COSP14: Arts and culture facilitating self-advocacy

00:09 - Please feel free to write in the chat as I mentioned before.

00:14 - Myself, Rom Tim Weis, my colleague Sumita Kunashakaran and our founder Martin Essl are calling in from Vienna Austria today and we as the Zero Project are looking forward to get this side event started in a couple of minutes.

00:27 - (Music plays) We just give everyone a bit more time to come in and I would say that we are in this short Caribbean jazz interlude.

00:36 - I hope you enjoyed it, Connie definitely did one of our speakers, and she will let you know why somebody who is very passionate about dance.

00:46 - I would first welcome everyone here to the 14th Conference of States Parties of the CRPD.

00:54 - We are very excited to have you with us. Today is all about arts and culture. And especially about arts and culture facilitating self-advocacy. Before we get started with the really exciting part of our events, our speakers have projects they have brought forward to which I helping persons with disabilities.

01:16 - I would like to go through some key housekeeping rules.

01:20 - If at any time you see your video connection or the meeting connection going slow, I would suggest to put off your video while our speakers talk.

01:29 - This will ensure that no matter your speaker internet connection or speed, we have an enjoyable event.

01:35 - So once the speakers do start, I ask you to kindly put your videos off so we can spotlight them and give them their full attention.

01:44 - During the Q&A, you are welcome to use your audio to engage with the speakers.

01:59 - This webinar is recorded, if you’re not happy with that or you have privacy concerns, please leave the webinar, otherwise by saying you are consenting to this webinar being recorded and we are very excited to have you with us.

02:18 - As you can see, life coaching is provided by our partners at AI media, and I would also like to point out our international sign language interpreters today who are if I am not mistaken Adam and Susan, if I’m not mistaken. So give a big thank you to Adam and Susan, who are ensuring that this event is also accessible to all of those joining us today.

02:49 - Also importantly, for those who can hear me but not see me, my name is Robin Tim Weis. I am a male in his early 30s and I am wearing a blue shirt, blue shirt with short sleeves, since it is very hot in Vienna Austria today.

03:05 - I am wearing a red tie with blue navy stripes.

03:08 - Behind me, there is a grey or white grey art background and a very colourful, vivid painting which looks like someone went to town with a crayon box.

03:20 - A very colourful background, some red, some turquoise and some white.

03:25 - But enough about me, let us get this event on the road.

03:30 - We are very glad and thankful that we are able to host the site event, and this is only possible because of great partners who continue to support our work here at the Zero Project.

03:43 - So with that being said, I would like to start off with some opening remarks, specifically would like to give a big thank you to the permanent Mission of Austria to the United Nations, who have helped us put together this event. So without further ado I would like to introduce Hans-Joachim Almoslechner, the Deputy Permanent Representative at the Permanent Mission of Austria to the United States in New York. Mr. Almoslechner, the stage is ours.

04:13 - HANS-JOACHIM ALMOSLECHNER: Thank you very much and good morning everyone from New York.

04:18 - It is my sincere pleasure to welcome you here today to this important side event Arts and culture facilitating self advocacy, organised together with our partners with the Essl Foundation, the Zero Project and the Austrian cultural Forum of New York.

04:35 - We are particularly honour to work with an Austrian NGO, which is active not only in the Conference of States Parties, but who also run excellent projects on the ground.

04:47 - It is paramount to ensure that persons with disabilities can effectively enjoy their human rights.

04:54 - Accessible and inclusive art and culture are essential in this regard.

04:57 - They can be a powerful tool for self advocacy of persons with disabilities, enabling a meaningful and independent life for full participation in society.

05:09 - The provisions enshrined in article 30 of the CRPD: call on States Parties to recognise the rights of persons with disabilities to take part in a equal basis with others in cultural life.

05:23 - This includes appropriate measures that enable persons with disabilities to have the opportunity to develop and utilise their creative, artistic and intellectual potential.

05:33 - Not only for their own benefit but also for the enrichment of society as a whole.

05:39 - We need to ensure full and meaningful participation of persons with disabilities in art and culture.

05:46 - And we need to change our general approach from making policies and measures for persons with disabilities to making them with them.

05:53 - Today, we discuss how to bring the convention closer to people’s lives and communities around the world.

06:00 - We will learned, first hand, from persons with disabilities and how they engage with the arts and we will hear good practices and good innovative ideas from practitioners in the field.

06:13 - Austria continues to advocate for accessibility and participations of people with disabilities in all aspects of life.

06:19 - In this regard, we are currently in the process of finalising the new Austria national plan on disability for 2022 to 2030.

06:30 - And without further ado, let me handover to my dear colleague, Michael Haider, Director of the Austrian Cultural Forum New York. Many thanks.

06:40 - MICHAEL HAIDER: Thank you Hans- Joachim. There is not very much I can add to what you said.

06:49 - It is a great honour and pleasure for the Austrian Cultural Forum to participate as a partner and we are very grateful to the Essl Foundation and the Zero Project for making this possible.

07:04 - Arts and culture facilitating self-advocacy In arts and in culture, people working in arts and culture have for a long time been aware of the issue and are dealing with it in many respects.

07:25 - We have persons with disabilities in arts and culture, on all levels, be it as artists, in culturally institutional organisations.

07:39 - As an audience. The most challenge – challenging thing is to make it inclusive and accessible for everyone.

07:52 - In some fields, this seems to be easily feasible and yet in some others it requires a lot of innovations.

08:04 - I am very eager to learn from your best practices and very eager to see how we can still improve what we are doing.

08:17 - So, without further taking your time, I would like to hand over now to our speakers.

08:27 - ROBIN TIM WEIS: Mr. Haider, you hit the nail on the head.

