Disaboom Theater & Dance Articles

Showing Up for Democracy: PHAMALY Leads the Way

Wed, 20 Aug 2008 22:28:00 GMT

PHAMALY, the Denver, Colorado-based theater troupe known for innovative and highly impactful performances, has taken on the world of politics and possibility in its new “Theatre-in-Education” project, Show Up for Democracy.

Show Up for Democracy is an educational touring production that dramatizes the importance of inclusion to the future of democracy. The original nonpartisan one-act musical follows a theatre ensemble, founded in 1776, as it struggles to keep the Show Up for Democracy going. A new member from the next generation challenges the troupe with fresh ideas for the next act. Will the democratic ensemble be able to work together to keep the show going, or will their differences drive them apart? What should our next act be?

Show Up for Democracy at the DNC
Developed for PHAMALY by an intergenerational creative team, this thought-provoking drama about inclusion opens up new perspectives on disability and catalyzes a new conversation about the democratic ensemble and our parts in it. During the Democratic National Convention (August 25-28), the cast will perform the show as entertainment – and, we can hope! – education for various Convention gatherings held in a number of downtown Denver venues.

Fall Tour Schedule
In September and October, the production tours regional high schools, colleges, and other community centers. A DVD and interactive website will keep the show going beyond the performance schedule and serve as the basis for extended educational programs and civic engagement. Parties interested in booking Show Up for Democracy and/or teachers interested in school/classroom engagement should email sufd@phamaly.org or call 303-575-0005.

About Show Up For Democracy and PHAMALY
Made possible by generous individuals, grants, and performance bookings, PHAMALY’s Show Up for Democracy project is a unique civic theatre experience whose goal is to usher in a period of hope and inclusion in American democratic life.

PHAMALY (The Physically Handicapped Actors and Musical Artists League) is a Denver-based theatre company that is the only group in the country to produce large-scale professional productions featuring an entire cast of actors with disabilities. PHAMALY’s mission is to enable persons with disabilities to showcase their talents and abilities through live productions and to make the performing arts more accessible to everyone.

Read More
For more information on PHAMALY and their productions, see It’s All in the PHAMALY.

Want to know what Disaboom is doing at the DNC? See The Democratic National Convention, Disability, and the Unheard Voice.

For Steady Eddy, Cerebral Palsy and Laughter aren’t Mutually Exclusive

Fri, 25 Jul 2008 19:53:00 GMT

By now, you’re probably familiar with Josh Blue, who has emerged as one of the hottest comedians in the country. But you may not know about Blue’s predecessor, Steady Eddy. Eddy, an Australian comedian and actor, has more in common with Blue than the fact that he’s also a funnyman. Like Blue, Steady Eddy has cerebral palsy and has put his disability center stage.

“My teachers were the best. They used to say, ‘Steady, you’re disabled.’ Very intelligent, they were,” Eddie quips in one act. “They said you’ve got to be inconspicuous to fit into the mainstream of society. Every morning a bus would come to pick me up with ‘Spastics’ written down the side.”

If that’s the first you’ve heard of Steady Eddy (aka, Christopher Widdows), here’s a brief primer: Steady Eddy first appeared at Sydney, Australia’s Comedy Store in 1991. It was there that he fine-tuned his own brand of stand-up comedy before taking his show on the road. In 1992, he made his television debut.

The following year Steady Eddy toured New Zealand. His unique approach to soliciting laughs became so renowned that he released his first CD and video. In 1994 he appeared at the Melbourne Comedy Festival before touring the U.S., Canada, and the U.K.

Initially, Eddie’s self-styled disability humor (which veered from the path of political correctness) was ill received by the disability community, at least in the U.K., he says. “It was 15 years ago in the U.K. and anti-discrimination laws were non-existent. Really, I think that played a big part in it,” he explains.

Steady Eddy counts two Mo Awards for New Wave Comedy Performance under his belt as well as an award for Best Comedy Recording. In 1995 he was also awarded a Young Australian Achiever Award on Australia Day Ceremonies.

After other television appearances, Eddy signed a recording contract with Streetwise Records and released the CD Born to Be Bent, which he then turned into a tour. He also toured as master of ceremonies for Midnight Oil, performed in between their sets, and released a single, "The Steady Eddy Blues.” After 17 years on the circuit, Eddie is still going strong.

