Results
The following describes the findings from the range of encounters that
were crafted. For each section, disabled people’s accounts are reported
first, followed by those from mainstream collaborators.
Working with community organisations to design inclusive
environments
A partner organisation providing support for clients of the mental
health system include artists who report varying degrees of isolation.
Some of this isolation is self-imposed as they battle with social phobia
and communication challenges - however in discussions, their support
worker understood that joining an artist group with the right support
would be a step in the right direction towards their goal of
participation. The obstacle, however, was the lack of artist networks in
the region. What characterized this intervention is that the network was
designed as inclusive from the start.
Overcoming specific
barriers
The disability perspective emerged as the support worker co-designed
with a local community art facilitator and a group of disabled
artists11See http://creativewaikato.co.nz the launch of
the artist network. Disabled participants helped gather names and
information about local artists, collated contact details from various
sources in the community and co-planned the first sessions. This idea
had germinated as a result or their discussion of what happens across
art forms:
“In my job, I meet with lots of people in network meetings. This
teaches me about what is out there in the community and I get to know
others who can help me. That is really similar to what I do in my
personal life as a musicians – we often get together. Music is an
obvious one, musicians love to and need to play together… the
vibrations grow endorphins and that makes you happy. But this kind of
encounters does not happen with visual artists – art is often done in
solitude of your studio… so especially if you have a block or an
issue, you are on your own… but if you are together with a group
of others, then others can help you overcome your top of mind problem.
Such groups exist for professional artists that know each other. The
idea of artists coming together especially welcoming disabled peers does
not exist in NZ to the best of my knowledge. Disabled artists should not
be confined to doing arts in a disability setting only… it’s not
right.”
When the support worker talked about community integration, he was
referring to the specific group of people that could contribute to each
disabled person. In the case of artists, other artists with shared
passion and interests – they are the Community of Interest that is
relevant in this case. The support worker thought that in spite of the
challenge in helping disabled persons to understand the benefit of
networking, it was crucial to explain this to the best of his abilities.
One way to explain was to give examples of people who achieved their
goals through networking or through finding suitable role models to
follow:
“Thinking about how to create an open and inclusive space to get
disabled artists to participate, one has to start with helping these
artists understand the benefit of networking and getting together with
other artists. Talking with my clients, some tell me about personal
barriers to entering the mainstream; others tell me that they are weary
of engaging in activities when they don’t know what the benefits or
risks. A lot of it has to do with the outcome… I am ASD myself
and was bullied at school by students and teachers – we build up this
big brick wall to protect ourselves. We worry about this negative
experience happening again.”