scene to catch your last act, choreographed by Javier de Frutos, and Sunbryne, choreographed by Doug Elkins
2001, August - Drake Music Project search for two groups of physically disabled people to join a project with the Science Museum and Sinfonia 21
2001, August - Edinburgh 2001 DEGENERATE International Festival of Disability Art
2001, 3 August - Disability Film Festival
2001, 11 August - Independence Festival
2001, 18 August - 'Echoes of the Spirit' exhibition of art by Japanese artists with learning disabilities. At Diorama until 18 August, at Project Ability, Glasgow, 30 August - 21 September, at Bolton Museum Art Gallery 15 December - 23 February
2001, September - Heart n Soul CD
2001, September - Spider's Web Storytellers: Story Circles at Jackson's Lane
2001, 13 September - Survivors' Open Mic at The Poetry Café
2001, 28-29 September - CandoCo Dance Company tenth anniversary bill, Stratford Circus
2001, October - Large, new show from Heart n Soul breaks new ground by exploring cast members' past experience of discrimination
2001, October - Jenny Sealey tells DAIL about Graeae Theatre Company's future plans, incuding The Changeling, Peeling, Display 4 (new writing initiative with Soho Theatre and writernet), Wild Lunch (new writing project with Paines Plough), Mud Men (open residency in two schools in Camden, led by ENO Baylis programme), and a summer school in 2002 with Mind the Gap
2001, October - Endorphin Angels collection of poems by Dennis Casling
2001, October - Take Up Thy Bed and Walk - Death, Disability and Cure in Classic Fiction for Girls' by Lois Keith. Published by Women's Press
2001, 11 October - Survivors' Open Mic at the Poetry Cafe. Features I am the Walrus, written and performed by Nabil Shaban (24 October - 3 November at Oval House)
2001, 18 October - Adorn Equip exhibition, examining issues around the design of equipment and accessories for disabled people, at City Gallery Leicester. Includes work by Nicola Lane, produced during her A Year of the Artist residency, based on a group exploration of aesthetics in the production and use of prosthetics
2001, November - Shape projects 'Vinyl Producers' and 'Vinyl Dreams' are in their second year. Features Charles Swiet and The Escapists, Shalah Spence AKA Airbubble, Minika Green, and Greg Brooker and his band Kumo
2001, November - Mind Citizens theatre group present Breaking Through with Bryan Oliver, directed by Frances Rifkin
2001, November - WMDAF celebrate IDDP. Features Amy Mullin, Mat Fraser, Francis Rwama, Jacqui Christianni, Mario Marichi and the Italian Stallions, Jo Fraser Odin (storytelling), Bitter and Twisted, Angry Fish, and Sign Dance Collective
2001, November - Silver Leaves anthology by Gemma
2001 8-10 November - Graeae Theatre Company presents The Changeling at Lilian Baylis Theatre, Sadlers Wells
2001, 16-18 November - Sixth Deaf Film and TV Festival at Light House, Wolverhampton
2001, 18 November, 9 and 16 December - LDAF course The Magic of Writing
2001 December - DaDaFest 2001 in Liverpool. 59 activities over 10 days, including Merseysign Deaf Theatre Company and DaDaLive (8 December), Nasty Girls, Julia-Ann Kerner, Merseyside Youth Deaf Dance Company, Fishbarrel Arts, with compere Julie McNamara
2001, December - London Arts launches Disability Action Plan
2001, December - 'Visualise', video project for young deaf artists run by Turtle Key Arts and the Serpentine Gallery
2001, December - January 2002 - 'Octagon Illusion' exhibition of work by artists on Shape London course 'In the Picture', providing training in professional practice for 8 visual artists
2001, December - P4 Collection CD by The Escapists
2001, 1-8 December - DaDaFest celebration of disability and Deaf culture on Merseyside
2001, 6 December - InterAction IDDP event, Milton Keynes

Question 45

2000

Accepted Answer

2000 - Spider's Web storytellers, founded by Liz Porter, Kate Portal and Ghislaine Walker
2000 - Shape projects 'Vinyl Producers' and 'Vinyl Dreams' - three artists selected
2000 - Five arts documentaries screened on HTV West about art + power and 'The Freedom Project', at Hampden Community Centre
2000, 21 January - DASH Bash Festival, Ludlow Assembly Rooms
2000, February - East Midlands Shape organise placing of sculptures in parks and woodlands across Leicestershire
2000, February - 'Getting Noticed', poster exhibition for young people for exhibition in schools, accompanied by Educational Resource Pack
2000, February - No Bony Abnormalities by Carrie Thomas, Diorama. Play about the people the author met 'while an inpatient of mental health clinics and hospital'
2000, 18 February - The Missing Piece showcase by The Graeae Theatre Company, culmination of a training course for young disabled actors
2000, March - D'Art magazine launched by WMDAF, 'a new publication by disabled people about disability art and disability culture'
2000, March - Ian Dury dies
2000, 13-26 March - 'Finding a View' - NWDAF project where disabled people were given disposable cameras to document their lives. Images displayed at Anglican Cathedral, Liverpool
2000, March - High Spin Dance Company present The Surgeon's Waltz, Jackson's Lane Community Centre
2000, March - Goodbye Asylum: The last ward at Shenley hospital by Brendan Wilson. Oral history project in photographs documenting the lives of people about to leave Shenley Hospital
2000, April - Shropshire Millenium Art commissions for new performance work
2000, April - New Breed Theatre Company present So here it is..., the culmination of two weeks of workshops led by Garry Robson
2000, May - Lifting the Lid, second disability film festival, at The Lux
2000, 26 May - Drake Music Project play at Millenium Dome
2000, May-June - Millenium Meltdown Disability Arts and Cultural Diversity Festival in Warwickshire
2000, 25 May - 'Access Denied?', major conference on disability, the arts and new technology, at Sadler's Wells
2000, June - Loose Screws CD by Core Arts
2000, June - Mad Pride, a celebration of mad culture
2000, 1-14 June - 'Devalued People' photographic exhibition by Peter O'Brien, Theatre Royal, Nottingham
2000, 21 June - Celebration of Disability Pride
2000, July - Beyond Reason, book of exhibition by Aidan Shingler
2000, 15 July - Mad Pride Festival, Clissold Park. Mad Pride is committed to ending discrimination against psychiatric patients, promoting survivor equality and celebrating Mad culture. Music from Panic, Stratford Mercenaries, Fish Brothers, Gertrude and Leviant
2000, 1-22 July - 'The Art of Disability - A Retrospective'. Exhibition of photographs by Steven Bloch at the Diorama Gallery
2000, 18 July - Disability event as part of 'Out of that Darkness: The Legacy of the Holocaust' (ICA week). Includes films Children of Gaia, After the Truth, Healing by Killing, Liebe Perla, One of Us, The Undesirables and discussions
2000, 18-20 August - Independence Festival 2000, Birmingham
2000, 26 September - Getting Noticed, NDAF poster project launched at Tate Modern
2000, 20 September - 'Attitude is Everything' campaign for access in music venues. Launches with a gig at Dingwalls
2000, 18 September - 15 October - Transitions Disability Arts Conference and Season, Jackson's Lane
2000, 13-15 October - Fifth Deaf Film and Television Festival
2000, 29 November - 16 December - Tandem Theatre present Harold Pinter's Mountain Language and Landscape in British Sign Language
2000, November - Graeae Theatre Company present The Fall of the House of Usher, Jackson's Lane Community Centre
2000, November - Survivors Theatre Workshops, Jackson's Lane Community Centre
2000, November - Charnwood Disability Week, Loughborough Town Hall. Mayor unveils sculpture by local disability group. Followed by Bitter and Twisted, Jez Colbourne and Julie McNamara
2000, 1 December - International Day of Disabled People at the Drum, Birmingham. Featuring Steve Holland, Peppermint Lounge, Different Beat and Angry Fish, The Fugertivs and Julie McNamara with McNamayhem
2000, 9 December - Gigs and Festival 2000 by Mad Pride, featuring Headjam, Skinny Millionaires, Razz, Julie McNamara and MacNamayhem, Dan Antolopolski and Norrin Radd

Question 46

1999

Accepted Answer

1999 - High Spin Dance Company productions
1990 - Big Splash - first of three Oily Cart productions taking place in hydrotherapy pools
1999, January - Still Standing by Peter Street, published by Towpath Press
1999, 5 February - Graeae Theatre Company present A Lovely Sunday for Creve Coeur by Tennessee Williams, directed by Jenny Sealey. Touring production
1999, 27 February - Survivors' poetry, Somers Town Community Centre. Memorial event dedicated to P.J. Fahy
1999, 2 March - People Come Here to Cry, full length play based on poems, to be broadcast on Radio 4
1999, March - Glenn Hoddle sacked after announcing that disabled people were being punished for their sins in a previous life
1999, March - Adorn, Equip and Accessorise
1999, March - New Playwrights Trust and Graeae Theatre Company, in association with New Writing North, launch Disabled Writers Mentoring Scheme. Mentees include Jamie Beddard, Ann Fisher Robert Findlay, Jo Fraser Odin, Jackie Gay, Paula Greenwell, Raina Haig, Norma Pearson and Peter Wolf
1999, March - 'Wrong Bodies' exhibition and performances. Aritsts include Plastic Anorexic, Marisa Carnesky, Mat Fraser, Jane Graham, Melinda Styles, Alison Lapper, Tanya Raabe, Eddy Hardy and Crispin PJ. Virtually compered by Jamie Beddard and Francesca Martinez
1999, March - Frog Shark Shark Shadow, touring production by High Spin Dance Company
1999, 22 March - 17 April - Heatwave Disability Arts Festival. Featuring Tanya Raabe Body Fascism and Juliet Prentice Naked Truth
1999, 9-19 March - Survivors' poetry Fresher than Green, Brighter than Orange, an exhibition of poems by Irish women
1999, 29 March - 30 April - 'The Shape We're In' photos by Steven Bloch, Jackson's Lane Community Centre
1999, May - Graeae Theatre Company launches 'The Missing Piece', an intensive six month training course for disabled actors
1999, 17 May - 5 June - 'Out on a Limb: Challenging Images of Disability Through Contemporary Art', at University Gallery, University of Essex
1999, May - 'Northern Charity, Southern Blood', mixed media exhibition by Gabriel Clark-Brown examining disability identity, here and in South Africa
1999, 5 May - 2 June - Drawings and paintings by Survivor artist Figgy Foxat, at Bethlem Gallery
1999, May - Richard C. Leaman dies
1999, June - Stoke Newington Midsummer Festival. LDAF and Hackney College present Fish, a mixed-media work by learning disabled adults. LDAF and CandoCo present Emotion Through Motion
1999, June - 'Fittings: The Last Freak Show'
1999m 15-19 June - Distress Call, one man show written and performed by Liam O'Carroll. Directed by Simon Tyler, produced by Suzanne Bull, at Theatre Provocateur, Wimbledon
1999, 29 June - 1 July - Strathcona Theatre Company present The Selkie Bride
1999, July - Lifting the Lid - first Disability Film Festival, Lux Cinema
1999, July - August - Panama Theatre Company present In Remembrance, featuring Andrew McLay, Adrian Wilks and Kath Drake. 23 July at Millfield Theatre, Edmonton, 16-30 August at Greyfriars Kirk House, Edinburgh Fringe
1999, July - Joyful Noise, CD by The Fugertivs, produced by Tyneside Disability Arts
1999, July - What is this thing called love?, CD by Francis Rwama
1999, July - Naked Songs and Rhythms of Hope Frank Bangay
1999, July - DASH commission 3 new works by Shropshire and national disability arts groups, on the theme 'OUR PLACE/OUR SELVES'
1999, July - Launch of Sue Napolitano Award. This award is for £10,000, to be made to a disabled writer to produce a body of writing which explores issues of disability as its main theme
1999, July - Heart n Soul and Graeae Theatre Company appear at Glastonbury
1999, August - Clair Lewis and Dave Lupton (aka Crippen) collaborate to produce a protest song in support of BCODP 'Pass the Legislation' campaign
1999, August - LDAF outreach in Hackney and Croydon. Mobile Culture Clubs being set up to train disabled people to use their skill in the arts
1999, August - Ju90 'My Not-So-Secret Life as a Cyborg' (website)
1999, August - High Spin Dance Company present Blind Date White Noise
1999, 21 August - Survivors' Poetry, Diorama Arts Centre. Featuring Andrew Spencer, A.J. Murray and other performers
1999, August - Deadly Sensitive, poetry by Char March and James Nash. Published by Grassroots Press, and including a tour
1999, August - Jenni Meredith poet in residence on P&O European Ferries from Portsmouth to Le Havre and Bilbao. Part of National Poetry Society's Poetry Places scheme
1999, September - SMAC 2K Shropshire Millenium Festival commissions several pieces of performance material for disabled artists
1999, 6-13 September - DASH! 99 Festival, venues throughout Shropshire. Including Francis Rwama, Blue Eyed Soul Dance Company, Michelle Taylor, Caroline Parker, Liz Porter, Kate Portal, and Robson & Swan
1999, 25 September - Survivors' Poetry, Somers Town Community Centre. Featuring The Caribbean Women Writers' Alliance, and MC Judith Silver
1999, December - LDAF residency - Tanya Raabe at a crisis project based in the community for women with mental health needs
1999, December - LDAF dance course at CandoCo's studios at Aspire, Harrow, culminating in a performance