As Eddie’s popularity took off, so did his dependence on alcohol and drugs. His was a long road to sobriety. Today Eddie’s brand of humor has branched out and his latest performance, which launched early this year, is called, “Highway to Hippyville.” In the Hippyville performances, Eddie chronicles the last four years of his life, during which he’s turned his life around after having been through divorce, marriage, alcohol, and everything in between.

“I used to open six bottles of wine at a time,” Eddie recounts, “because I knew that with my ‘shakes,’ by the third bottle, I wouldn’t be able to open the rest.” Highway to Hippyville is a departure from Eddie’s traditional stand-up comedy act. Make no mistake, though—Eddie does very little without being funny.

Photo courtesy of Celebrity Vogue Photography

Actors for Autism Launches Summer Film Camp Series

Mon, 14 Jul 2008 21:43:00 GMT

A new, comprehensive two-week summer program is putting a group of children, some with autism, in touch with film industry professionals, including producer/director Joey Travolta. The goal is to teach the kids every aspect of digital filmmaking, from acting, producing, and directing to lighting and shooting each of the films they work on. As an inclusion program, the campers include children with autism as well as those who don’t have a disability but who are interested in drama.

The non-profit group Actors for Autism, which brings together people in the entertainment industry who are dedicated to the advancement, education, and exposure of children and adults on the autistic spectrum, is responsible for the series of film camps.

Travolta, 55, created Joey Travolta Entertainment Experience, a film camp for all kids. Then he, along with Alisa Wolf M.Ed., designed the film camp especially for those with special needs. Travolta is a former special education teacher, while Wolf is an industry veteran and the mother of two young children who are autistic. This is the third year that Travolta (the brother of actor John Travolta) is conducting camps such as these around the country.

The students begin their day by learning the lingo used in Hollywood before breaking up into small classes to work on acting skills. “It kind of gives you a safe place to express yourself and build confidence and get used to collaborating with other people,” Travolta said of the acting process in an interview with wrongplanet.net.

“And then it also teaches that gray area, especially through improv—you know, how to think spontaneously. A lot of time with young people in this spectrum things are very black and white, their processing, and the gray areas are the areas that they don't get. And, through acting, you learn those. Through filmmaking you learn those because it isn't black and white; it's very subjective, and it promotes thought and provokes a collaborating which I think is huge.”

The camp is a genuinely unique experience—campers are taken through the entire process of creating a film from start to finish. In general, they use scripts written by professional writers and work alongside industry professionals as well as their peers. The finished product for the camp is a short film (as well as a lot of learning and fun).

Travolta says filmmaking is a very empowering experience for kids with autism, who are naturally not inhibited, and therefore "shine" in a theatrical atmosphere. Not surprisingly, the program isn’t all about movie making. It’s also about finding creative ways to integrate people with autism into society. Accordingly, the therapeutic aspect of the creative process is equally emphasized and celebrity guest teachers work with the attendees to improve communication and interactive social skills and to build of self-confidence. According to Travolta, working on a film together creates a very family-like atmosphere, and his students are motivated by the collaboration.

For more information, contact Actors for Autism at (877) 228-7006.

Read More
To about another project including chidren with autism, see Autism: The Musical Focuses on a Production By Autistic Children.

Read about a movie addressing the issues of autism, Snow Cake: Moving Beyond the “Autism Movie” Stereotype.

Visible Theater in New York

Thu, 10 Jul 2008 23:15:00 GMT

New York City's Visible Theater is focused on promoting social justice through performance; this includes a key focus on people with disabilities as creators, performers and subjects of theatrical work. Visible Theater offers a range of programs and resources, including the development and performance of new plays, workshops and retreats at a fully accessible center outside of New York City. Meanwhile the group's True Story Project seeks to develop autobiographical performance pieces around a given theme that tour throughout New York City.

The group's True Story Project is focused on providing a resource for performers with a disability and creatives, where they can receive training and be taken seriously in their chosen profession. True Story Project themed performances have included works about faith and sex, two areas where people who don't have the experience of disability often make incorrect assumptions about those who are living with disabilities. There is also a children-focused component of the True Story Project that connects children to adults living with different disabilities.