08:30 - That is what we are all about at the Zero Project.

08:32 - There is nobody better to tell you about the innovations we have been able to foster and the disability inclusion work we do than our very own founder and chairman of the Essl Foundation, Mr Martin Essl.

08:44 - He may be a familiar face to you, please introduce yourself, Mr. Essl, and the great work we do at the Zero Project. Just as a reminder, Mr. Essl, you are muted.

09:02 - MARTIN ESSL: Hello, good morning, good evening, wherever you are.

09:08 - Thank you for being with us. I very warm welcome from my side.

09:16 - I am a male, still in the 50s and I so happy and proud to be with you and as a founder and chairman of the board of the Essl Foundation I would like to extend my warm thank you the UNDESA for giving us the privilege of sharing its work with you all.

09:49 - What a wonderful opportunity. I feel really honoured about this.

09:55 - Also a big thank you to our partners, the Permanent Mission of Austria to the United Nations in New York, which continues to support our work with presentation here at the COSP And the topic of today’s talk has also brought the Austrian Cultural Forum in New York with – into the Faure.

10:21 - A great institution that shares the richness of the Austrian arts and culture in the Big Apple and beyond.

10:31 - As we tune in here digitally, the analogue matching of arts and culture has become more important than ever in today’s world.

10:44 - The pandemic has shown that we can meet monumental challenges head on, if and only if we work together.

10:56 - I strongly believe that a Renaissance and a true rethinking is on the horizon.

11:05 - The pandemic has illustrated to us how life fulfilling the arts can be.

11:14 - However, how devastating its absence can be.

11:20 - We will develop new models of human welfare.

11:25 - Especially the arts will play an incredible, critical role in this self-advocacy of people with disabilities.

11:36 - Today, you will hear about how this self-advocacy has been promoted and awarded through innovative practices and policies, of my foundation - the Essl Foundation, from around the world.

11:51 - At the Zero Project, a devision of the Essl Foundation, we identified, curate and collate innovative practices and policies from all around the world, which allow us to strive for a world with zero barriers.

12:13 - Since 2007, we have amazed – a global network of some 8000 experts, from 180 countries, who have formed a kind of ecosystem that has brought forward around 700 selected innovations from 150 countries. Isn’t that amazing? I encourage you to visit therefore www. zeroproject. org to explore this ecosystem for yourself.

12:53 - The well-known artist, Marcel Duchamp once said “What art is in reality is this missing link.

13:03 - Not the links which exist, it is what you see that is art.

13:09 - Art is the gap. “ And it is the missing link that is bridged by the art between the discussions about employment, accessible transport, healthcare and other vital services that we believe is just as vital to life.

13:34 - In my personal capacity as a patron of the arts, besides the Essl Foundation which has a purely social mission, I am involved in creating these bridges that Marcel Duchamp speaks of.

13:54 - I have recently commissioned a beautiful sculpture, and Sumita, you maybe will show this at first slide.

14:04 - A beautiful sculpture for the city of Vienna.

14:14 - That hopes to signify the indomitable spirit of its people during the pandemic.

14:25 - The sculpture itself was an inclusive piece of art that can be experienced by people with mobile and visual impairments.

14:35 - Beyond its physical stature, the sculpture will act as a link between the arts, the pandemic and the UN SDGs using the sculpture to launch a unique campaign that will reveal a new and unique well-being index to be addressed to the United Nations and the Club of Rome.

15:07 - You can see a picture of the sculpture here.

15:11 - And for those that cannot see it, it is a wooden infinity loop in three dimensions with carving symbols and seven seals that also tells the story of this sculpture. My family also curated one of the biggest contemporary art collections in Austria, which was recently donated to the Albertina - to one of the most renowned museums in Vienna.

15:45 - Sumita, next slide, please. And next, and next, and next.

15:55 - You have seen some other artworks that we have designed with artists to be accessible.

16:04 - Here you can see that we are working together with Albertina to design a new possibility to invite all persons with and without disabilities to get in touch with art.

16:24 - And therefore we have organised together a stakeholder dialogue.

16:29 - You can see two photos out of it. It was organised by the Albertina and found out that the best way to declare art in museums is with a historical guide And one guide with disability.

16:54 - So he or she has the opportunity to tell the story about the artwork, the way she or he feels it.

17:04 - This is amazing, not just for persons with disabilities.

17:10 - But for everybody. It is the way that I believe the art, performance and culture share the message beyond words.

17:24 - And beyond language. It speaks to one spirit and can inspire societal mass change.

17:35 - A Renaissance. We all need to have to picture how we go forward with society.

17:46 - On the panel today I’m delighted to be joining by dear friends of mine.

17:52 - An advocate of the Zero Project. There is Connie Vandarakis, who is an incredible artist in her own right and Zero Project Impact-Transfer fellow. There is a good friend of mine Doris Rothauer, who is a consultant, an international consultant and expert on bringing together innovators in the arts.

18:20 - I look forward to the interventions and inputs today, and wish you all a fruitful exchange of ideas and approaches on how to continue to empower persons with disabilities through the arts.

18:37 - Thank you so much. ROBIN TIM WEIS: Thank you Martin, you queued up what we marketed as the hat-trick prior to this event.

18:47 - With the European football chairmanships going on we said take time out of your schedule and come for the real hat-trick.

18:53 - To hear from the Zero Project, DanceAbility and for Büro für Transfer, three organisations doing great work in the arts and culture space.

19:04 - One thing I want to note at this point is that if any of our speakers are talking too fast, or incomprehensible, just let us know.

19:13 - Feel free to leave a comment in the chat section as we want to make sure that all of us are able to access the information we share with you today.