Question 47

1998

Accepted Answer

1998 - West Midlands Disability Arts Forum established
1998, January - Survivors' Poetry
1998 - Full Body and The Voice founded. Established from the No Limits Experimental Theatre project set up by Artlink West Yorkshire. It is initially managed by Huddersfield Mencap and will develop into a theatre coompany employing actors with learning disabilties working full time and resident at the Lawrence Batley Theatre, Huddesfield.
1998 - High Spin Dance Company present Stone, Crash, Crash, Founding
1998 - Blue Eyed Soul Dance Company create their first dance video, 'Soul Agents'. Filmed on location at Shrewbury Railway Station
1998, January - Oily Cart present Hunky Dory!
1998, January - Art+power, Picture This and Welsh National Opera present Hear Our Voices, at Bristol Old Vic
1998, January - Advertisement appears in DAIL - 'Hundreds of collecting cans going free'
1998, February - Survivors' Poetry
1998, 2 February - 2 March - 'The Whirlwing Continues, Bedlam: Custody, Care and Cure 1247 - 1997', at Museum of London
1998, March - 'Photostories' exhibition of work by five photographers with learning disabilities, at Tom Blau gallery. Closes 6 March.
1998, March - Stalking Histories short play by Ruth Collett, with Garry Robson. Tours.
1998, March - Survivors' Poetry
1998, March-April - Graeae Theare Company present Two. Tours nationally.
1998, 2 March - LDAF launches 'Postal Strike!', Allan Sutherland's idea for the most accessible, wide-ranging exhibition of Disability Art ever. This set of postcards had as a central principle that artists would be paid for the use of existing work, or be commissioned to produce new work. Implemented by Diane Pungartnik. Included artists Kate Adams, Fiametta Alley, Moira Coupe, Ben Cove, Steve Cribb, Libby Curtis, Meena Jafarey, Audrey Marhsall, Margaret Mitchell, Juliet Prentice, Tanya Raabe, Ann Whitehurst and Nancy Willis.
1998, 8 March - LDAF presents 'A Really Disabled International Women's Day'. Women-only event featuring Julie MacNamara, Annapurna Mishra, Shakani, Zeedy Thompson, Leah Thorn and Deaf Spice.
1998, April - Graeae Theatre Company present Two by Jim Cartwright and Jenny Sealey, with Gary Robson and Caroline Parker. Tours.
1998, April - Common Ground Sign Dance Theatre present Answer Me with Silence and Verse for Two, at Old Bull, Barnet.
1998, April - Survivors' Poetry
1998, May - Survivors' Poetry
1998, May-October - Heatwave Disability Arts Festival
1998, 5-9 May - CandoCo Dance Company present Out of Here, and new touring production After the Volcano. First at The Place, then touring.
1998, June - LDAF presents The Really Disabled Street Show at the Stoke Newington Midsummer Fetsival. Features Mat Fraser, Totlyn Jackon with Neville Murray, Ayoka, and P.J. Fahy.
1998, June - LDAF launches Disabled People's Direct Art Network, a radical new initiative to bring autonomous disability arts activity to all disabled people in Greater London, starting with Brent, Croydon and Hackney.
1998, 20 June - Survivor's Poetry, at Somer's Town Community Centre. Including readings from Voices of Conscience (Iron Press), Roger Lloyd Pack, Jehane Markham, Richard McKane, Stephen Watts (joint editors), Kath Tait (musician), and Jilian Tipene (MC Poet).
1998, July - Radio Times 3, featuring Mat Fraser (MC), Francis Rwama, Plastic Anorexic, Ayoka, Martin Davies, Totlyn Jackson and Neville Murray, Ian Stanton, and Blind, Black and Breathless
1998, July - Survivors' Poetry, at Somers Town Community Centre. Featuring Peter Campbell, John Peacock and The Essex Girls' Poetry Collective.
1998, 13-25 July - Graeae Theatre Company presents Alice at the Drill Hall, a free adaptation by Noel Greig of Alice in Wonderland, in collaboration with Nottingham Playhouse and Roundabout Theatre in Education. Directed by Geoff Bullen and Jenny Sealey.
1998, August - Salford and Trafford Disability Arts Initiative, a three-year programme of work set up by the two boroughs.
1998, August - Jenny Morris Encounters with Strangers: Feminism and Disability (Book)
1998, August - Heart n Soul present The "New" Experience, at Chester, Manchester, London
1998, September - Stephen Dwoskin Pain Is... (Movie)
1998, September-October - The Shape We're In
1998, 19 September - Survivors' Poetry, at Somers Town Community Centre. Featuring readings from Voices of Consciene (Iron Press), Roger Lloyd Pack, Jehane Markham, Richard McKane and Stephen Watts (joint editors), Kath Tait (musician) and Jilian Tipene (MC Poet).
1998, 3 October - LDAF Cabaret, at Jackson's Lane Community Centre. Featuring Mat Fraser (compere), Leah Thorn, Martin Davis, Jurg Heiniger and Aoka.
1998, October - Survivors' Poetry
1998, 17 October - P.J.Fahy dies
1998, November - Disability Arts/Arts and Disability Conference, Bracknell (organised by Southern Arts). Featuring speeches from Paddy Masefield, Jo Verrent and Daphne Payne. Contributions from Adam Reynolds and Tony Heaton.
1998, November - Dave Lupton (Crippen) Welcome to the Crip Zone (New book of cartoons)
1998, December - Launch of Sub Rosa: Clandestine Voices
1998, December - Char March The Crisis Collection - poetry inspired by experience of a Crisis Centre
1998, December - 'Ridge Walking' postcard poem
1998, December - Amethyst fourth poetry anthology by Gemma, disabled women poets collective
1998, December - Ian Stanton dies