Visible Theater was founded in 2000 by Krista Smith, who is an actor, director and disability advocate. She is also a member of the Actor's Studio and teaches at Johns Hopkins University, with a goal to help creators engage in more inherently truthful storytelling. One of the goals of Visible Theater performances is to connect the individual experience with its greater historical landscape. A great example of this is Kraneknhaus Blues, which was actually commissioned for Visible Theater. The work focuses on the experience of people with disabilities during the holocaust, which is not a subject that has experienced any significant cultural examination. Several of the characters and actors appearing in the play are people living with disabilities.

Visible Theater is unique in that it focuses on people with disabilities as part of every aspect of the creative process, but the theater is not exclusively dedicated to disability issues. Rather, Visible Theater integrates people with disabilities into all aspects of their work, making it clear through a landscape of actors both with and without disabilities that the stories of people living with disabilities have relevance to everyone.

Additionally, by providing a significant role for people with disabilities in works both fictional and factual, Visible Theater effectively addresses the realities of living with a disability on two levels - both in the work that is presented and through those who are involved in the creative process. In a world where actors are often assumed to be people without the experience of disability, Visible Theater reminds audiences of the varieties and possibilities of the human body in its myriad forms. This worldview is represented in the company's motto: "bringing the anarchy of life to the discipline of the stage." The world may not always be as we expect it, but there is always a way to represent those experiences to others.

Visible Theater holds interviews each year to consider new members and particularly seeks out those who feel marginalized due to age, gender, ethnicity, sexual orientation or disability. While the theater seeks experienced and gifted artists, it demands that those artists are committed to continuing to develop their craft and expression. As a non-profit group, Visible Theater relies on the donations of individual supporters and organizations to continue operations. Supporters include the New York State Council of the Arts, the Puffin Foundation, the David Rockefeller Fund, McGraw-Hill and the New Jersey Community Trust.

See Racheline Maltese's Profile on Disaboom
See Racheline Maltese's Profile on Associated Content

Auti Angel Carves Out Niche as First Hip Hop Wheelchair Singer and Dancer

Fri, 06 Jun 2008 16:00:00 GMT

Auti Angel truly has the voice of an angel. Every word she shares is encouraging as she wears positive energy like a badge of honor. She shares that energy with everyone who crosses her path.

Auti has found the strength to rise above tough situations in her life. She grew up in a gang-infested neighborhood in Torrance, California.

"I've dealt with it all: child abuse, molestation and rape. When I married at 18, I went through a living hell and then escaped him," Auti details. "I'm lucky to be alive."

With growing attention from the record industry, Auti Angel was headed on the fast track in the Hip Hop, R&B world.

"I was J.Lo before J.Lo," Auti says with a laugh, "I danced with LL Cool J. I went on tour with Rap artists and I was about to sign a record deal as part of an all-Latin female Hip Hop group. Then, the tragic car accident happened, severing my spinal cord and leaving me wheelchair bound. That was May 3, 1992, a day I will never forget. The record company wasn't willing to wait, but I told them, 'I'm still me!' The group tried to replace me, but they couldn't and fell apart. I was saddened they didn't move forward because they still needed to follow their dreams."

That record deal evaporated, but Auti's determination for success did not.

"Once a dancer, always a dancer. The spirit of dance never dies, no matter what happens to your body. I landed a gig hosting a music video show, In Motion Hottest Videos. I was interviewing high-profile artists behind the scene such as Ice Cube, Chris Tucker and everybody in the R&B urban network. So, I'd take my back brace off and sneak out of rehab to work. I shared a rehab room with six other patients. My sister would pick me up late at night after everybody went to bed. A couple of nurses figured it out," Auti says, "but it didn't stop me."

"We filmed our show in different nightclubs, so that's where I started to dance again and figured out how to manipulate the wheelchair to work for me. After I got out of the hospital, I put another group together and we started performing. People were confused by my abilities to sing and dance, yet inspired. When we tried to approach the record companies, they didn't know what to do with it. They didn't know if there was a market for a wheelchair artist, but my talents were well received by many established industry artists and entertainers. As a result, I received a performance spot with Ludacris for his 'Stand Up' song. I told God that He had a funny sense of humor."

While Auti pursued her dreams, there were still challenges to endure.

"A year after the accident, I lost my mom to liver cancer, which was devastating. I began to hang with a different crowd that introduced me to alcohol and drugs. I started to use marijuana to deal with my chronic pain from the accident. Then I was introduced to rock (crack cocaine); not realizing the dark path it would drag me to. My drug use led me to being spiritually and physically attacked. I called the police for help, but when I tried to leave the scene, I wasn't thinking clearly and I led police on a high-speed chase through San Pedro, California."