19:23 - With that being said, I would like to introduce and ask Connie Vandarakis to come in and tell her story of how she has been able to use arts and culture to facilitate self-advocacy.

19:37 - CONNIE VANDARAKIS: Thank you very much Robin. I just want to audio describe myself.

19:44 - I’m a middle-aged white woman. With long, grey brown hair.

19:48 - I wear glasses and have a purple shirt. Behind me is just a white background.

19:55 - I am wearing the Zero Project green earrings today.

19:59 - MARTIN ESSL: Great! CONNIE VANDARAKIS: Disability and the arts have been predominant lenses in my life.

20:07 - Having family members with craniofacial disability, hearing loss and mental health disabilities has given me a lived experience in disability advocacy.

20:19 - My mother was an artist, a creative. Who are most others in art making.

20:25 - And the love of creative pursuits. For 30 years I served in higher education at the University for the education of the arts with degrees in visual, performing and related arts.

20:39 - Sorry, just lost my place there a little bit.

20:45 - My immersion in disability and in the art allows for a new blended lens of understanding relationships between disability, arts and culture, self advocacy and our creative economy.

20:59 - While we are speaking here about article 30, participation in cultural life, I must also include article 27 of the CRPD, which is work and employment.

21:11 - It is essential that we understand the strong connection between access, training and employment for people with disabilities in the arts and culture sector.

21:21 - Art and culture are good for the economy. Arts and culture build local businesses.

21:29 - Arts and culture drive tourism. I would like to offer just a few numbers of how art and culture effect different parts of the world.

21:39 - In particular the United States and the European Union.

21:43 - The United States bureau of economic analysis in 2019 shows that non-profit and for-profit art is a $730 billion industry.

21:56 - That directly employs 4. 8 million art workers.

22:02 - This represents 4. 2% of the nations GDP. A larger share of the economy than in transportation, tourism and agriculture.

22:12 - According to the European commission’s statistical office, cultural and creative industry activities account for 3. 7% of EU employment in 2015.

22:26 - That is 8. 4 million art workers. Which is more than the automotive industry.

22:33 - Such activities contribute 4. 2% to the EU GDP.

22:38 - For more statistics on specific countries and reports, I would refer you to the United Nations conference on trade and development creative economy reports, which have a lot of rich information.

22:52 - There are lots of best practice around the globe for arts and culture.

22:57 - I will limit myself used a few of my own experiences in the last year.

23:04 - Disability pride Pennsylvania, a disabled led organisation in Philadelphia promotes disability and cultivates pride within our community as we advocate for an inclusive world.

23:19 - Disability pride Pennsylvania imagines a world where every disabled person feels pride through self-awareness, their identity, and the community at large.

23:31 - Their award-winning month long disability pride Virtual PA, created over 70 events in 30 days in June and July of the pandemic.

23:45 - For those who are into production statistics, disability pride PA had over 12,000 engagements in its virtual platform.

23:55 - Over 30,000 video minutes viewed. And over 23 countries were viewing the live events.

24:04 - Disability pride PA promote arts and culture in creating accessible events, contracting with disabled artists for their monthly concert series.

24:14 - Providing scholarships for postsecondary education.

24:18 - And having an artist supply fund to help disabled artists with materials to help create their art.

24:25 - They partner with other organisations and museums presenting the way to lead in disability inclusion.

24:33 - Another organisation, disability equality in education, was a runner-up in the Zero Project education award in 2020.

24:43 - They were awarded a grant by the Pennsylvania development disability Council to reduce stigma throughout Pennsylvania.

24:50 - As a result of the events, they had a global impact.

24:54 - Thrive aid, the art of protest was a worldwide virtual event debuting on December 3rd, 2020 on the international day of disabled people.

25:07 - To celebrate the lives and contributions of disabled people through disability art and culture.

25:16 - And in protest to end the stigma towards disabled people worldwide.

25:20 - It was an international collaboration between the United States, the United Kingdom and Australia.

25:28 - The overall message is that we are creative, resilient, and we will thrive and survive with equal access to support.

25:38 - Thrive aid debuted over three times zones that day, starting in Australia hosted by disability busters.

25:46 - Then disability pride Pennsylvania hosted both the United Kingdom and the United States showings.

25:54 - The disabled artists represented were 30 in number and from different countries including Australia, Brazil, Germany, Japan, Singapore, the United Kingdom and the United States.

26:09 - Thrive aid was seen by over 5000 people that day.

26:13 - And has had over 2000 views after December 3rd.

26:15 - Lets travel to Austria. For a moment.

26:19 - To the city of Vienna. Since 1993, impulse stands international dance festival has hosted inclusive dance workshops in their programming.

26:33 - This contemporary dance festival is always on the cutting-edge of contemporary dance practice.

26:40 - Which includes mixed ability dance. Disabled dance artists have been welcomed as instructors and participants.

26:48 - For over 22 years impulse has hosted DanceAbility international month-long teacher training program for people with and without disabilities.

27:00 - DanceAbility international is a Zero Project award recipient.

27:03 - In innovation. And the winner of the Zero Project Impact-Transfer program.

27:09 - Which is a partnership between the Essl and the Ashoka Foundations.

27:13 - DanceAbility has over 700 certified teachers in 45 countries.

27:19 - DanceAbility has affiliate organisations all over the world.

27:24 - And has been a jumping point for inspiring how inclusive contemporary dance is evolving.

27:30 - There are many best practices happening around the world.

27:36 - In my experience we do a fabulous job at talking to other like organisations.

27:42 - The challenge, is to build bridges between economic, business and innovation centres in the organisations.

27:51 - How do we build arts and culture policy and strategy? So the people at the top of the decision-making understand and model inclusive practices for people with disabilities in art and culture in terms of access.