Question 48

1997

Accepted Answer

1997, 16 January - 14 February - 'Recognition: A Disability Arts Exhibition', co-ordinated by Stoke Newington Arts Project, Stoke Newington Library. Artists include Moira Coupe, Monica Close, J. Louise Bibby, Rosie Bissett and Aidan Shingler.
1997, January - Crippen cartoon calendar produced. Also avaible from Crippen Publications: Crippen cartoon postcardsm The Thoughts of Chairman Crippen, A Barnacle on Yur Bill (includes cartoon published for the Rights Now campaign), and Previously Published, a collection of some of the work published in the disability press and on film and TV.
1997, 18 January - Survivors' Poetry, at Hampden Community Centre. Featuring Leah Thorn (MC/poet), Ray Wilmott, Michelle Taylor (poet), and A.J. Murray (singer).
1997, February - Sweet, Sour and Serious, illustrated anthology by Survivors' Poetry Scotland.
1997, February - Speaking Our Minds: An Anthology, a collection of writing by over fifty people who have experienced mental distress. Published by Macmillan.
1997, 8 February - 16 March - Barriers, at Aspex Gallery, Portsmouth. Exhibition considering physical, sensory and intellectual limitation and its effect on personal art practice. Artists include Hilda Clea, Lea Anders, Andrani Ash, Deborah Batt, John Bellany, Clarissa Beothy, India Campbell, Root Cartwright, Helen Chambers, Gary Goodwin, E.J. Grose, June Heap, Andrew Holmes, Sophie Horton, Douglas Hunter, Kathleen Hyndman, Bran Jenkins, Alison Jones, Ashley McCormick, Jenni Meredith, Anne Redmond, Sally Sedgewick, Neil Taylor, Jane Watt and Aaron Williamson.
1997, February - Margaret Mitchell presents a new series of Secondary Stigmas, Watershed, Bristol. Until 31 March.
1997, 8 March - LDAF presents Disabled Women in Camden, an evening of music and poetry on International Women's Day at Diorama. Featuring Julie McNamara (MC), Alison Smith, Paulette Ng, Doreen Pritchard, Ruth Harris, Em the Hag.
1997, 10-15 March - LDAF presents Disabled/Women - a festival of disabled women artists, at Turtle Key Arts Centre. Includes an exhibition of installation work and photographs by Claire Collinson and Margaret Mitchell, arts workshops, available to disabled women only, and Deliverance, a new play by disabled playwright Cathy Gibson, peformed by LDAF's own Really Disabled Theatre Company. 'Deliverance! A disabled child is born. She grows. She's kidnapped and kept prisoner at the Special School Circus. She appears on Deliverance! The television show where you, the audience, decides which of us lives or dies. She starts to think. She breaks out.'
1997, March - Toucan Touch by Michelle Taylor, book of poems.
1997, March - 5 April - Isolation and Domestos by Brendan Wilson.
1997, 15 March - Survivors' Poetry, Hampden Community Centre.
1997, April - The Green Leaf Group, a group of performers with learning disabilities from Lambeth, perform in The Green Leaves Show.
1997, 19 April - Survivors' Poetry, Hampden Community Centre.
1997, April - 3 May - 'A Journey of Difference - Painting the Experience of Disability' exhibition by Sally Sedgwick, at Gateshead Central Library.
1997, April - A Different Life by Lois Keith, published by April Livewire, The Women's Press young adults imprint.
1997, 24 April - High Time - Art Against Prejudice, Bristol's first disability arts festival. Includes the launch of Art + Power.
1997, May - 'Closed Circuits, Open Readings', photography by Mary Duffy, Johnnie Gathercole, Claire Collison, Margaret Mitchell. Poetic response by Dennis Casling. Part of High Time: Art Against Prejudice.
1997, May - Graeae Theatre Company present What The Butler Saw by Joe Orton, directed by Ewan Marshall. Touring the country throughout May, at Jackson's Lane 3-6 June, Oval House 11-21 June.
1997, May - Strathcona Theatre Company present An Error of Judgement - 'a moving, disturbing, funny and thought-provoking look at the judicial injustice exacted against learning disabled people.'
1997, May - Tottering Bipeds Theatre Company present Waiting for Godot with Jamie Beddard and Simon Startin. Tours nationally. Performances at Old Bull Arts Centre, Barnet and Watermans Arts Centre, Brentford cancelled after Beckett estate refused permission while Peter Hall's producition was playing in the West End.
1997, May - Survivors' Poetry, Hampden Community Centre.
1997, 'Until Autumn' exhibition by Keith Armstrong. Computer and photographic work at the Eden Restaurant.
1997, May - 'A Day in the Life Of...', exhibition resulting from giving disposable cameras to 750 disabled people throughout the East Midlands, asking them to take photos of any aspect of their lives. The largest disability arts event ever to have taken place in the UK. At Snibston Discovery Park, 7 May - 1 June, Djanogly Gallery, and Nottingham University Campus. The original photographs have been stored - former participants or archivists can contact deveritt@innotts.co.uk
1997, 23 June - 6 July - DASH '97 'Celebrate the Difference'
1997, 15 June - LDAF presents 'The Really Disabled Street Show' in Stoke Newington Midsummer Festival. Featuring Mat Fraser, Caroline Parker, Mike Higgins and Shirley Ogiste.
1997, 23 - 28 June - UP STAGE '97, disabled young people's performing arts festival, at Turtle Key Arts Centre. Including Deaf Arts Fusion: Alice in Wonderland reworked by Cathy Woolley into an ineractive multimedia performance. Including Cabarave: Suzy Babbington, Shakani, Theatre Provocateur, Lisa Hammond, The Piccadilly Hammers, Natalie Hypocrite, supported by Ogechi Eguena, Damon Rose, Ruth Green, The Cowboy Kickers, Ayoka and Clive Cherrington (MCs). Co-ordinated by Maria Oshodi.
1997, June - Survivors' Poetry, Hampden Community Centre.
1997, June - Take Note! Live at the Union Chapel CD, featuring 14 live performances from disabled musicians. Includes Klub Mundi, Baluji Shrivastav, Johnny Crescendo, Super Disken, Mark Rowland, Eroticis, Nabil Shaban, Grateful Dub, Plastic Anorexic, The Treefellas, Wise Wound, Simon Smith and the Useless Eaters, David Little and Iain Matheson.
1997, July - Johnny Crescendo 'Tragic but Brave Show' back on the road after a three year break.
1997, July - Radio Times 2 'Three hours of non-stop music from today's hottest disabled artists', at Victoria Embankment Gardens. Featuring Mat Fraser, Peter Sturdy, Francis Rwama, Caroline Parker, Julie McNamara, Ayoka, THWOTH, Simon Smith and the Useless Eaters.
1997, July - Theatre Provocateur presents The Fire Brothers 30s, featuring Liam O'Carroll and Andrew McLay.
1997, 16 July - 'Deaf Dimensions' photography exhibition, at Cramlington Library. Featuring the work of seven young Deaf Artists produced at workshops run partly by the Northern Disability Arts Forum.
1997, 16-27 July - exhibition from Nancy Willis. 'These works, created in the past ten years, arise from my experience of life as a disabled woman. Using mixed-media, i try to find images that give an outward form for my inner world of seeing and imagination' - Nancy Willis.
1997, July - Survivors' Poetry, Hampden Community Centre.
1997, August - the following artists are selected for Postal Strike: Kate Adams, Fiametta Alley, Ben Cove, Moira Coupe, Libby Curtis, Fehmeeda Jafarey, Audrey Marshall, Margaret Mitchell, Juliet Prentice, Tanya Raabe, Donald Rodney, Nancy Willis, Steve Cribb.
1997, 13-14 September - 'Take Note! 3' music festival. A weekend festival of music ranging from techno to lounge, rock to folk, hosted by Union Chapel, one of London's most dramatic arts venues presented by Shape London and Islington Council. Featuring Julie McNamara, Val Stein and Camila Canantata, Johnny Crescendo, Iain Matheson, Body and Soul, pupils from Richard Cloudeskey School, Fresh Tracks, Plastic Anorexic, Mat Fraser and Ayoka, Super Disken, Peter Sturdy, pupils from Samuel Rhodes School and the London Symphony Orchestra, Garry Robson and Terry Swan.
1997, 20 September - Independence Festival 1997. Featuring Ian Stanton, Julie McNamara, Johnny Crescendo, Mat Fraser, Natalie Markham and Mandy Colleran (comperes).
1997, September - Survivors' Poetry
1997, October - Survivors' Poetry
1997, October - Strathcona Theatre Company present Change of Heart
1997, 11-23 November - 'Incarceration Installation' multimedia arts installation, at Shoreditch Town Hall. Includes work by Norma Pearson, Lee Squires and Graham Cunningham amongst others.
1997, 15 November - Inmates by Allan Sutherland and Stuart Morris, BBC Radio Four. A ninety minute play set in a long stay institution for disabled people, starring disbaled actors Matthew Fraser, Daryl Beeton, Jonathan Keeble, Gerard McDermot, Mandy Colleran, Mandy Redvers-Higgins and Dave Kent.
1997, November - Survivors' Poetry
1997, November - Cabaret for International Day of Disabled People, at Brent Advocacy Concerns. Featuring Karen Shook (MC), Flexible Friends, Damon Rose, Martin Davies and Jurg Heiniger, and Ayoka.
1997, December - Survivors' Poetry

Question 49

1996

Accepted Answer

1996 - Brendan Wilson The Whirlwind Continues
1996 - Tickled Pink
1996, January - Buried Over Ground
1996, 13 January - Survivors' Poetry, Hampden Community Centre
1996, 17 January - Beautiful Octopus Club, The Albany
1996, January - Graeae Theatre Company presents previews of Flesh Fly
1996, February - Leicester Comedy Festival
1996, February - The End of the Pier Show
1996, February - Visually impaired poet Michelle Taylor judged Best Peforming Poet of 1995
1996, February - Mathew Fraser Ungrateful
1996, February - Breaking the Mould
1996, February - Graeae Theatre Company touring Flesh Fly
1996, February - Answer Me With Silence
1996, February - 'In Alliance' exhibition
1996, 17 February - Survivors' poetry, Hampden Community Centre
1996, March - West London Disability Arts Group present Triple Focus - three exhibitions
1996, March - Jimmy Craw wins Individual Artist prize at Sussex Open
1996, 5 March - Seminar on Disability Arts organised by Prism Arts
1996, 16 March - Survivors' poetry, Hampden Community Centre
1996, April - NDAF billboard campaign, with image drawn by Eddy Hardy
1996, April - Survivors' poetry
1996, April - What We Want to Say to San Jose
1996, April - Sue Napolitano dies
1996, April - DANN DARES (Direct Action Network Nottingham) disability cabaret
1996, April - Brixton Community Sanctuary anthology
1996, 10 April - Beautiful Octopus Club
1996, May - Aidan Shingler Beyond Reason
1996, 18 May - Survivors' Poetry, Hampden Community Centre

Question 50

Where does my money go?

Accepted Answer

89p in every &pound;1 goes directly to our charitable activities. We work hard to ensure that all of your donations are having the greatest impact possible. In order to ensure that Shape continues to be a sustainable organisation a small % of your support goes to our supporting costs. If you gift aid you donation this will be more than covered.

Question 51

1995

Accepted Answer

1995, 20 January - Premiere of Night Stalkers by Deaf filmmaker Wayne Hargood
1995, January - Shape Deaf Arts organise exhibition for Deaf artists at St John's College, Cambridge
1995, 14 January - Survivors' poetry, Hampden Community Centre
1995, January - Unleashed: Images and Experience of Disability
1995, February - Art Through the Front Door
1995, February - Survivors' poetry
1995, 19 February - Torriano Meeting House
1995, 9 February - Rights Now Day of Action to support second reading of Harry Barnes's Disabled Persons (Civil Rights) Bill
1995, February - Allan Sutherland has booking cancelled by Birmingham City Council
1995, 18 March - Survivors' poetry, Hampden Community Centre
1995, 14-31 March - 'Taboo' exhibition of paintings
1995, April - Under the Asylum Tree survivors' poetry anthology
1995, 15 April - Survivors' poetry anthology launch, 150 Ossulston Street
1995, 26 - 30 April - Shape Hackney presents Movin' On '95
1995, May - Allan Sutherland proposes idea for a London Disability Arts Forum postcards project - later to be partly realised as Postal Strike
1995, May - 'Unleashed' exhibition at Laing Art Gallery, Newcastle on Tyne
1995, May - Fights for Rights, award-winning photomural by Nancy Willis and Jenny Polack
1995, May - New Breed Theatre Company present Tryst, four plays by solo performers
1995, 26 May - The Workhouse at Parkshot Centre, Richmond
1995, May - Heart n Soul launch Beautiful Octopus Club
1995, 13 May - Survivors' poetry, Hampden Community Centre
1995, June - Graeae Theatre Company working on Flesh Fly and Playback 2 U
1995, 17 June - Swing into Summer
1995, 17 June - Survivors' poetry, Hampden Community Centre
1995, 1 June - Strathcona Theatre Company present Pain Without, Power Within
1995, 9 June - 'The Face of Our Fear' at Diorama Gallery
1995, June - Launch party for Stream Records' new releases
1995, June - Screening Lies: Portrayals and Betrayals - Disability in Cinema
1995, July - Allan Sutherland: Poems and Prose (self-published)
1995, July - Survivors' poetry, Hampden Community Centre
1995, July - 'Patronizingly Challenge Beware'
1995, July - LDAF and Alternative Arts present Open Air Disability Cabaret Extravaganza
1995, 9 July - Islington's First Disability Music Festival
1995, June - Milton Keynes Disability Arts Festival
1995, August - Graeae Theatre Company seminar at Royal National Theatre to discuss access to theatre for disabled performers
1995, August - West London Disability Arts Cabaret
1995, August - Second Milton Keynes Disability Arts Festival
1995, August - Launch of NDAF's European Disability Arts Directory
1995, August - Disabled film-maker Chris Ledger awarded £2,000 by Arts Council of England's Disability Arts Panel
1995, 12 August - Survivors' poetry, Hampden Community Centre
1995, 12 September - 7 October - 'Over Hear'
1995, 16 September - Survivors' poetry, Hampden Community Centre
1995, September - Lucille Lusk dies
1995, September - Tony Newton (of Pink Fingers) dies
1995, October - A Dangerous Woman
1995, October - Corali Dance Company present We Are Not So Ordinary
1995, October - Upstage '95, young disabled people's performing arts festival
1995, October - The Stamping Spiders Exhibition
1995, October - CandoCo Autumn Tour
1995, October - Survivors' poetry, Hampden Community Centre
1995, 11-22 October - Deaf Expressions
1995, October - Graeae Theatre Company touring nationwide with Play Back 2 U
1995, 14 November - 1 December - 'Tony Heaton Exposed - A Retrospective
1995, November - Show of Hands present Don Quixote de La Mancha
1995, November - Heart n Soul launch their CD Greatest Hits - Volume 1
1995, 11 November - Survivors' poetry, Hampden Community Centre
1995, November - White Socks, Love, Sex and Community Transport
1995, December - Basic Theatre Company new show Spirit of a Clown
1995, 16 December - Survivors' Poetry, Hampden Community Centre
1995, December - Lawnmowers video of The Big Sex Show
1995, December - The Thoughts of Chairman Crippen, an irreverent look at disability, self-published by cartoonist Crippen
1995, December - LDAF present The Workhouse Xmas Cabaret