"The drugs drove me to a suicidal state," Auti explains, "I was the first woman in a wheelchair incarcerated at Twin Towers County Jail. They didn't know what to do with me so they put me in the infirmary with women who were mentally ill. I spent three months in jail and God used me to talk with the other inmates. They began to see their own possibilities. I developed a strong relationship with God and honestly, God put me back on the right road and back in the game."

The tide has turned dramatically since that time. In fact, Auti is about to release her first album this summer independently. For the past three years, she's been teaching dance workshops to kids at the San Diego Adaptive Sports Camp. Her students have different diagnoses, but most of them are wheelchair users.

"One of my students, Manny Fernandez, was nine when he first started with me. He was really shy, quiet and kind of standoffish. Manny had a T-2 spinal cord injury from a tragic accident when he was only 13 months old. Now, he is 12 years old and gets in the freestyle circle to battle me. I know he's been at home practicing. The last time I saw him, he turns his hat backwards, he's spinning his chair around and begins to get down like the best of best. I'm so proud to be his teacher. He inspires me. I told him, 'That's it, you win!' Everybody was cheering him on, it was priceless," Auti says with a smile in her voice.

"I do my best to make the kids comfortable while telling them that they can participate or just watch. Each child has a different ability, so I use a freestyle circle for the kids to encourage each other and come up with their own moves. I remember everybody's dance move, give the dance his or her name, and choreograph all the moves together. Some kids can only blink their eyes. So, I incorporate that as a dance move to include every child. Everybody begins to build this very cool dance team. It's an awesome sight to see."

Auti has also started her own non-profit organization Save A Soul Foundation to help at risk youth by using performing arts as a tool.

"It's a grassroots mentor-based program for at risk youth. My ultimate goal is to have a youth center that will provide resources, tutoring, while teaching different trades that will apply to their goals in life. It will include at risk kids who are able-bodied and disabled. Save a Soul grew out of my own experience when I was asked to speak at the Los Angeles Central Juvenile Center. It seemed to set them free to hear me and hear my story. I was moved to reach out to our at risk youth. I could hear God's voice saying, 'Save A Soul. Once you save one soul, that soul saves another soul, so it repeats itself.'"

"I don't press my beliefs on anyone because I welcome everyone with different beliefs. But, God has allowed me to go through so much; my ministry is able to speak to all walks of life. My relationship with God has saved me. Everything happens for a reason and I'm grateful for the life I have. I'm in a good place now. Last year, I married my soulmate, Eric Rivera."

Auti's offers advice to adults and youth who are facing obstacles in life.

"Learn to love yourself. Remember that God never gives us anything that we cannot handle. So no matter what obstacle or challenge may come your way; it is always 'Overcome-Able!' Find your beauty in the most raw form and you will capture and affect your inner soul. If you're not dead, there's got to be a reason why you're still here." Through her own challenges, Auti has been transformed into a true Angel on Earth by sharing a strong message of hope. "I'm still here to show people there is a reason to be here and to help people find their purpose. I am a purpose to drive you, to inspire you and to help you overcome any obstacle. I will be the first Hip Hop artist in a wheelchair. Honestly, the possibilities are endless."

Auti speaks, teaches and performs at camps, schools, churches, juvenile facilities and a variety of venues nationwide.

For more information visit www.autiangel.com.

To see Auti Angel dance, visit www.youtube.com/watch?v=rUjUhkvAyAE.

Freelance Writing for the Web

Mon, 12 May 2008 19:52:00 GMT

Freelance writing for the Web is the perfect job for many who want to make money from home. All you need is a computer and an Internet connection and you're good to go. This is why this profession appeals to everyone from new mothers to persons with disabilities. Just because you're homebound does not mean your options are limited.

Places to Start Your Freelance Writing for the Web Career
While freelance writing for the Web was barely considered a profession a quarter century ago, today there are numerous places to start looking for work in this capacity on the Web. Following are three.

AssociatedContent.com
This is one of the most popular destinations to find freelance writing work on the Web. This site appeals to many because of the following reasons:

(i) You can write on anything you want - and get paid for it. This is perhaps the number one reason so many freelance writers flock to this site. You don't have to deal with editor guidelines, due dates, rewrite requests, et cetera. You simply write. As long as your grammar is good and the material is organized, you have a great chance at being published. And paid. (Let's not forget paid.)