28:10 - In terms of training. In terms of employment.

28:15 - Zero Project is on the forefront of building bridges.

28:20 - As they recognise the importance of art and culture as part of the creative economy that creates a world without barriers.

28:28 - Here to tell you about the Zero Project solution committee on inclusive art and museums, is Doris Rothauer.

28:36 - Who was my mentor at the Zero Project Impact-Transfer program.

28:40 - And is now my colleague and friend. Doris.

28:47 - DORIS ROTHAUER: Thank you. Sorry for the pause, I just had to unmute myself.

28:59 - Connie, Thank you very much. I’m happy to hear that I’m not in your mentor but your friend.

29:05 - I have to say that our relationship has developed into a great friendship, and I can say the same with Martin Essl.

29:14 - I’m very happy to not only work with him but be a kind of friend, that is at least how I see it.

29:22 - Thank you very much Martin for introducing me already.

29:26 - For those who cannot see me, I also white, I am female, I am middle-aged (Laughs) Still in my 50s.

29:33 - And I have blonde hair. I sitting in my home office at the moment, with a white wall behind me and some glimpses of artwork that belongs to my private – I cannot say it is a collection but it is stuff that I like to have around with me from friends, artists and so on.

29:56 - As Martin already said, I am an impact consultant, art manager and consultant, and I am focusing on the cultural impact of arts.

30:06 - That means I helping art institutions, artists and other creatives to design, manage and scale their social and cultural impact.

30:18 - And when we talk about impact, I think inclusion is at the heart of changing the world for the better.

30:26 - I’m very thrilled that with my work, I can contribute a little bit to make the world more inclusive and also make the arts more inclusive.

30:36 - Also, I proud of being part, an active part or taking an active part in the Zero Project Community and in partnering with the Essl Foundation.

30:49 - For the last three years, I have been mentoring some of the art institutions and innovators that presented their solutions at Zero Project Conference.

31:02 - Connie already mentioned that I was the mentor of DanceAbility, the museum of modern art in New York and capito in Germany, which is an NGO among other activities educates people with disabilities to be art education in museums.

31:20 - At the Zero Project, our most recent approach in broadening and expanding this group of innovators, and making their expertise available to everyone, we started what is called the Zero Project Solution Community.

31:40 - There are several Zero Project Solution Communities in this whole Zero Project universe, but the community that – I manage is on inclusive art and museums.

31:55 - I will present to you our work and approach.

32:00 - But before I start the presentation, I would like to say a few words about my personal vision of an inclusive world of the arts.

32:10 - During – coronavirus, we all experienced the lockdown of art institutions.

32:18 - What we are missing we cannot enjoy art. When we have no access to it.

32:24 - We feel a lack of inspiration, we feel a lack of creativity, a lack of distraction, joy, happiness and hope.

32:36 - We get anxious, insecure, hopeless, sometimes even depressed.

32:42 - And now, we all have experienced something that people with disabilities experience quite often.

32:49 - Apart from coronavirus, which is that they are confronted with barriers to have full access to the arts.

32:58 - The arts and culture are essential pillars of social development, may be on a personal level, made beyond a community level, maybe for society in general.

33:13 - They provide meaning, values and attitudes.

33:14 - Very important. They give orientation, interpretation and of course, knowledge.

33:21 - Art increases personal well-being, this is more or less proven also by scientific studies in the meantime.

33:29 - They improve self-esteem and they generate emotions and open horizons.

33:35 - This is why they are so important, also for people with disabilities.

33:40 - So cultural participation is a fundamental part of the human experience.

33:46 - It has to be accessible for all and for everyone.

33:52 - And here is where our new Zero Project Solution Community comes in.

33:57 - Please Sumita start sharing my presentation.

34:07 - So what you see here, on the first slide, for those cannot see it is just the title: Zero Project Solution Community on Inclusive Art and Museums.

34:19 - It is about new and innovative approaches to inclusive arts and art education.

34:26 - Our community members of the community, which is growing are all awardees from the Zero Project Conference: For example, the Museum of modern Art in New York, the Manchester Museum in Manchester, the (unknown term) Museum in Lisbon and the Kunsthistorisches Museum in Vienna.

34:58 - They are all offering a broad range of programs to make their institutions and art collections accessible to people with all kinds of disabilities.

35:08 - They offer special workshops, special tours, including sign language, easy language, tactile objects or technological advices and apps.

35:19 - We also have experts in our community group like Connie Vandarakis, who just spoke to us.

35:28 - We have consultants, we have educators, we have advocates, and many others who share their insights and experience.

35:36 - Sumita, Could we switch the slide? Here, you can see our approach to arts and culture facilitating self advocacy.

35:48 - So for those who cannot see it, I will talk through.

35:52 - It is a kind of pyramid. On the bottom is what art education is.

35:58 - We all in the community believe that art education is a fundamental part of any art institution, to develop the art and culture to their audience by enriching the education, social and emotional experience. The problem with that is that yet people with disabilities are often denied equal participation, or they have an negative or unwelcoming experience.

36:29 - Barriers can be physical, by attitude, social or programatic or relate to communication, to policies, to transportation.

36:42 - So this exclusion can lead to social isolation and negative impacts on the quality of lives of these people.

36:49 - So, the next step on the pyramid is inclusive art education.

36:57 - This is more or less a common solution, where what I mentioned before, special tools, workshops and other resources are other are offered to people with disabilities to give them the opportunity to participate.

37:09 - But what we as a community, in our discussions have identified is that this is not enough.

37:17 - There is still a problem with the common way of inclusive art education.

37:23 - In the sense that it still – there is still a separation and exclusion happening.