Question 52

1994

Accepted Answer

1994 - North West Shape relaunches as Full Circle Arts
1994 - Changes, National Deaf Forum Theatre project
1994, January - Entitled, debut album by Simon Smith and the Useless Eaters
1994 - The Art House, Halifax, established as an inclusive organisation that seeks to address the issues faced by disabled people
1994 - Blue Eyed Soul Dance Company give first performance at Shrewsbury Music Hall
1994, January - 'Spiritual Dance'
1994, January - Unbound
1994, 21 January - Survivors' Poetry UK tour
1994, 14 - 19 February - LDAF Euroweek
1994, February - Arts and Disability
1994, February - Waterworks exhibition of 12 copper sculptures by Adam Reynolds, at Yorkshire Sculpture Park
1994, February - Survivors' Poetry UK tour
1994, February - Steve Cribb dies
1994, March - Heart n Soul present premiere of Hearts on Fire
1994, March - Neti-Neti Shabbash
1994, March - I.O.U. Theatre present Boundary
1994, March - The Spotlight Cabaret
1994, March - Disabled Dykes Cabaret Night
1994, March - Hackney Movin' On festival '94
1994, March - Tragic But Brave
1994, March - New Breed Theatre present Grimm
1994, March - City Life - Viewing It Our Way!
1994, April - Benefit performance to mark third anniversary of Survivors' Poetry
1994, April - Strathcona Theatre Company present Pain Without, Power Within: Faith Healing
1994, April - On The Map
1994, 25 April - Stephen Payton, Bradford disability artist, dies
1994, 29 May - Disability Focus, Bedford
1994, 14 May - Mike Bramley, Chair of Derbyshire Disability Arts Forum, dies
1994, June - Re-write of An Anthology of New Writing
1994, June - LDAF presents Out to Lunch
1994, June - Festival of Deaf History
1994, 29 June - Invisible Cabaret
1994, June - Mustn't Grumble
1994, 18 June - Survivors' Poetry
1994, 25 - 16 June - Graeae Youth Theatre Historical Briefs
1994, June - Bradford Festival includes The Big Sex Show
1994, July - Demonstration by Disability Arts Consortium
1994, June - LDAF publishes Directory of Disabled Performers and Directory of Disabled Visual and Tactile Artists
1994, 6 July - Survivors' Poetry, Hampden Community Centre
1994, 31 July - LDAF Open Air Disability Cabaret Extravaganza
1994, July - Flights from the Sink
1994, July - Face to Face
1994, July - Hear No Evil
1994, July - National Conference/Festival of Theatre and Learning Disability
1994, July - Steve Cribb retrospective1994, August - Dance Lines II Heroes and Heroines
1994, September - Deaf Fiesta, arts workshops at Highbury Fields, organised by Shape Islington and Islington Council
1994, 13 August - Survivors' Poetry, Hampden Community Centre
1994, September - The Workhouse, at Old Bull, Barnet
1994, 1 - 30 September 1994 - 'Five of a Kind' exhibition
1994, 17 September - Survivors' Poetry
1994, 10 September-6 November - Mandy Holland's work included in exhibition 'Her Camera Has Wings'
1994, October - DAIL feature on Disability Theatre
1994, October - 'Identity, Stigma... Disability?' Exhibition of photographic works by Bushy Kelly and Margaret Mitchell
1994, October - Survivors' Poetry, Hampden Community Centre
1994, October - Show of Hands (Deaf/non-deaf theatre group) present The Picture of Dorian Gray
1994, November - Hear No Evil looking for submissions
1994, November - 'Out to Lunch' exhibition of photography by Mandy Holland, at Castle Museum, Nottingham
1994, 12 November - Survivors' Poetry, Hampden Community Centre
1994, 22 - 27 November - LET's '94 Disability Theatre Festival, Battersea Arts Centre
1994, 26 November - LDAF AGM discussion - Dennis Potter: Disabled Artist?
1994, 8 - 18 December - Graeae Theatre Company present Ubu
1994, 14 December - The Workhouse: Dreaming of a Crip Christmas, Red Rose Club
1994, December - Corali Dance Company present All Wrapped Up About It
1994, December - The Tokens present And The Music Is Too Loud
1994, 1 December - Survivors' Poetry, Hampden Community Centre
1994, 3 December - DAN/GAD cabaret/benefit, Christchurch Forum
1994, 17 December - Survivors' Poetry, Hampden Community Centre
1994, 4 December - The Workhouse, Waylands Day Centre, Croydon
1994, December - Lois Thomas dies

Question 53

1993

Accepted Answer

1993 - High Spin Dance Company formed. Deaf Arts UK founded by Shape London.
1993, January - Workhouse benefit for Black Disabled People's Group. Featuring Francis Rwama, Ruth Harris, Debbie Williams, Devon Marston, Ebony Steel Band, Fatima Shobakin (from Carl Campbell Dance Co.)
1993, February - Common Ground Sign Dance Theatre spring tour of Lunera a fast-moving piece of sign dance theatre inspired by traditional Cuban folk songs, and Waiting, with a collaboratively written script in BSL and English
1993, February - Derbyshire Disability Arts Forum founded. Cabaret at launch event A Bit of a Do Two, at Wilmorton College. Including Ian Stanton, Johnny Crescndo, Mike Higgins, Sue Napolitano, Ken Davis, Wanda Barbara, and Mike Bramley (compere)
1993, 9 February - The Man Who Loved Islands, New Breed Theatre Company's first national tour
1993, February - Dorothy Miles dies
1993, March - 'Different Views' exhibition of photographic work by disabled people
1993, March - All In Your Head by Joanne Pearson. Film about Pearon's experience of epilepsy, to be shown at ICA as part of BT New Contemporaries exhibition
1993, March - 'Black Hats and Twisted Bodies', BFI essay on disability in mainstream cinema by Allan Sutherland (DAM magazine)
1993, March - Cathedral Lung collection of poetry by Aaron Williamson, and audio cassette. Both published by Creation Press, with further publication by Holythroat Symposium due later in the year.
1993, March - 'In Through the Front Door: Disabled people and the visual arts - examples of good practice' from Arts Council of Great Britain
1993, 13 March - Survivors' Poetry, Hampden Community Centre. Featuring Razz (MC and poet), Mother Courage (music duo), Melanie Thompson (poet) and Joe Bidder (poet)
1993, April - 'Defiance: Art confronting disability' at City Museum and Art Gallery, Stoke and Trent
1993, April - 'Images of a Festival', LDAF travelling exhibition. Laminated A2 prints of photos commissioned from David Hevey of 1989 London-wide Movin' On Festival
1993, April - 'From Pre-Raphaelite Brotherhood to Pre-Menstrual Sisterhood. Billboard in Birmingham by Claire Collison, parodying Ford Madox Brown's Pretty Baa Lambs in City Museum and Art Gallery. Part of Billboard Project set up by University of Central England
1993, 18 April - Benefit gig by disabled artists, Chats Palace. Including Survivors Poetry, James Conlan, Rupa Sarka, Geof Chilkes, Diane Miller
1993, April - First National Deaf Theatre Weekend, Derby School for the Deaf
1993, 13 April-15 May - Carolyn James and Gioya Steinke exhibit at Old Town Hall, Richmond
1993, 30 April - Basic Theatre present Signs of the Times. Touring from 30 April
1993, May - 'A Personal Bill of Rights' photo exhibition by students on photography course at Exeter's Disabled Young Adults Centre, responding to Spastics Society's My Rights campaign. Touring schools and colleges in the region
1993, 5 May - The Workhouse, Kingstonian Football Club
1993, 8 May - Launch of West Midlands Disability Arts Forum. Including performances from Johnny Crescendo and the P.O.P. Squad, stars and rising stars of Disability Arts circuit and performance by Basic Theatre
1993, 8 May - Burning Daylight, Islingston's first Disability Arts Festival
1993, 13 May - Johnny Crescendo launches new album Pride with new band P.O.P. Squad, plus Clare Mooney, Ian Stanton and Wanda Barbara, at Chat's Palace. Includes 'Scars' (adaptation of Simon Brisenden's poem), 'I Don't Wanna Be a Wannabe' and 'The Ballad of Josie Evans'
1993, 14 - 15 May - Deaf Focus at the Unicorn, National Deaf Children's Society Festival of Performing Arts
1993, 16 May - Islington Deaf Cabaret, including Clive Mason, Sarah and Paul Scott, and Ray Harrison Graham
1993, 16 May - Deaf Way Cabaret, at University of North London
1993, June - Tyneside Cinema, in association with NORDAF, present a season exploring the representations of disability in film and television
1993, June - Launch of Avon's new Disability Arts Agency with the Disability Arts Café. David Hevey's 'Images of a Festival' , plus performances from Ian Stanton, Green Fuse, Georgina Edema, Francis Rwama
1993, June - Strathcona Theatre Company presents Still Crazy After All These Years retrospective of the last 10 years
1993, 17 June - Lavender Ripples women-only Workhouse cabaret including The Tokens and the Rowdy Proud Roadshow
1993, June - Jackson's Lane Theatre Training Scheme. 15 students receive record of achievement towards City and Guilds qualification
1993, 12 June - Survivors' Poetry, Hampden Community Centre
1993, 14 June-4 July - Exhibition of work by deaf artists at Julius Gottlieb Gallery, Oxford, in association with Shape London
1993, June - Arts Council publish theatre and disability conference report by Elspeth Morrison, giving results of June 1992 conference
1993, June - 'Out2Play' The Breathing Space
1993, June - Fair Moving Keith Ashton, Pub Littlewood Arc
1993, 20 June-17 July - Sally Booth paintings at Horsham Arts Centre
1993, 1 - 31 July - Shape Up and Go! Hackney Movin' On Festival '93
1993, 4 July - Common Ground Sign Dance Theatre new touring production El Pilon
1993, July - West Midlands Disability Arts Forum
1993, 6 July - The Workhouse cabaret as a part of Merton Arts Festival. Featuring Mike Tragic But Brave Higgins and Fish Out of Water
1993, Horniman Museum Disability Arts Day. Featuring Johnny Crescendo, Fish out of Water, Kate Portal, Tragic Mike, Aaron Williamson, Survivors Poetry and Libra Theatre Company
1993, 17 July - Survivors' Poetry, Hampden Community Centre. Featuring Terry Cordrez (MC/poet), Jade (poet), Jenni Meredith (poet), John Arthur (singer and musician)
1993, August - David Hevey's Liberty, Equality, Disability images, originally part of The Creatures That Time Forgot. Published by Leeds postcards
1993, August - Deaf World, new show featuring the Deaf comedians and Colin Thomson
1993, August - Launch of Shropshire Disability Arts Initiative - funding scheme for disabled people with arts projects, with a view to successful applicants taking part in a Day of Disability Arts in March 1994
1993, August - Graeae Theatre Company present Soft Vengeance by Albie Sachs
1993, 14 August - Survivors' Poetry, Hampden Community Centre
1993, 2 - 3 September - NDAF presents The Ghetto, International Disability Arts Cabaret
1993, 15 September-1 October - Disability Theatre Festival on Merseyside
1993, September - Fiction and poetry DAIL
1993, September - New Voices Poetry group, meeting at LDAF
1993, September - Creative writing workshop for disabled people, at Aston University. Part of Birmingham Readers and Writers Festival. Led by Kaite O'Reilly
1993, September - 'Write to Belong' national project for disabled writers. A Snowball Arts project, co-ordinated by Jenni Meredith
1993, September - The Workhouse, featuring Johnny Crescendo, Val Stein, Martin Davies, The Unkown, Diane Pungartnik (compere) and Francis Rwama
1993, 18 September - Survivors' Poetry, Hampden Community Centre
1993, September - Deaf People in the War, major new project starting in September with National Maritime Museum, City Lit and Shape London (Deaf Arts)
1993, 17 - 20 September - National Deaf Theatre Weekend, Part 2, at Warwick University
1993, September - Upstage Cabarave
1993, 16 October - Survivors' Poetry, Hampden Community Centre
1993, October - Tanya Raabe MA exhibition at Holden Gallery, Manchester Metropolitan University
1993, October - A Question of Vision
1993, October - Manchester becomes UK City of Drama 1994
1993, October - Entitled CD by Simon Smith and the Useless Eaters
1993, October - On The Map
1993, November - The Shape of Disability Arts Wandsworth '93
1993, November - How We Like It
1993, November - Soci-at-Ease by Simon Smith (cassette/CD)
1993, November - LDAF Conference and AGM
1993, November - Liz Crow, Disability Arts, The Business (NDAF publication)
1992, 2 November - Survivors' Poetry, Hampden Community Centre
1993, 6 November - The Workhouse, Battersea Arts Centre
1993, 9 November - Survivors' Poetry at Islington Arts Festival
1993, 13 November - Survivors' Poetry, Hampden Community Centre
1993, December - Graeae Theatre Company presents the Borderline Project
1993, December - GAD celebrate European Day of Disabled People
1993, December - 'From Dark to Light'1993, December - Deaf Humour video
1993, December - Survivors' Poetry UK tour, featuring Isha, Peter Street, Joe Bidder, Quibilah Montsho, Claire Mooney and Emma Jarman. At Green Room, Manchester
1993, 10 December - Survivors' Poetry, Ann Taylor Centre
1993, 11 December - LDAF Christmas party and Workhouse cabaret, Chat's Palace
1993, 11 December - Survivors' Poetry, Hampden Community Centre