(ii) Calls for Content: This is where the editors put out a request for a certain topic they are accepting submissions on. The pay can range from simple performance bonus payments (they currently pay you $1.50 per 1,000 page views) on up to $25 or more. Most are in the $15 to $25 range. These are usually short, simple articles that only require 250 to 500 words. Some require more, e.g., 750 to 1,000 words, but are usually on pretty well-known topics that can be written about fairly easily.

(iii) Quick Pay: When you turn in an article to Associated Content, it is usually reviewed in about a week - sometimes much quicker. And, you are paid almost immediately upon acceptance.

Helium.com
This is another site that makes freelance writing for the Web a viable option for many. One of the best reasons to write for this site is the Marketplace. This is where publishers place their request for articles.

If your article is selected from among the ones turned in, you are paid a set fee. This can be as high as $200. Most of the marketplace offerings are in the $20 to $30 range for 350- to 500-word articles. The higher the price, the more stipulations must be met (for example, x number of professionals from a certain area or background must be quoted). The sheer variety of topics offered here - and the relatively well-paying assignments - make the marketplace a must for anyone who wants to make money writing from home.

Brijit.com
If freelance writing for the Web appeals to you, but writing long pieces intimidates you somewhat, then this is an excellent site to begin with. As described on the site, "Brijit aggregates the world's best long-form content and abstracts it in 100 words or less, providing busy, omnivorous, and increasingly mobile readers with rich, qualitative summaries as well as better guideposts for what to read, watch or listen to now."

The pay is $5 for print media abstracts and $8 for audio and video abstracts.

It's easy to start a career freelance writing for the Web. These three sites make excellent starting points.

See Yuwanda Black's Profile on Disaboom
See Yuwanda Black's Profile on Associated Content

It’s All in the PHAMALY

Thu, 08 May 2008 22:28:00 GMT

In 1989, a group of former students of the Boettcher School for the Disabled in Denver, Colorado, became irritated with the lack of theatrical opportunities for those with disabilities and decided to do something about it. The five friends founded the Physically Handicapped Actors and Musical Artists League (PHAMALY).

“They had done theater the whole time they were in school and just loved the arts, and then they got out of school and they weren’t being cast—there were just no opportunities open for them,” says PHAMALY Executive Director Melanie Mayner.

After receiving a small grant from the Colorado Council on the Arts, PHAMALY began working on its first play, and in 1990 the newly founded theatre troupe was christened, performing the musical Guys and Dolls.

Fast-forward 20 years and 22 plays later, and PHAMALY has become a prestigious theater company known for its theatrical prowess and commitment to providing artistic opportunities to actors with disabilities. The group now puts on two plays a year—one musical and one non-musical—and also performs at various social engagements and events.

Currently, the organization is run by a full-time staff of two employees—Executive Director Melanie Mayner and Administrative Director Regan Linton—but uses the services of independent contractors and myriad volunteers to ensure its success. Another key ingredient is PHAMALY’s talented actors.

PHAMALY continues to only cast actors with physical, developmental, or emotional disabilities in its plays, giving many of its cast members a chance at acting that they might not have otherwise had. According to Linton, the talent pool at PHAMLY “spans the gamut,” from first time actors to those with long histories of involvement in the arts.

Although PHAMALY may have an atypical cast, its actors still go through the rigors of professional auditioning—and not everyone makes the cut. “It’s challenging, because if you don’t step up, you’ll never get a role. But you’ll never leave thinking that your disability was what held you back,” says Linton, who stars in the company’s upcoming rendition of Sideshow that opens on June 5th.

PHAMALY’s productions continually leave theatre critics and patrons feeling liberated. Its performances have generated numerous laudatory reviews for their theatrical power—with many reviewers quick to point out that it’s the production value and not the actors’ disabilities that leave audiences mesmerized.

“Audiences will be focused on the actors’ talent, not their disabilities. I can’t emphasize the significance of this statement enough,” said North Denver Tribune writer Craig Williamson, in response to a PHAMALY show. Other viewers have described PHAMALY performances as “sheer unadulterated magic,” “powerful,” and “joyous.”

