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.”