Question 54

Theatres

Accepted Answer

Arcola Theatre

Telephone (Box Office): 020 7503 1646
Email: boxoffice@arcolatheatre.com
Website: https://www.arcolatheatre.com/visit/accessibility

Donmar Warehouse

Telephone (Special Requests): 0844 871 7677
Telephone (Access Officer): 0207 845 5820
Email: access@donmarwarehouse.com
Website: http://www.donmarwarehouse.com/your-visit/access

National Theatre

Telephone: 020 7452 3284
Email: access@nationaltheatre.org.uk
Website: http://www.nationaltheatre.org.uk/your-visit/access

New Diorama Theatre

Telephone: 0207 916 5467
Email: hello@newdiorama.com
Website: http://newdiorama.com/news/access-performances-announced-for-201516-season

Royal Albert Hall

Telephone (Box Office): 020 7589 8212
Email (Accessibility Request Form): https://tickets.royalalberthall.com/user/accessibility_request
Website: http://www.royalalberthall.com/your-visit/accessibility/

Royal Opera House

Telephone (Box Office): 020 7304 4000
Email: boxofficeaccess@roh.org.uk
Website: http://www.roh.org.uk/visit/access

Saddlers Wells

Telephone: 020 7863 8000
Email: access@sadlerswells.com
Website: http://www.sadlerswells.com/visitor-info/access-info/

Soho Theatre

Telephone: 0207 478 0100
Email (Operations Manager): juliemarshall@sohotheatre.com
Website: http://sohotheatre.com/visit-us/access/

Unicorn Theatre

Telephone (Box Office): 020 7645 0560
Email: access@unicorntheatre.com
Website: https://www.unicorntheatre.com/access-at-the-unicorn

For comments and queries please e-mail info@shapearts.org.uk or tel 0207 424 7330

Question 55

Galleries

Accepted Answer

Dulwich Picture Gallery

Telephone: 0208 299 8703
Email: enquiries@dulwichpicturegallery.org.uk
Website: http://www.dulwichpicturegallery.org.uk

National Gallery

Telephone: 020 7747 5820
Email: information@ng-london.org.uk
Website: http://www.nationalgallery.org.uk/visiting/

National Portrait Gallery

Telephone: 020 7306 0055
Website: http://www.npg.org.uk/visit.php

Photographers Gallery

Telephone: 020 7087 9300
Email: info@tpg.org.uk
Website: http://www.thephotographersgallery.org.uk/visit-us

Royal Academy of Art

Telephone: 020 7300 8028
Email: access@royalacademy.org.uk
Website: www.royalacademy.org.uk

Wellcome Collection

Telephone: 020 7611 2222
Email: access@wellcomecollection.org
Website: http://wellcomecollection.org/visit-us/accessibility

William Morris Gallery

Telephone: 0208 496 4390
Telephone (Parking): 0208 496 1470
Email: wmg.enquiries@walthamforest.gov.uk.
Website: http://www.wmgallery.org.uk/visit/access

For comments and queries please e-mail info@shapearts.org.uk or tel 0207 424 7330

Question 56

Museums

Accepted Answer

Design Museum

Telephone (General): 0207 403 6933
Telephone (Bookings): 0207 940 8782 (BSL and Touch Tours)
Website: http://designmuseum.org/plan-your-visit/access

Geffrye Museum

Telephone: 0207 739 9893
Email: lbedford@geffrye-museum.org.uk Laura Bedford (Education Officer)
Website: http://www.geffrye-museum.org.uk/visit/access/

Science Museum

Telephone: 020 7942 4000
Website: http://www.sciencemuseum.org.uk/visitmuseum/accessibility.aspx

Victoria & Albert Museum

Telephone (General): 020 7942 2766
Telephone (Bookings): 0207 942 2211
Text phone: 020 7942 2002
Email (General): disability@vam.ac.uk
Email (Bookings): bookings.office@vam.ac.uk
Website: http://www.vam.ac.uk/page/d/disability-and-access/

V&A Musuem of Childhood

Telephone: 0208 983 5200
Email: moc@vam.ac.uk
Website: http://www.vam.ac.uk/moc/visit/#facilities

Royal Museums Greenwich

Telephone: 0208 312 6608
Email: bookings@rmg.co.uk
Website: http://www.rmg.co.uk/visit/access

Wallace Collection

Telephone: 0207 563 9577
Telephone (Parking): 0207 563 9524
Email: community@wallacecollection.org
More information here: http://www.wallacecollection.org/visiting/access

For comments and queries please e-mail info@shapearts.org.uk or tel 0207 424 7330

Question 57

James Hodgson

Accepted Answer

James Hodgson

James is a Freelance Arts and Fundraising Specialist, and current Managing Director of Sydenham Arts, a combined arts charity operating in South East London. He is also a director of third sector consultancy business 111 Collectiff and a practising artist.
James' experience includes working across a range of arts venues, and as a consultant to charities in sectors including criminal justice, the arts, wellbeing, training and social justice within BAMER and marginalised groups.
He has overseen major projects including the renovation of Hoxton Hall, a unique Victorian music hall in the heart of East London, and redevelopment and delivery of a Multi Arts festival on the Sussex coast.

With a history of working in community-focussed art venues, James is passionate about the promotion of equality and access to the arts for everyone.

He is a practising conceptual artist, producing sculptural, performance and visual art, examples of which can be found at www.jameshodgsonart.com. Recent exhibitions include Refraction (Raw Labs, Docklands), and The Leyden Gallery (Whitechapel).

