One of ImPArt’s ‘masterclasses’ delivered by Royston Maldoom. Photograph: MEYER ORIGINALS<\/figcaption><\/figure><\/div>\n\n\n\nWhat are the key things you want to achieve with ImPArt and what have been the most significant outcomes so far?<\/strong><\/p>\n\n\n\nFor us, as project partners, the impetus for inclusive practice is that the inclusion of diverse performers and makers in the creation of performing arts leads to more interesting, innovative and meaningful artwork and greater access for disabled people to the profession as well as being more inviting for disabled audiences. In general, however, there is a lack of exchange of best practice, peer-to-peer learning and structural opportunities for artists and experts to further educate themselves in this field. ImPArt brings together international pioneers of inclusive performing art practice to learn from each other and to further develop the cultural scene. <\/p>\n\n\n\n
All activities are scheduled to share knowledge, allow partners to observe each other’s practice and different ways of creative working, exchange skills and provide additional contact points between artists, artistic directors and key artistic staff, experts and organisations. Besides the achievement of the three productions which provide greater access for disabled artists and greater access for disabled audiences to the artistic product, the empowerment process initiated by the project among the participants is the most important thing we could achieve. <\/p>\n\n\n\n
To my knowledge, it was the first time that so many different people from so many different countries have dealt structurally with the topic of aesthetics of access together. So, the project facilitated stronger links and collaborations between peak bodies to promote consistent policy and planning approaches and resources about inclusive performing arts. <\/p>\n\n\n\n
Re: construction<\/em> is one of three productions which came about as part of ImPArt. Photograph: Lucie Ella <\/figcaption><\/figure><\/div>\n\n\n\nWhat is unique about this project?<\/strong><\/p>\n\n\n\nIt is very important to discuss different inclusive methods, the political and social dimension of practised diversity and artistically-led accessibility approaches on an international level. Artists and experts from the UK have been working on this approach for some time, but in all other (European) countries it seems to be almost uncharted territory. <\/p>\n\n\n\n
A core group of 25 people from\n5 countries was intensively involved in all project activities carried out so\nfar. In the course of the project, these participants had the opportunity to\nconduct very extensive research. More than 350 other artists and experts were\npartially involved in the activities.<\/p>\n\n\n\n
By including disabled people across Europe and beyond it increased the number and range of professional artists, artistic directors, performance makers, producers and associations committed to the aesthetics of access. <\/p>\n\n\n\n
I am convinced that this approach will lead to higher quality accessible art productions, while also having a more lasting impact on the daily practice of the commissioned artists, experts and organisations. Addressing the lack of joined-up thinking in developing inclusive work, I believe that the project created a step-change in the volume and quality of work. <\/p>\n\n\n\n
Why is working collaboratively across borders like this so important in this context?<\/strong><\/p>\n\n\n\nAddressing\nthe isolation experienced by many leaders and experts working in the inclusive\nart field in Europe, our aim with this project is to share opportunities,\nchallenges and expertise of working inclusively across national boundaries and\nprovide peer mentoring to key staff who have encountered many similar challenges\nin embedding accessible work in the performing arts. Broadening this impact,\nthe project invites colleagues from various countries working in similar\ncontexts to participate in our activities. <\/p>\n\n\n\n
Our collective vision as partners is that accessibility and inclusion is an opportunity for a greater economic, cultural and creative impact. In our opinion it is very important that we develop and learn from each other new competencies and strategies for audience development, to implement them artistically and to share and spread them through a big international network of stakeholders (artists, makers, experts) throughout to promote a sustainable strategic change for the inclusive development of the cultural sector.<\/p>\n\n\n\n
Of course, it was especially exciting that Armenia has just joined the EU Creative Europe Programme in 2018 as a full partner country for the first time. This was a new opportunity to strengthen EU-Armenia cooperation through this culture project. It is very important to enable disabled people in developing countries like Armenia to have the opportunity to develop and utilize their creative, artistic and intellectual potential, not only for their own benefit, but also for the enrichment of society and as a role model for Middle East countries in general. <\/p>\n\n\n\n
John Kelly from Drake Music presenting at an ImPArt Summit. Photograph: Lara Weiss<\/figcaption><\/figure><\/div>\n\n\n\nAre there any key milestones coming up you can tell us about?<\/strong><\/p>\n\n\n\nMost of the activities have already been completed and we are now concentrating on the dissemination of the results as well as on the promotion of the productions. This has already been quite successful, as the performative installation Re:construction<\/a><\/em> created in the project was shown at the Cologne Opera in October 2019 and the dance duet Gravity (and other attractions)<\/a><\/em> will be presented in February at the Royal Conservatoire Antwerp.<\/p>\n\n\n\nBut one upcoming milestone will definitely be in May 2020 where all three productions will be presented one more time together in Germany. This will take place within the framework of the Sommerblut Festival in Cologne and at the same time, we will be organizing the third edition of our big international symposium ALL IN. We will invite our wide-reaching, diverse and influential networks to participate. Through our networks of presenters, associated partners and producers we hope our performances to be programmed and presented into mainstream art festivals and programmes after the project period beyond. <\/p>\n","protected":false},"author":9,"featured_media":2241,"parent":0,"template":"","tags":[],"theme":[80,95],"artform":[6,23,43,12],"country":[72,25,27,10],"resource":[56],"acf":[],"yoast_head":"\n
ImPArt: exploring the aesthetics of access on an international scale - Disability Arts International<\/title>\n \n \n \n \n \n \n \n \n \n \n\t \n\t \n\t \n \n \n\t \n