37:33 - For example, if you consider a tour in sign language that is offered for people with hearing impairments, this does not normally address people without disabilities.

37:45 - So there’s a kind of separation. There’s a kind of exclusion.

37:48 - Or, consider a tour guide who is giving a tour for people with disabilities.

37:55 - That person, that tour guide is most commonly someone without a disability, even if he or she is familiar with special needs.

38:04 - So again, there is a kind of separation and exclusion.

38:08 - So what do we, what approach do we work on? Our solution is to take a holistic approach to art, to inclusive art education.

38:22 - What does this mean holistic? What we think is important is that inclusive art education is not only offered for persons with disability but by persons with disabilities.

38:36 - And this is something we are working on, this is also something Martin Essl showed us in his project work with the Albertina.

38:49 - Why is it so important? Experience shows that people without disabilities, especially enjoy tours guided with disabilities.

38:59 - Why is this? Sumita, next slide please. Because their perspective is full of detailed descriptions that are really astonishing, if you have ever experienced a tour given by someone with a kind of disability.

39:19 - Their tours are full of personal opinions and stories that are touching, and go far beyond what we normally see or hear in tours.

39:29 - It opens and challenges our way of thinking.

39:33 - What you see here, in this slide, is a drawing that was made by Sigrid Kundela.

39:39 - One of the tour guides who has craniosacral patient.

39:49 - She organises museum tours for people with craniosacral trauma.

39:55 - At the drawing that she made here, she describes in her own words.

40:01 - I will read if you also for those who cannot see it.

40:05 - So in her own words. The sketch is drawn in landscape format.

40:10 - The headlight – headline reads: special guided tour for everyone.

40:16 - The G in the world – that word guided is walking.

40:21 - Below the headline you see five people and an art object.

40:30 - It alludes to one of the most famous items at the museum, which is at the Kunsthistorisches Museum, where she does the tours.

40:38 - On the far left side since the museum guide in a wheelchair.

40:43 - He is young and visually impaired, as their badge on his arm tells us.

40:51 - He keeps a megaphone in his hand, and the speech bubble under his wheelchair we read: my favourite figure! On the right are for visitors, one child and three adults of different ages.

41:11 - The child is a boy who says: great! Behind him a young man asks “what?” Behind him someone asks why? And behind him is a older visitor and she asks: who? This is Sigrid’s drawing.

41:35 - In the next slide. Lets watch Sigrid at her work. We will see a short two minutes video, where Sigrid Kundela shows us her favourite objects at the KHM.

42:14 - (Video plays) SIGRID KUNDELA: Hello. Here you see the bear with a gun so shooting the hunters, what does he want to say? Not a teddy bear, it is a bear for grown-ups because on his top you can see a cap the Is showing the bees, because a bear likes to eat honey.

42:51 - The head, you can take away and under the head is a glass where you can drink whiskey, gin or something else.

43:00 - He is from high society. That is why he is wearing a golden jacket and the gun is golden too.

43:11 - Looking down, he is standing on the ground, from a city.

43:18 - A small dog is lying down, and he is not afraid. And when you move the bear When it opens, you can see the games for grown-ups, where you can play chess and tick tack.

43:37 - On the left hand side, you can see a small hill.

43:41 - Below the hill is a monkey sitting and telling you about the law from this country.

43:51 - So, it’s a beer, you can see. Not for children for growing ups and how know who was drinking inside the beer, because it was built 1580 Long time ago. As well is in other very old castle And when this museum was built, lots of items from this castle came to Vienna.

44:20 - So you have to come and see this bear who is telling you about much more than only the gun.

44:31 - DORIS ROTHAUER: Thank you, Next slide. I also have to admit, otherwise our work would not be necessary in our Zero Project Solution Community.

44:44 - There is still a long way to go until tours offered by people with disability become a common service.

44:52 - There’s also a still a long way to go until people with disabilities become staff members in museums in the art institutions.

45:01 - Why is this? What are the challenges that we identified and that we as a community are working on? One is not surprisingly there are still a lot of prejudices regarding potential and performance of people with disabilities.

45:24 - There is the attitude of visitors. That are not familiar with people with disabilities.

45:32 - Museums must be considerate and aware of these attitudes.

45:36 - Museums must also be aware of the care needs of people with disabilities.

45:42 - When they have them as staff members so those people don’t feel left alone, and there are of course individual limitations of museum staff in terms of making contact with people with disability.

45:59 - There is a lack of time resources with regard to the integration of people with disabilities in the staff and museum.

46:07 - There is a lack of legal framework for a exclusive labour market in each country.

46:13 - And last but not least, inclusive employment in museums requires change management is to integrate those people into the organisation and into the staff.

46:26 - These are some of the challenges that with our continuous work as a community as a Zero Project Solution Community we are addressing.

46:37 - We have regular meetings, give workshops and we are working on new formats, how to find solutions to these challenges and how to broaden our expertise.

46:51 - I would like to close my presentation with a manifesto.

46:56 - Which was one of the first works that the Zero Project Solution Community did.

47:05 - And the manifesto was a contribution to the Zero Project Conference in 2021 February.

47:16 - Sumita, Next slide please. I will read it for those that cannot see it.

47:23 - We – the Zero Project Solution Community – believe in the power of art and culture to transform and impact society.

47:35 - Exposure to and participation in the arts promotes and strengthens community, economic growth, education, and health and well-being.

47:47 - In accordance with the UN CRPD, the Marrakesh Treaty and the American disability act of 1990, this committee believes in removing barriers for people with disabilities in order to have access to the arts.

48:04 - Its buildings, education and training and employment opportunities.

48:09 - It also has a positive impact on freedom of self-expression, creativity and imagination, and vitality for all people.