Question 58

1992

Accepted Answer

1992 - Humberside Disability Arts Forum formed. Disability Arts Shropshire (DASh) formed as part of Shropshire Disability Consortium (SDC)
1992, 27 January - Kwabena Gyedu, Ghanaian disability artists, gives a slide presentation of his paintings at Arts Council
1992, February - The Tokens, Disaret Club at Chat's Palace
1992, 12 February - 13 June - Graeae Theatre Company present Hound by Maria Oshodi, directed by Ewan Marshall. Tours nationally at 31 venues.
1992, February - Evelyn Street photomural by Katherine Araniello, Veronica Pakenham, Kate Brown and Sue Elsegood, with non-disabled colleagues
1992, 25 February - Workhouse Poetry Cabaret Night
1992, 21 February - Premiere of Common Ground Sign Dance Theatre Lunera. Tours nationally.
1992, 24 February - 28 March - showcase of drawings by Gioya Steinke and paintings by Carolyn James, at Old Town Hall, Richmond
1992, March - Louder Than Words '92 - festival of disability arts in Hounslow, Richmond and Ealing
1992, 14 March - Disabled Women Celebrate, including workshops, displays and No Excuses cabaret. At Southville Centre, Bristol
1992, 16-21 March - Go, Go, Go '92: Movin' On Festival. Includes Graeae Theatre Company, Heart n Soul The Power of Life, and Grand Finale with Johnny Crescendo, Timothy Sagosz, and Rupa Sarka (MC)
1992, 5 March - Women's Workhouse for International Women's Day, Oval House
1992, 14 March - Survivors' Poetry, Hampden Community Centre
1992, March - Carl Campbell Dance Co 7, Commonwealth Institute
1992, March - Exhibition of art by European disabled artists, Stoke on Trent City Museum and Art Gallery
1992, 22-29 March - Channel Four Disability Week
1992, 26 March - 'The Creatures Time Forgot' - photography and disability imagery book by David Hevey, published by Routledge. Part of a wider project that also includes an exhibition at Camerawork, a series of posters, a training pack and keynote conference
1992, April - Common Ground Sign Dance Theatre leading Easter Week Project with young people at Slough Deaf Club
1992, April - Grandchildren of Albion and Survivors' Poetry, Hampden Community Centre
1992, April - Disaret Club, Chat's Palace
1992, April - Disability Arts Magazine becomes the first arts organisation run, staffed and controlled entirely by disabled people to obtain revenue funding from the Arts Council of Great Britain. During this year the magazine changes its name to DAM
1992, 26 May to 29 May - Graeae Theatre Company launch Graeae Youth Theatre
1992, 14 May - Benefit run by Powerhouse, a women-only Workhouse, for a Powerhouse women's group in Newham trying to raise funds to set up a safe house for women with learning difficulties who are being harassed, threatened or attacked by men. At West Ham Town Hall
1992, May - Rainbows in the Ice, poetry collection by 17 disabled writers, published by Crocus Books
1992, 30 May - Show of Hands Theatre tour Wilde Tales, including 2 Deaf and 3 non-Deaf actors
1992, May - Thriller by Charles Hampton, a signed musical of mystery, song and dance
1992, 16 May - Nationa Disability Arts Forum AGM, including cabaret with The Jarrow Elvis Roadshow, Tragic But Brave, The Northern Writers Workshop, No Excuses, and Tom Shakespeare
1992, 9 May - Survivors' Poetry, Hampden Community Centre. Featuring Anna Neeter (MC and poet), Joseph Houghey (singer and musician), Leah Thorn (performer) and John Rety (anarchic poet)
1992, 7 May - 12 July - Neti-Neti tours Shabbash by Penny Casdagli and Mina Mokid, in English, sign language and Bengali
1992, 17 June - The Workhouse, at Kingstonian Football Club, Kingston Upon Thames. Featuring Isobel Ward (music), Diane Miller (comedy), The Survivors - Peter Campbell, Razz and Sam (performance poetry), Johnny Crescendo (singer) and Elspeth Morrison (MC)
1992, 6 June - Survivors' Poetry at Hampden Community Centre. Featuring P.J.Fahy (MC, poet and musician), Ifigenija Zagorinik (poet), Dave Russel (musician and poet) and Billy Childish (poet)
1992, 26-28 June - Conference on Theatre and Disability, at Owens Park, Manchester
1992, 18 July - Second 'Block Telethon' demonstration. Tony Heaton's 'Shaken not Stirred' (commissioned by LDAF Euroday) repeated as part of press launch
1992, July - Survivors' Poetry - From Dark to Light, edited by Bangay, Bidder and Porter. Published by Survivors Press
1992, July - Freewheelin', new tape by Ian Stanton, with Stream Records. Includes 'A Bloody Funny Way', 'The Glee Club', 'Tragic But Brave' and 'A Message from Telethon'
1992, 20 July - Inmates by Allan Sutherland and Stuart Morris - pilot for situation comedy set in a long-stay institution for disabled people
1992, August - Demonstration against faith healer Morris Cerullo
1992, August - John Wilson appointed Shape London Deaf Arts Development Officer
1992, 8 August - Survivors' Poetry, Hampden Community Centre. Featuring Neil Sparkes (MC and poet), Elaine Randell (poet), Peter Street (poet) and Jana Heller (singer/musician)
1992, August - Basic Theatre Co present Gary at Edinburgh. Production tours in 1993
1992, 12 September - Jazz and Blues Workhouse special
1992, September - Splash Productions present Disability Arts Cabaret. Featuring Fish Out of Water (music), Isobel Ward (music), Charles Ward (music), Charles Hampton (signed song)
1992, September - Graeae Theatre Company launches new theatre workshop for young people
1992, 28 September-3 October Deafest '92 - A look at the achievements of deaf education and at the work and success of local deaf people, At Crucible Theatre, Sheffield. Includes Deaf Music, led by Paul Whitaker, Red Ladder Theatre, Token Gestures and Sonic Boom, the Crucible's own Deaf Youth Theatre
1992, September - Launch of Graeae Youth Theatre Initiative, following appointment of Caroline Lucas as Training Development Co-ordinator as a response to the lack of training opportunities for disabled actors
1992, September - Claire Collison's photographic pieces on show at Royal Albert Memorial Museum, Exeter, as part of Autumn Photography Season
1992, September - Samena Rana dies
1992, October - BCODP report Disabling Imagery in the Media - An exploration of the principles for media representation of disabled people
1992, 7 October-5 December - Graeae Theatre Company present A Kind of Immigrant by Firdaus Kanga, directed by Ewan Marshall. Cast: Mark Beer, Rashid Karapiet, Jeremey Killick, Shan Stevens. An honest, sensual and often amusing account of a young man's sexual awakening. Tours nationally at 23 venues.
1992, October - Milton Keynes Disability Arts Festival
1992, 3 October - Survivors' Poetry, Hampden Community Centre. Featuring Razz (MC and poet), Mother Courage (music duo), Melanie Thompson (poet), Joe Bidder (poet)
1992, 4 October - Celebrate LDAF Workhouse Cabaret, Waltham Forest Disability Celebration Festival. Includes Maggie Woolley (compere), Rupa Sarka (poet), Claire Graydon Jones (vocalist) with Francis Rwama (jazz pianist), Tokens (lesbian a capella), Dot Miles (signed poetry) and Heart n Soul Experience
1992, October-November - 'Dreams of the Absurd', an exhibition of paintings by Colin Hambrook at The Real Art Company, Portobello Road
1992, November - Strathcona Theatre Company present Still Crazy After All These Years
1992, 27 November - Talk by Scottish disabled artist Brian Jenkins about his issue-based photographic work and his current project at Hereward College on disability and self-representation, at Ikon Gallery Birmingham
1992, 20 November - Level Access Cabaret with Johnny Crescendo and the Entertainers, at Dog and Fox, Wimbledon. Organised by Merton PHAB Club
1992, November - Stream Records present a new and exciting disability arts cabaret. Featuring Isobel Ward, Fish Out of Water, Charles Hampton, Mik Scarlet (compere)
1992, November - Common Ground Sign Dance Theatre 5th Anniversary Tour - Waiting, a piece for 2 dancers (deaf and hearing) and a musician. A combination of sign-dance-theatre, symbolism and expressionistic dance
1992, 9 December - The Invisible Cabaret Show, first chance to see Invisible Cabaret, a new performance group of disabled women present an evening of drama, poetry, song and comedy inspired by their lives. At The Live Theatre, Newcastle upon Tyne
1992, December - LDAF Christmas Celebration, Workhouse. Featuring Mandy Colleran, Francis Rwama, Marvel Opara, Raina Haig, Franz Shealey, Colin Thompson
1992, December - Set up for Positive Images project at Vauxhall Centre Media Group, Norwich, for completion in May 1993. This is a photographic, art and literature resource created and run by disabled people. To be mounted on portable display boards hired out to schools, conferences and venues.

Question 59

1991

Accepted Answer

1991 - Taking Liberties set up by disabled people to fight for the rights of disabled people to gain greater access to art activities in and around the Wigan area
1991 - Yorkshire Disability Arts Forum founded
1991 - Looking Back - an anthology of writing from the Pastures Hospital, South Derbyshire
1991 - David Sowerby Red Hat and No Drawers (National Poetry Foundation)
1991 - Candoco founded by Celeste Dandeker and Adam Benjamin
1991, January - The Workhouse, Oval House
1991, January - Apples and Snakes have funding from Greater London Arts to carry out research on disabled writers and performers
1991, January - Shape London festival Louder than Words organised - to be held at the Orangerie Gallery in Gunnersbury Park in Spring 1991
1991, January - Jackson's Lane Community Centre look for work experience placements for disabled people from their Theatre Training Scheme
1991, 5 January - The Pink Fingers lead a song signing workshop for lesbian and gay people, one of Outcast Theatre Company's winter workshops
1991, February - EUCREA
1991, February - London Bubble project aims "to introduce hearing actors to BSL, and to offer actors, both hearing and Deaf, the oportunity to explore ways of working together towards discovering a theatrical language accessible to all"
1991, February - Mockbeggar Theatre Co presents In Through the Out Door (touring)
1991, February - Christmas cards for Nottingham Coalition of Disabled People drawn by Maggie Guillon (non-disabled full time carer), from ideas by Trudy, who is disabled
1991, February - Shape London seeks Deaf artist for 6 month residency at St Luke's Woodside Hospital, a residential mental health unit in Finchley. The aim of the project is to produce finished work to be installed in the hospital.
1991, March - Theatre Venture tour Wild Child
1991, March - Mike Oliver The Politics of Disablement
1991, March - 'Access to Image' exhibition - photographs by David Hevey at National Museum of Photography, Film and Television, Bradford
1991, 16 March - 8 June - Wordshape, a creative writing course for young disabled people
1991, March - Shape Hackney with Chat's Palace present Movin' On '91, including 6 March music extravaganza with Colin Thompson
1991, 7 March - 13 April - Louder than Words disability arts festival in Hounslow
1991, March - Theatre Centre sixth annual festival
1991, March - 'A Slice of City Life' photography exhibition by user of Community Focus, a fully accessible wheelchair photography centre in Hendon
1991, March - A Real View festival of disability arts in the borough of Hammersmith and Fulham
1991, 16 March - The Workhouse, Emerald Centre, Hammersmith
1991, March - Aylesbury Disability Arts '91, presented by Aylesbury Disability Arts Forum
1991, March - The Workhouse, Oval House
1991, March - 'Insights', exhibition of painting by partially sighted artists and other artworks made to be touched, at Arundel Gallery. Organised by The Arts Connection, Portsmouth
1991, March - 'Beyond the Barriers', work by three disabled photographers: Mary Duffy, David Hevey and Johnny Gathercole. Held at Bradford Community Arts Centre, organised by In-Valid?
1991, March - Graeae Theatre Company and Greenwich Young People's Theatre present Revenge by the Riversiders, a group of 25 young disabled people, founded 1988 to offer access to the arts for young disabled people in Greenwich
1991, March - Leeds University holds Disability Awareness Week. Performers include the Big Bad Blue/Tragic But Brave Show, Fish Out of Water, No Excuses, and Co-Sign
1991, April - First eition of Disability Arts Magazine, funded for a 12-month trial period by four northern Regional Arts Associations in England and the Arts and Disability budget of the Arts Council of Great Britain
1991, 3-13 April - Path Productions Yellow, a children's show
1991, April - Graeae Writers' Project runs a series of workshops for disabled writers at Buddle Arts Centre, Wallsend
1991, May - Greenwich Young People's Theatre present Past Caring. Three disabled actors play parts not labelled disabled
1991, May - 'Hanging Up in Hounslow', exhibition of professional artists at Louder than Words festival
1991, May - Phalanx (Herts Coalition of Disabled People) present The Tragic But Brave Roadshow, at Poplars Community Centre, Stevenage
1991, May - The Bombing Fields, Colchester community play by disabled writer Kaite O'Reilly, and featuring a number of local disabled people
1991, 16-18 May - Smokescreen, new devised play by Carousel, Oval House
1991, 12 May - Co-Sign present Fearless Knights, Unicorn Theatre
1991, 28 May - 1 June - Les Pierres Real sign poetry, synchronised by native-born signers
1991, May - Cleveland Disability Arts Forum launched
1991, June - Northern Shape changes its name to Equal Arts, "to reflect more accurately its new policy influencing role: to enourage equal opportunities in the professional arts for and by disabled people and under-represented groups"
1991, June - Stream Records launch new mail order scheme, showcasing a range of musical disability culture
1991, 22-23 June - Stand by your Bed, a play by Camden People First at Jackson's Lane Community Centre
1991, 26 June - The Workhouse, 48 Boundary Road
1991, 28-29 June - Final shows of The Art of Framing by Strathcona Theare Company, Tricycle Theatre
1991, June - 'Lavender Ripples 2', for disabled lesbians and their friends
1991, June - Joe Bidder Matter of Life and Death, at Pub Zero
1991, June - Booster Cushion Theatre presents Never Judge a Book by its Cover
1991, June - 'Through the Waves', Isle of Wight Deaf Projects
1991, June - Unicorn Theatre runs workshops for Deaf playwrights
1991, July - First Block Telethon demonstration, led by the Campaign Against Patronage - a mixture of disabled political activists and disability artists
1991, July - Graeae Theatre Company appoints its first disabled artistic director, Ewan Marshall
1991, July - The Workhouse, Waltham Forest Theatre
1991, 15-27 July - Exhibitions of paintings by Michael Solomons at Willyouts Centre, Potters Bar
1991, 6 July - LDAF meeting of disabled visual artists
1991, July - First Disability Arts Day for people in Humberside, includes seminars and the Tragic But Brave Roadshow
1991, July - Launderette of Desire, record by Bradford duo Clocks and Clouds
1991, 13 September - Mustn't Grumble presents The Unlucky for Some Cabaret, at Bradford Community Arts Centre. Part of Bradford Festival 1991
1991, 21 September - LDAF Euroday, Tottenham Green Centre
1991, September - All In Your Head, a video about epilepsy by Jo Pearson
1991, September - My Army - one man show by Deaf actor Tim Barlow, touring until October 1991
1991, 6 October - Milton Keynes Disability Arts and Sports Festival
1991, 29 October - Tragic But Brave Roadshow, at Stratford Civic Hall, Birmingham
1991, October - Artshare Avon produce Adlib News
1991, 11-26 October - Leeds International Film Festival
1991, October - Francis Halloran Hydra's Circus, Artshare South West
1991, October - Walsall Museum and Art Gallery seek exhibitors for 'Challenging Stereotypes', to be held in late 1992, touring 1993
1991, October - Valid quareterly magazine from In-Valid?, Bradford's disability arts group
1991, November - Survivors Poetry founded to promote poetry workshops and performances for and by survivors of the mental health system
1991, November - Common Ground Sign Dance Theatre present An Old Angel or The Old Dreams of Flying and Since Then (touring)
1991, 16 November - Survivors' Poetry
1991, 20 November - Disability Arts and Culture Seminar held by Shape, in liaison with the Open University and Disability Arts in London magazine
1991, November - 8 disabled people arrested outside TV studios in Leeds, demonstrating about Children in Need
1991, December - New Heart n Soul show The Power of Life
1991, December - BCODP publish Disabled People in Britain: A Case for Anti-discrimination Legislation
1991, 19 December - Disaret Club, Chat's Palace
1991, December - Arts Special Info (Strathclyde) - a directory of information for the use of artists and groups with additional needs to set up their own arts projects
1991, December - A group of disabled artists, writers, and representatives from arts organisations and statutory bodies in the North-East meet and decide to launch a Disability Arts Forum in the area: NorDAF
1991, December - Revealed by johnny Crescendo - a book of poems, song lyrics and pictures of the author as a child. Self-published.