For the company’s staff, such lavish praise spreads optimism that actors with disabilities will soon be more welcomed in other entertainment realms. The organization now frequently receives casting call information from producers looking to cast characters with disabilities. “The industry is still changing more and more and I think that film and television are trying to seek authenticity when portraying characters with disabilities,” says Linton.

But for PHAMALY, the most important goal has always been creating a positive environment where those with disabilities can grow creatively. Through the years, the company has helped build confidence in many of its actors, and once individuals participate in the PHAMALY experience, they almost always continue to be a part of the group, which is a tight-knit one.

“Everyone’s extremely welcoming, and for many PHAMALY has made their world a much better place,” Mayner says.

“You know, it’s not just a P-family, but it’s an F-family as well,” she adds.

For more information about PHAMALY, visit http://phamaly.org.

Famous Photographer with Disability Challenges Stereotypes Internationally

Mon, 05 May 2008 18:44:00 GMT

Christopher Voelker is likely the most recognized photographer with a disability. He has a great career highlighted by an incredible body of work.

Voelker has a way with the camera that transforms a still photo into a portrait with a voice. With an eye for inventive visual aspects, his creative work is reaching a new level of recognition in Hollywood and internationally. His eye magically enhances a single photo to create a story while challenging stereotypes.

Voelker's work shows intricate design that reaches far beyond a traditional headshot. Rose petals draped across a beautiful naked woman, as her wheelchair sits nearby. Mick Fleetwood tips his hat in a playful way. Robert David Hall's shadow is bigger than life. A painted woman seems to be dancing in her wheelchair. The list goes on, as each shot in the collection is new and inventive.

In his 20 years of experience, he has photographed celebrities including Mick Fleetwood, Billy Zane, Beyonce, Robert David Hall, Brandy, Dennis Haysbert, Christina Applegate, Bow Wow, Rhianna, Holly Robinson Peete, Mo'Nique and many more.

To reinforce his ability to deliver a product that speaks, Voelker has received praise from a variety of stars.

"Chris Voelker's work is filled with emotion, beauty and thought. He shadows the light and lights the dark that speaks with image, like the eye of poetry to the soul," noted actress, choreographer, and director Debbie Allen.

"Never in my life have people responded so enthusiastically to photos of me as they have with Christopher's. He knows how to capture a man's mojo with the lens," added award winning poet, playwright, and actor Lynn Manning.

Voelker has also shot national and international covers for magazines along with movie posters.

"I'm in negotiation right now to shoot a movie poster for a well-known director," Voelker said.

Voelker fell in love with photography after a motorcycle accident resulted in quadriplegia at the young age of 16.

"Six months after the accident, I saw the Rolling Stone's issue "Portraits of Power" by Richard Avedon and immediately became interested in photography. My father was into photography as well, but that moment galvanized things in a way," Voelker explained. "I bought a camera, saved coins and went back to school to take photography courses. At first, I turned my parents' garage into a studio. I started shooting friends and then expanded into actors' headshots. We'd shoot all hours of the night."

Without the accident, Voelker admits life may have been different. "I doubt I would have found my passion for photography. It opened a door as I became more interested in being an artist, the visual concepts, and I became pretty consumed with the art. When a friend of mine was doing an apprenticeship at a studio, I became smitten with being in the studio. I could see the possibilities. To me it was a canvas to fill up," Voelker said. "I had a desire to show people in certain ways using my love and fascination for photography. I was immediately enamored with the possibilities of making unique images using light as a real paintbrush."

Voelker has an extraordinary eye for the artistic depths seen in his photographs. He is now part of Hollywood, often called on for photo shoots by studios, filmmakers and high-profile actors. He is also the requested photographer for performers with disabilities because he takes the photo far beyond the wheelchair, far beyond the disability. In essence, he makes everyone shine on film in a unique way.

"I bring something else to the studio. Going through different experiences physically gives you empathy and insight into things that other people don't see. People trust me, they let their guard down, and we create something more meaningful," Voelker said. "I use movie lights as my first choice as the drama that can be created is endless as your imagination is. It brings out highlights, shadows and different textures not seen with the typical umbrella strobe approach. I really believe that you can say just as much with shadows as you can with light, one does not exist without the other. An actor called me 'Shadowman,' which was a real compliment."

Voelker's greatest influences are George Hurrell, Bill Brant, Richard Avedon and Irving Penn. Movie studios often call Voelker after they see his work.