48:19 - An accessible world in art and culture reinforces vibrant inclusive communities, supporting the work of disabled artists, supporting independent living, and entrepreneurship.

48:35 - To achieve this, we need to achieve profiles, a legal framework and specific resources to fully integrate people with disabilities in the arts and culture.

48:48 - This is what we are working on. Thank you.

48:52 - ROBIN TIM WEIS: Thank you Connie and thank you Doris.

48:55 - That was a lot to digests what I suggest for everyone is to take a bit of innovation bedside reading, I just posted something in the chat which is our Zero Project Almanac.

49:06 - A 296 page publication. If you go to page 124, starting there, we have an arts and culture section that includes all of the great innovations was heard of.

49:18 - All of the institutions and Zero Project Awardees that Doris and Connie mentioned are right there.

49:26 - Shared with your friends and your network. With that being said I would like to invite everyone here to come in with your questions and answers.

49:39 - Feel free to either post them in the chat to post them as audio intervention.

49:46 - We encourage you to put on your video to identify yourself and ask the questions.

49:52 - You can’t raise a virtual hand or just go for it! This is going to be informal exchange.

50:00 - I will take the prerogative of the moderator to pose a question which I think Nicole had to specifically Connie in regards to the creative economy report, perhaps the call you would like to pose that question? NICOLE: Hi.

50:23 - Thank you for the presentations. They are very interesting.

50:27 - I needed to know the full title of the United Nations report.

50:34 - They have written this to me in the chat. So yes I took notes on it.

50:39 - Thank you very much. ROBIN TIM WEIS: all answered, wonderful.

50:42 - If I’m not mistaken Doris you wanted to share… PAUL: Thank you so much.

50:48 - ROBIN TIM WEIS: Yes, Paul? PAUL: Can I ask my question? ROBIN TIM WEIS: Sure.

50:53 - And then we will hand back to Doris who has one more video she want to share with us. Go ahead, Paul.

50:57 - PAUL: Thank you very much for this event. I’m a blind person from Kenya.

51:08 - And in terms of art and culture, I am currently doing an online summer school training in the Galloway island about this.

51:19 - I am very pleased because I have a passion for art and culture.

51:26 - My question would be, because in the global south you find that countries in Africa and culture is not given an opportunity in terms of driving for persons with disabilities.

51:38 - We find we are really missing a lot, and myself being an artist, I have done music and written some memoirs and books and poems.

51:50 - And also interested in terms of issues around accessibility of museums.

51:56 - How can you enable be supported to ensure we come up in a better programs or economic viable projects that allows to participate into be in the community.

52:12 - It is a big challenge and currently due to the experience I have got from outside Kenya I believe it is an opportunity for well supported many more people with disabilities can be empowered economically and socially.

52:27 - I have a YouTube channel called disability social media where I advocate for different issues regarding art, ableism and also issues of persons with disabilities.

52:39 - I believe if you get a better response you will also apply to other countries in the global South that face a lot of challenges in terms of inclusion and in terms of our participation.

52:52 - Since most agencies do not put persons with disabilities in the center of their activities. Thank you.

53:01 - ROBIN TIM WEIS: Thank you Paul. To summarise your question is how can we bring museums from the global south into this conversation? Is that correct? Paul, can you hear us? PAUL: Correct.

53:17 - And also to see how we can network as artist with disabilities to other countries.

53:25 - ROBIN TIM WEIS: If you could share links to some of the other stuff you mentioned, all of the participants here can also engage with you and I will let Connie have some intervention she wanted to come in with.

53:37 - CONNIE VANDARAKIS: Paul, thank you for your question it is a very profound question.

53:44 - I have done some work with the unmute festival in Cape Town, it is a very global scale dance.

53:53 - It is inter arts Festival. Called the unmute festival.

53:57 - When they deal with ableism, colonialism, they have performances and it is usually in October.

54:09 - I’m happy to connect you with them. They are a really good source on the continent.

54:17 - I also know we have many great projects and disability from the continent of Africa.

54:29 - ROBIN TIM WEIS: Doris, you would like to come in please? DORIS ROTHAUER: I can also add that some of those museums have really huge resources and knowledge built up.

54:45 - Like the Museum of Modern Art they have built it up for over 30 years now.

54:50 - They help other museums get this expertise as well.

54:57 - This is part of the community that I manage.

55:01 - For Zero Project. The expertise we have, we want to open it up for everyone and we want to make it accessible to those who lack the experience and would need that experience.

55:16 - Hopefully, we started our work just this year in January, February.

55:23 - Hopefully in the future will be able to have it almost like a platform, a knowledge database we can get information, contacts and can get help and support from those that have the knowledge already and that it is being transferred to those who need it.

55:51 - ROBIN TIM WEIS: Talking about opening up to everyone.

55:55 - PAUL: Since I’m using a screen reader I can’t type.

55:58 - I can shout my email address. ROBIN TIM WEIS: Paul, let me make a suggestion.

56:08 - Doris, with your consent can we share your email address with the group so they know where to reach you? Paul what I will do it I will post email address into the chat and do get in touch with her, she will be able to facilitate and share the collective wisdom which has been developed in the arts and community group.

56:32 - Doris if I’m not mistaken there was a video you would like to share with our participants as well? Would you like to do that? DORIS ROTHAUER: It is a video that Connie directed and it is a dance video.

56:46 - It is so emotional because the things we are talking about, if you talk about them you don’t get the emotional aspect.

56:54 - You have to experience it. How it is to include people with disabilities in the arts.

57:02 - And to either perform or communicate together.

57:07 - And this dance video was also produced for the Zero Project Conference this year in February.