Question 60

1990

Accepted Answer

1990 - Wigan Disability Arts Forum formed
1990, January - New Breed present The Birds, by Gabriel Gawin and Amanda Redvers-Higgins, with Paul Mittler, Jeanette Bergin and Glynn Owen
1990, 21 January - The Workhouse at Mandela Bar, Ealing College
1990, February - 'Cap in Hand?' - one day conference in the portrayal of disabled people in charity advertising
1990, 6 - 28 February - 'Out of Ourselves' - LDAF visual arts exhibition, Diorama
1990, February - The Workhouse, South Ruislip Community Centre
1990, February - Graeae Writers' Project
1990, February - 'More Than Meets the Eye', Havant Arts Centre - an exhibition of paintings and sculptures by visually impaired artists.
1990, February - Isle of Wight Deaf Projects present 'Sing With Your Hands'
1990, February - Co-sign Theatre (an integrated deaf and non-deaf company) present Frankenstein by H.M.Milner, Cockpit Theatre
1990, February - Thomas Joseph dies
1990, March - 'Beyond the Barriers' camerawork exhibition, including Mary Duffy, David Hevey, Johnnie and Maggie Gathercole
1990, March - 'First Exposure' touring exhibition of photographs by disabled users of of Community and Recreational Arts in Barnet (CRAB)'s wheelchair accessible darkroom and studio, beginning in Hendon Library
1990, March - Campaign for Accessible Transport benefit, Red Rose Club
1990, March - Disability Arts Show cabaret presented by Alternative Arts and Artsline
1990, April - Random Pact, Shape and Oval House present the Lambeth Multimedia Project for People with Learning Disabilities
1990, 27-28 April, 1-5 May - Path Productions present Getting There with Katie Kingshill, Jeanetta Cochrane Theatre
1990, 9 June - Unicorn Theatre's work for the Deaf
1990, May - The Tragic But Brave Roadshow - a travelling disability arts cabaret - is established
1990, 8 May - The Workhouse, Diorama
1990, 27 May - Campaign to Stop Patronage - 200 disabled people demonstrate against ITV telethon
1990, 4-9 June - Art to Touch, Henley College
1990, May - The Achievements of Women with Disabilities - free festival with Isobel Ward, Wanda Barbara, and a selection from LDAF's 'Out of Ourselves' exhibition
1990, May - Amici Dance Theatre Company 10th anniversary double bill, Riverside Studios
1990, May - New Breed Theatre Company recruits members for Birds II
1990, May - La Soupe, a 75 minute dance opera created by Liz Aggiss and Billy Cowie in collaboration with Carousel
1990, May - Fish Out of Water debut album Red Sunset released
1990, May - EUCREA conference Denmark. UK represented by Heart N Soul
1990, May - Taffy Thomas gets Britain's first Storytelling Residency in North Pennines
1990, June - North West Disability Arts Forum (NWDAF) is launched (formerly Arts Integration Merseyside, briefly known as Merseyside Disability Arts Forum)
1990, June - The Workhouse with London Lesbian Strength and Gay Pride 9
1990, 14 June - LDAF hosts London premiere of new show from No Excuses
1990, 23 June - Disabled People Celebrate Arts Festival, Southampton
1990, June - The Workhouse 'Lavendar Ripples'
1990, June - 1 year theatre training scheme aimed at disabled people, Jackson's Lane
1990, June - Liberty, Equality, Disability - one day workshop and exhibition about photography, representation and disability
1990, June - Strathcona Theatre Company presents The Art of Framing, devised by the company, directed by Janet Bliss and Joan Greening
1990, 13-15 June - No Excuses Theatre Cabaret - an exciting new Liverpool-based company of disabled actors making their London debut, at Red Rose, Diorama and Chat's Palace
1990, June - Greenwich Young People's sets up Theatre Green Jam Project, new touring company of people with and without disabilities
1990, June - Graeae TIE Company present Why? by Geof Armstrong and Yvonne Lynch - national tour
1990, June - Freedom for Everybody - a week long arts festival at Oval House, giving fifty people with learning disabilities and eight creative artists the opportunity to share skills and experience
1990, July - 'Missing Persons/Damaged Lives' exhibition at City Arts Gallery, Leeds, includes Jo Spence's work
1990, June - Us and Them Art - event run by disabled people and inolving disabled artists and performers, Sheffield
1990, July - Easy Money - new tape of songs by Johnny Crescendo
1990, July - The Workhouse, Chat's Place
1990, July - The Workhouse, Red Rose
1990, 26 July - Disability Arts UK - OK. Conference at Beaumont College, Lancashire, to set up National Disability Arts Forum
1990, August - The Workhouse, Willesden Green Library
1990, September - Disabled Artists' Day, Hackney Downs. The event did not take place in 1989, and was driven from Covent Garden Piazza.
1990, September - Launch of Independent Theatre Council booklet 'Policy into Practice: Disability'
1990, July - The Workhouse, Chat's Place
1990, 15 September - Focus - a one day conference about access to training in film and video for disabled people.
1990, September - 'The Creatures that Time Forgot' - photography and the construction of disability imagery
1990, September - Milton Keynes Disability Arts and Sports Festival
1990, September - New Breed perform Birds III, Green Room Manchester
1990, September - First Chance - The Way Forward? Conference at Riverside Studios, London, discussing opportunities for training and access to the media for disabled people
1990, September - 'Eliminating Shadows', a manual on photography and disability by Ray Cooper, London Print Workshop
1990, September - Kirin Saeed as arts management trainee with Northern Shape
1990, September - Chances Are - new touring project from Graeae TIE Company new touring project with Jo Verrent and Annie Smoll
1990, September - 16 protestors arrested on Oxford Street in Campaign for Accessible Transport demonstration. All charges subsequently dropped
1990, 6 October - LDAF performers meet to discuss what performers would like from LDAF
1990, October - Launch of ADAPT fund to help make arts buildings accessible
1990, October - You Don't Have to Smile - theatre/photography workshop for disabled people, run by disabled people
1990, October - first meeting of steering group for Eastern Region Disability Arts Forum
1990, October - The Workhouse, Swiss Cottage Community Centre
1990, October - The Workhouse, Disability Resource Centre Walthamstow
1990, October - The Workhouse, Ealing College of HE Students' Union
1990, October - Jo Verrent commissioned to write Chances Are for Graeae TIE Company
1990, November - No edition of DAIL, due to restructuring and demis of Arts Media Group
1990, November - The Workhouse, Red Rose
1990, November - GLAD AGM decides to work towards becoming an organisation controlled by disabled people
1990, November - Basic Theatre Co. presents Nov Gary by Ray Winston, a play about a boy with a hearing impairment, growing up in a hearing world. Performed with Sign Language, Croydon Warehouse
1990, December - The Workhouse, Red Rose
1990, December - Disabled artist Nancy Willis is first artist-in-residence at Hammersmith Hospital
1990, December - Heart N Soul release The Heart N Soul Anthem, accompanied by pop promo
1990, December - Arts Council launches second edition of Arts and Disability Directory

Question 61

1989

Accepted Answer

1989
1989, February - Whitechapel Gallery holds touch workshop relating to Richard Deacon exhibition
1989, January - Neti-Neti's The Beggar in the Palace criticised by Deaf for low standard of singing
1989, January - Ellen Wilkie - Wilkie and the Tallboy poetry and songs
1989, January - February - Exhibition of work by Asian batik artist Shaheen Merali
1989, January - Linda Moss, Arts Council Disability Officer, criticises bad integrated companies in DAIL article 'Towards a Disability Culture'
1989, February - Outrage among disabled people when they find that the Arts Council is applying for exemption from employment quota
1989, February - Common Ground Sign Dance Theatre spring show, A Stranger Disintegrates
1989, 9 February - The Workhouse
1989, 23 February - The Workhouse
1989, February - Theatre Venture presents The Adventures of Curly, a new touring play for deaf children by Terry Ruane
1989, March - Red is the Colour of the Night, a new play about fantasy an isolation by Peter Storfer
1989, March - Rainbow Drama Group present Get Out of Bed - an evening of zappy sketches and songs, sad, sinister and side-splitting, all around the theme of getting up
1989, March - Women-only event at Hounslow Voluntary Action Centre, including Ellie Wilkie and the Tallboy, Wanda Barbara and Dorothy Miles
1989, March - Nothing to Declare, new show by Strathcona, Jackson's Lane Community Centre - continue to tour throughout 1989
1989, March - The International Women's Day Show at Hackney Empire includes Wanda Barbara, Ashley Grey and Elspeth Morrison (comperes), Kata Kolbert and Kate Portal (music), and Sarah Scott (signed song)
1989, 9 March - The Workhouse
1989, March - The East End Festival (TEEF) 1989
1989, April - Caxton Hall cabaret
1989, May - Trapped in Llanwog Castle by London Deaf Drama Group, Camden Institute Theatre
1989, 9 - 12 May - Common Ground Sign Theatre present Our Town - an exuberant adventure for children aged 12 and under, Unicorn Theatre for Children
1989, May - Open letter in DAIL to Luke Rittner, Secretary General of the Arts Council, by Allan Sutherland. The letter takes issue with Arts Council's application for exemption from the employment quota for disabled people
1989, May - Simon Brisenden dies
1989, June - Feminist Arts News includes a diverse collection of work by 18 disabled women, including Kata Kolbert, Sian Vasey, Ann Rae and Gioya Steinke
1989, June - Broucek by Green Jam (Greenwich Young People's Theatre)
1989, June - Women's Night at The Workhouse
1989, July - The casting of a non-disabled actor to play Christie Brown in My Left Foot is widely criticised by disabled people, including actor Nabil Shaban writing in DAIL
1989, July - Heart n Soul present The Dungeon of Love, Albany Empire
1989, July - The Cornflake Box by Elspeth Morrison - part of Movin' On Festival and tours London until 31 August
1989, 23 - 29 July - Movin' On - a festival of arts by disabled people
1989, August - Milton Keynes Disability Arts and Sports Festival, Woughton Centre. Wide range of workshops, plus evening cabaret
1989, September - Ellen Wilkie dies
1989, October - Ealing Disabilities Cabaret Night
1989, 14 October - Third Connexions Haringey Disability Arts Festival, Chestnuts community centre
1989, October - The Workhouse, Chat's Palace
1989, October - Common Ground Sign Dance Theatre presents A Stranger Disintegrates, Ealing, followed by a national tour
1989, November - The Workhouse, Jackson's Lane
1989, November - Strathcona Theatre Company present Nothing to Declare (their seventh major production) at The Cockpit
1989, November - Simon Brisenden's Body Shopping is made available
1989, 9 - 25 November - 'From the Alchemist's Library' - sculptures by Adam Reynolds, Adam Gallery, Walcot Square
1989, December - The Workhouse, Chat's Palace