57:13 - Zero Project partnered with Austrian film production company by the name of Neulicht And with DanceAbility International under the guidance of Connie.

57:29 - What you will see all the contributors are either award-winning programs from the Zero Project or they are people who are in various educational, vocational, social entrepreneurs in various fields of businesses.

57:47 - The all came together in the spirit of dance to celebrate disability inclusion.

57:55 - And Sumita, you can share that video now which I really love.

58:07 - (Video plays) DORIS ROTHAUER: For me this is the best example of how art facilitates and fosters self-advocacy.

61:23 - Not much more you can say or add to that. ROBIN TIM WEIS: Absolutely, Doris.

61:29 - and I think in between that video and the Caribbean jazz, I would go as far as to say this has been the most musical COSP14 side event this year.

61:40 - I would like to invite everybody else to continue with some interventions.

61:46 - I have noted that Fabrizio Fea informed us about his activities in Italy.

61:54 - I would encourage him to come in and speak a bit more about it and ask question to Connie and Doris.

62:02 - FABRIZIO FEA: It was not my intention to come in, I just wanted to share a bit of my experience and my rehabilitation centre for persons with intellectual disabilities.

62:19 - We started at the beginning, just as a little bit of art therapy.

62:24 - One of the activities of my centre in Rome.

62:29 - Later, it came out that our clients are really artists, not just rehabilitation, nothing to do with that.

62:40 - So we established bigger and larger atelier, from there we started our huge experience participating in European project and going around Europe in regular galleries, exhibitions.

62:59 - We do it several times a year in Rome as well.

63:03 - We are becoming a little bit famous. If you see our paintings, they are easily recognisable coming directly from my clients.

63:17 - So we are very proud of that. Later, we started also to work with ceramics, but with raku ceramics.

63:29 - That is a very particular way of making ceramics, directly on the fire.

63:34 - You discovered the colours after they come out of the oven, from the real fire.

63:43 - We are moving and I think that it is amazing because the main thing is not only for us, working with them, with the clients, but it is the self esteem and how they are growing and how they are becoming more conscious of who they are.

64:10 - And I think that this is one of the main goals of my centre, working together with these persons.

64:19 - So, I just wanted to share a little bit with you because I’m very proud of the work that they are doing.

64:30 - Not us. ROBIN TIM WEIS: In that case, I have some homework for you actually.

64:34 - I’m going to post the URL for our Zero Project call for nominations, which are still open until Sunday, June 20, and I encourage you to nominate the work that you are doing and if successful, and if our peer-reviewed experts team this is something that is also innovative, you’ll be able to join Doris and – Connie in their community. I strong encourage you.

64:57 - So please bookmark the call for nominations website and this is it.

65:04 - I encourage not only you but everyone here to come and nominate their work.

65:11 - FABRIZIO FEA Thank you very much about. ROBIN TIM WEIS: You are welcome.

65:14 - With that being said, is there any more questions specifically questions to Doris or Connie about their work? I see that everyone is still digesting the great information which they have taken in so far, so I will take that moderator possibility and ask a bit more of a critical question.

65:44 - Connie and Doris, I think use mentioned it specifically, Connie, that the arts industry is $730 billion industry.

65:51 - If we take the reports from the World Health Organisation there are approximately 1 billion people with disabilities, ¹⁄₅ of the world population.

66:06 - With those figures, – why are we not there yet, where we want to be yet in terms of self advocacy? There are so many people in the world with disabilities, what is holding us back? CONNIE VANDARAKIS: I think that history holds holding us back, for one.

66:26 - If we go to the great art museums, there are many artists who have disabilities.

66:31 - They had intellectual disabilities, physical disabilities, but it is not in the narrative of their history.

66:38 - So once – one thing we need to do is change the narrative of what is spoken about these artists, so that we understand full spectrum of artistry in terms of its normal part of the conversation.

66:53 - It is a normal thing to have disability when we talk about artists.

66:57 - The second thing I think are the challenges that Doris put up, regarding disability inclusion.

67:07 - I think one of the things I wanted to comment on our Italian friend Fabrizio is that what he learned was mutual learning he started out in therapy, what he learned was that his clients had artistic potential.

67:24 - So then I becomes an economic revenue for the clients.

67:30 - I think it is really important to learn from each other.

67:34 - I think it is a very important aspect. And I think the third thing that I would say, just went right out of my head.

67:41 - So I do not remember it. (Laughs). But those are the two big things, and maybe Doris has something to add as well? DORIS ROTHAUER: No, I think what you said is really important.

67:57 - The history, you always have to understand where things come from, why do we have these prejudices, why do we have the challenges that we deal with? And yes, integrating is happening in small steps because it is a big effort.

68:15 - It is not bring fast money, it is not bring big visitor numbers.

68:20 - Many artist intuitions are dependent on proving their success in numbers.

68:28 - And this is – yes, so the steps are small. But they are important and I think a lot of changes already going on.

68:37 - It just takes time. We have to be aware of that.

68:41 - ROBIN TIM WEIS: Absolutely Doris, but together with the work that you and Connie do, those steps are being made - in a fast and swift fashion.

68:51 - I would like to hand over to Julia who has raised her hand.

68:57 - JULIA: Thank you. I would like to thank you for everything you share today.

69:03 - It was very interesting and enlightening. You have actually already answered part of my question, which was what the barriers are in making art and culture even more inclusive.

69:24 - The problem is also in the economic aspect, when it comes down to numbers.

69:29 - So I want to add to that question and answer maybe.

69:35 - In your contact with other art institutions, what are their fears or their problems, the barriers that they face? You have so many great projects, good examples, why are others not immediately jumping on board and want to imitate that and move forward with projects like that? Thank you.