Question 62

1988

Accepted Answer

1988 - Oily Cart develop Box of Socks, their first performance specifically for children and young people with severe learning disabilities
1988, January - Heart n Soul have been performing their second show, The Longest, and now begin work on a new show with the provisional title Peace on Earth
1988, January - Path Productions presents Androcles and the Lion, Jeanetta Cochrane Theatre
1988, January - Arts Council and Shape appoint Ad Lib research team to investigate work on photography being by and with disabled people
1988, 22 January - Whitechapel Art Gallery set aside a day of the Fernand Leger exhibition for visitors with visual impairments - 15 attended
1988, January - Nabil Shaban denied work on Granada's Microman children's TV series
1988, January 25 - 60 people demonstrate outside Granada studioes against dropping of Nabil Shaban from Microman
1988, February - Graeae Theatre Skills Training Course
1988, February - Graeae women's company invited to tour Malaysia
1988, February - Talent '87 conference produces an embryonic European Disability Arts Forum (EDAF)
1988, February - London Deaf Drama Group present King James and his Beau
1988, February - Common Ground Sign Dance Theatre perform Light Cycle 5, The Place
1988, 26 - 27 March - Manchester Disabled People's Arts Conference
1988, 2 March - Exhibition of work by disabled people
1988, March - Ringroad, a play with music written especially for children over 8 with hearing impairments
1988, Amici Dance Theatre Company in 'Ruckbluck'
1988, March - Disability Arts Conference, Manchester
1988, April - April Experimental Workshop for Deaf People in Visual Expression of Music
1988, 16 April - LDAF first AGM
1988, April - Jag Plah wins City Limits/New Variety New Act of the Year award
1988 - Launch of cabaret club at the Diorama
1988, 28 May - Bucks Disability Arts Day, Limelight Theatre, Queens Park Centre
1988, May - Blood, Sweat and Fears by Marie Oshodi, directed by David Salkin, about Sickle Cell Anaemia
1988, May - DisAbility in De Community, a festival in aid of sickle cell anaemia
1988, May - US activist Judy Heumann speaks at County Hall
1988, June - Premiere of Peace on Earth, new Heart n Soul show, following success of The Longest (1986) and Rock and Roll Dance (1987)
1988, July - BCODP demonstration against Social Security Act
1988, July - 'A Sense of Self', featuring a variety of photographers, some disabled
1988, July - Auditions for Neti-Neti show, The Beggar in the Palace, for young people with hearing impairments. Written by Penny Cadagli and Caroling Griffin, directed by John Wilson, director of National Youth Theatre of the Deaf
1988, Jluy - 'What are they saying about us?' ReVamp Productions meeting for Disabled women to look at how they are represented in mainstream film and TV
1988, July - Peer Gynt by Path Productions
1988, July - Poetry and song by Ellie Wilkie, The Fallen Angel
1988, July - Basement Youth Arts Festival
1988, August - Disabled Artists' Day
1988, August - Islanders, new magazine for deafened young people
1988, August - Launch of LDAF 's The Workhouse
1988, September - National Youth Theatre of the Deaf present sign language production of Midsummer Night's Dream, with John Wilson
1988, 8 September - LDAF's The Workhouse event
1988, 16-23 September - Bradford Festival includes many events for disabled people, organised by local organisation In-Valid
1988, 25 September - Day event organised by Oldham Artability
1988, 20 - 24 September - Moving On '88
1988, October - Haringey Connexions Disability Arts Festival, with performers including poet Rosita Green
1988, 18 October - Tower Hamlets Arts and Disability Group hold a day of exhibitions, displays and demonstrations of creativity by and for people with disabilities
1988, October - Milton Keynes Disability Arts and Sports Day, organised by disabled people and for disabled people
1988, 5 November - One day course on signed singing
1988, 28 November - London's first fully accessible dark-room and studio to be opened in Hendon, a project by CRAB and CLIC
1988, 3 November 1988 - LDAF's The Workhouse event
1988, November - Neti-Neti The Beggar in the Palace, written in BSL, English and Bengali
1988, November - Maggie Woolley appointed first disabled Director of Shape
1988, November - Royal Academy runs its first workshop for people with visual impairments
1988, November - Signed production of Pinocchio, Unicorn Theatre
1988, 1 December - LDAF's The Workhouse
1988, December - Heart n Soul single Peace on Earth launched at House of Commons
1988, 10 December - Focus, Ealing disabled people's organisation, launches with Disability Cabaret
1988, December - Christmas in The Workhouse
1988, 2 -3 December - Presentation by and for Disabled Women Artists, Women's Slide Library
1988, 14 December - The Owl and the Pussycat Went to See
1988, December - Shrinkin' Man Ian Stanton cassette includes Chip on Yer Shoulder, S.O.S. and Talking Disabled Anarchist
1988, December - Freedom Liberty and Tinsel Aaron Williamson's first poetry collection
1988, December - North East Media Training Centre recruiting for two year professional film and video production course. Included six places for profoundly Deaf people

Question 63

1986

Accepted Answer

1986 - John McGrath appointed Development Officer for Arts Integration Merseyside
1986 - Working Parts formed, with the aim of promoting visual theatre, puppetry and music by and for disabled people through performance and/or workshops
1986 - Strathcona Theatre Company present This Very Same Hall
1986 - Mockbeggar Theatre Company founded
1986 - Arts Intergration Merseyside withdraws from the Shape Network at the Chorley Conference
1986, 26 July - Disability Arts Forum Day at Albany Centre, 'Disability - Our Arts, Our Culture'
1986, November - First issue of Disability Arts in London (DAIL)
1986, November - Common Ground Sign Dance Theatre established
1986, November - Origins of Room Temperature exhibition, Adam Gallery, Walcot Square. With Adam Reynolds, Nicola Oxley and Nicolas de Oliviera.
1986, November - Rainmaker Picture Story Theatre on tour
1986, November - Replacement funding for No Kidding, agreed with ILEA
1986, November - Moving On '86 Festival of Arts by Disabled People, Chat's Palace. Artists included Isobel Ward.
1986, December - Ellen Wilkie scripts new video with Double Exposure
1986, 10 December - Gemini Arts presents We Must Go by Music Box Theatre Co., Special Education Centre, Lissom Grove
1986, 5-8 December - Shape workshop exhibition, Hammond Community Centre
1986, December - LDAF Christmas Parrty, Boundary Road. Music from Jodelko, poems by Ellie Wilkie
1986, December - Annual conference of Shape Network workers and associates

Question 64

1987

Accepted Answer

1987 - Heart n Soul founded
1987 - Simon Brisenden Poems for Perfect People (self-published)
1987, January - DAIL reports the cancellation of two planned conferences
1987, January - 'Disability - Our Arts, Our Culture' conceived, planned and executed by disabled people, leading directly to London Disability Arts Forum (LDAF) being founded
1987, 6-17 January - Path Productions present Godspell with Nabil Shaban, Jag Plah, Rashmi Kawa, Fio Dennison and Ellie Hames
1987, 12 January - 4 February - We Are Human Too photographs of disabled children and adults in the performing arts by Sam Tanner, Cockpit Gallery
1987, 14 January - Deaf artist Trevor Landell awarded place to study for MA in printmaking at Royal College of Arts
1987, 23-28 February - Arts Week for People with and without Disabilities
1987, February - Meeting of LDAF steering committee
1987 - DAIL gets its first full-time editor, Elspeth Morrison
1987, March - opening of accessible darkroom at Camerawork in Tower Hamlets by Ian Drury and The Frank Chickens
1987, March - Theatre of Black Women present The Cripple by Ruth Harris, a disabled writer and director. The Cripple is based on the true story of Pauline Wiltshire, born in Jamaica and now living in London
1987, April 25 - Disability - Our Arts, Our Culture, Live Launch of LDAF
1987 - Maggie Woolley, presenter of 'See Hear', is appointed Assistant Producer
1987, May 9 - Haringey's first Disability Arts Festival
1987, May - Half Moon Young People's Theatre launch youth theatre for phsyically disabled young people
1987, 20-23 May - Heart n Soul at Albany Empire
1987, May - Pardon Mr Punch by Casdagli, Unicorn summer tour. Aimed at 6 - 12 year olds for intergrated audiences of deaf and hearing children
1987, May - Disabled artist Alan Thornhill showing work at Morley Gallery
1987, 4 June - 1 day seminar at the IBA to discuss images and employment of disabled people in television
1987, June - Graeae Theatre Company's grant application to Arts Council is refused
1987, 22 June - 3 July - Hidden Art includes various disabled artists
1987, June - Arts Integration weekend at the Albany Empire to bring disabled and other people together
1987, June - 'Vision of the Inner Eye' seminar and Tactile Exhibition at Oxford Polytechnic, including pottery by Mary Shaw
1987, June - Michael Turner coompletes placement for disabled administrator at Battersea Arts Centre
1987, July - No Kidding advertises for director, administrator and performers
1987, 27 July - Royal Academy Day for Disabled People during Summer Exhibition
1987, 16 - 25 July - Path Productions present The Beggars' Opera
1987, 22 July - Shape, Graeae Theatre Company and Lewisham Arts hold a seminar focusing on the arts and disabled people
1987, 22 - 25 July - 'Training for the Theatre' at Albany Empire
1987, 9 - 12 July - Talent '87 conference at Bulmershe Resource Centre
1987, 2 August - Day for Artists with Disabilities, Covent Garden
1987, August - Café of Dreams Double Exposure production
1987, July - One day seminar at IBA headquarters on images and employment of disabled people in television
1987 - Integrated puppetry weekend at the Puppet Centre. Participants include artist Nancy Willis
1987, 23 August - Unicorn Theatre seminar on theatre writing for integrated audiences of deaf and hearing children
1987, September - CRAB (Community and Recreational Arts in Barnet) organise 10 week course for disabled photographers
1987, September - The Arts and Disabled People seminar comes to a stop when the 7 disabled people present, led by Anne Rae, Chair of LDAF, withdraw to consider their position
1987, September - CHANCE Open Day at Wigan Pier complex
1987 - Common Ground Sign Dance Theatre show Light Cycle 5 and Home to Happyland
1987, September - Margrethe de Neergard, recentl appointed Arts Council Disability Officer, dies
1987 - LDAF advertises for Development Worker. Geof Armstrong is subsequently appointed
1987, 10 October - Representing Disability camerawork conference
1987, October - Funding victory for Graeae Theatre Company after an all-day meeting at which the re-application was considered
1987, October - Deaf Broadcasting Campaign lobby Television Centre to demand "a daily 39 minute national news programme on at least one television channel, using Sign Language
1987, November - Moving On '87, Festival of Arts by Disabled People
1987, November - 'Meniscus', exhibition of work by visually-impaired artist Jennifer Maskell-Parker at the Dance Attic, Putney
1987, 3 November - A Private View, new Graeae Theatre Company touring show starts at Watermans, Brentford
1987, 28 November - Disability Arts Day, Stoke on Trent
1987, December - Elizabeth Hill, a painter with MS who lives and works in St Andrews, exhibits at Sayat Nova Gallery, Archway
1987, December - A Private View touring until 30 January
1987, December - Puppetworks present the Sun and Moon Club, an arts project for young people with severe learning difficulties
1987, 11 December - LDAF Christmas party, including a private view, at Swiss Cottage Community Centre