69:59 - CONNIE VANDARAKIS: That is a really great question, Julia.

70:05 - I would start by saying it is about first awareness.

70:10 - If you do not have a person with a disability in your family, you are not aware of disability.

70:16 - Now, we know that the numbers are growing and we also know that the baby boomers, which is the generation of people between the 60s and the 70s, which I mean, are now ageing into disability.

70:31 - So that disability number is growing. We have to bring about more awareness.

70:38 - To have conversations. I think that Zero Project is a good job of highlighting best practices.

70:48 - The more that we get the information out there about best practices, the more things begin to kindle in other ways and build other opportunities.

71:03 - Doris? To have anything to add? DORIS ROTHAUER: My experience, mainly in art institutions and museums, especially the big art institutions, there is still a very hierarchical structure.

71:21 - Art education is are at the bottom of the hierarchical pyramid.

71:24 - Those are the people who want to bring in people with disabilities as art educators.

71:31 - They want to bring them in as part of the stuff. But their work is just happening at the bottom of the pyramid.

71:41 - They have to convince the people in the leadership positions in art institutions that this is really the future of art education and of art institutions in general.

71:56 - To make art institutions more diverse, more inclusive, more sustainable, there’s a lot of topics, not only inclusion.

72:04 - It is like all organisations in business, in politics, wherever, art institutions have to go through the same process of awareness and leadership.

72:19 - It is a leadership task to make their institution as a leader more inclusive, more diverse.

72:30 - Yes. This is a leadership topic, we have to convince those who are really on the top of the pyramid.

72:38 - And of course, it is a political issue as well.

72:41 - Because what we experience, for example, one of the challenges that I said is the lack of legal framework to bring people with disabilities into an art institution.

72:55 - Making the members of staff. I think there is a lot of work we still need to do to convince leaders and also politics, really lobbying and advocating for the importance.

73:14 - That is our task, we all know that right? ROBIN TIM WEIS: On that note, I think it is a wonderful word and sentence to end on, Doris.

73:25 - And I would like to encourage both you and Connie to give all of us a bit of homework.

73:31 - The tasks that we can take out into the world.

73:33 - So perhaps in five to 10 words, give us something that we can take and we can translate from what we heard today into immediate action.

73:42 - CONNIE VANDARAKIS: The first thing I would say is to have a conversation with someone who was not here, and tell them what you heard.

73:51 - Having a conversation is always the first step in building relationships.

73:56 - Inviting people with disabilities to the table is the second thing that I would say.

74:03 - DORIS ROTHAUER: I would say spread the word, talk about it and get experience yourself.

74:11 - I was thrown into it because I remember one of the first projects that I did with Martin Essl together we invited people with disabilities to a series of workshops at Albertina this was the first time I became aware of how they experience art.

74:33 - How they talk about it. And it completely opened my heart.

74:39 - You have to experience it. It is so important.

74:41 - The dance video with Connie, I have never danced with someone in a wheelchair but I would like to.

74:49 - Because if I watch a video like this only through experiencing it we are able to be advocated.

74:59 - ROBIN TIM WEIS: Next week same time zoom call, you will hand in your homework, let us know how this conversation went.

75:07 - On a more serious note, I would like to thank everyone for joining us today in a digital capacity.

75:13 - I hope despite digital barriers you were able to feel the work Doris and Connie have done.

75:21 - And continue to support all around the world.

75:24 - We like to think you walk away today with a better understanding of how arts and culture facilitate self-advocacy as mentioned by Connie and Doris feel free to share the word of what you have heard.

75:38 - Point out museums. Ask the museums that you visit.

75:42 - Whether they are offering accessible art. Whether they are offering accessible museum guides.

75:48 - And if not ask them why. You as a consumer have power and that is something that Connie and Doris were able to let us know today.

75:58 - A big thank you from my end. Also from Sumita Kunashakaran, our civil society lead, did a great work in facilitating all of the presentations and videos you have seen today.

76:09 - Thank you for her support. I wish you all a great week.

76:13 - I look forward to being in touch with you, the Zero Project looks forward to being in touch with you and feel free to reach out to us through a website, engage with us throughout publications.

76:26 - Also importantly, do identify innovative practices and policies.

76:30 - My colleague Sumita just posted a website, with that being said take care.

76:37 - And goodbye. PAUL: Thank you very much.

76:39 - FABRIZIO: arrivederci. CONNIE VANDARAKIS: Thank you.

76:42 - ROBIN TIM WEIS: A bit of Caribbean music as a one heads out.

76:43 - JULIA: Good bye. PAUL: Bye, from Kenya. ROBIN TIM WEIS: Thank you. Don’t forget nominate.

76:45 - We are expecting it. SPEAKER: A question for the Zero Project.

76:47 - Maybe you can answer me, I wanted to ask whether I can do a self nomination? ROBIN TIM WEIS: Absolutely.

76:51 - SPEAKER: OK. I was not sure about it.

76:53 - I saw the publication. And I was really interested.

76:55 - ROBIN TIM WEIS: By all means, thank you for asking and we look forward to your nomination.

76:56 - SPEAKER: Thank you very much. It was a good session.

76:58 - ROBIN TIM WEIS: Wonderful. That’s all we can ask for.

77:00 - If you walk away with a bit of knowledge and a bit of learning from our session we did a halfway decent job.

77:02 - SPEAKER: I have been reading your publication so it is very educative.

77:03 - ROBIN TIM WEIS: I’ll pass on the complaints to the entire team.

77:04 - SPEAKER: Sure, thank you very much. ROBIN TIM WEIS: Thank you, take care.

77:06 - Right everyone, that concludes our event. I will end the call. .