"I did a shoot yesterday for a Universal DVD box cover. They saw my work given to them by an agent. They had no idea I was in a wheelchair," Voelker explained. "It happens a lot. I get calls saying, 'We'd love to meet you in person.' I show up in a chair and immediately it's like, 'We didn't know.' I once had a big campaign shoot planned but when they found out I was in a chair, the job mysteriously went away. It happens so many times. When people see a chair, they wonder, 'How can we trust him to create an image for us?' It's prejudicial and a lack of education."

When Voelker attended a Symposium by the Performers With Disabilities Committee sponsored by the Screen Actors Guild last year, he was impressed with the event but shocked at the response.

"The studios were all invited to attend, but none of the networks showed up to the event. It's weird that people with disabilities are not included in Hollywood. Being a disabled photographer, I know it would be the last suggestion for any photographer who was a quadriplegic to work in the entertainment industry. But, why?" Voelker said. "I photograph a lot of African Americans because I understand the lighting and the dynamics of photographing black skin. I finally have come to the conclusion that there's something synonymous about being disabled and being a minority because the prejudicial aspects are the same."

Voelker's cutting-edge magazine layouts, like nothing you have ever seen before, have caught attention internationally because they offer beauty rather than focusing on the disability.

"I'm grateful for my magazine work. I did a year of covers for the Italian magazine Mobilita www.voelkerstudio.com/MobilitaCovers.jpg and it was a great experience. My style of photography is accepted in Europe because it's different. I just want to be viewed artistically and to be in a place where I can be recognized for my work. Great work will always be great work," Voelker reminded. "I work with digital format, but I also have my own dark room and use film. There's something organic to holding film in your hand and knowing your pictures will last 200 years."

Voelker is working on two books. One is titled Portraits of Ability showing people who have done something extraordinary, but happen to be disabled. The second book project will be focused on abstract nudes.

"I did a shot of a woman who is a painter and writer. They wanted a picture of Spring. My wife is a makeup artist and she painted the woman´s body as Spring. I shot her nude in her wheelchair and it's a beautiful shot. It was a great opportunity," Voelker noted. "Working with me, people know they're not going to be exploited or made to feel peculiar. My book of nudes will be inclusive of all shapes and sizes filled with images that are beyond the typical."

Voelker is willing to reach out and help others achieve their dreams. Currently, he is helping a Canadian gentleman with multiple sclerosis that has an interest in photography.

"It's cool to infuse the disabled community with my approach to photography. A lot of disabled people want to get into photography and I've become a mentor, helping them to find what kind of equipment would be advantageous for them. I'm willing to help," Voelker added. "I have a really cool life, I go places, I have a great occupation, and I work with my wife Melanie Manson, when she is not booked on other gigs, as she is a very accomplished and in demand makeup artist. I know that I have to compete with the best photographers in the world. As a freelance photographer, it's like applying for a new job every day. But, I love my work, so no sad violin music for me!"

To see Christopher Voelker's photography visit www.VoelkerStudio.com.

Pictured: A self-portrait of Christopher Voelker.

Alliance for Inclusion in the Arts: Celebrating Two Decades of Artists with Disabilities

Sat, 03 May 2008 00:20:00 GMT

"Things are opening up in film, television and theatre with respect to issues of disability—there has been progress. At the same time, the surface has barely been scratched," says Sharon Jensen, executive director of the Alliance for Inclusion in the Arts.

Based in New York City, the Alliance, formerly the Non-Traditional Casting Project (NTCP), is a national nonprofit established in 1986 to address and seek solutions to racism and exclusion in theatre, film, and television; Jensen came on as executive director in 1989. Three years in, NTCP expanded its mission to include artists with disabilities. "When I first came on board, I tried to raise cultural awareness," Jensen says. "I routinely asked casting directors, 'Would you consider an actor with a disability?' Nine out of 10 times they said, 'No, not this time,' or 'Maybe, later, which seldom came.' Now, one out of three casting directors will say, 'What an interesting idea.' I hadn't thought of that. Let me think about it.' "

Today, because of its ongoing commitment to full inclusion, the Alliance is considered an established leader in the arts and entertainment field with respect to these issues.

An early environment of cultural diversity shaped Jensen's interest. "My parents had a global view," she says. "They recognized there were many cultures in the world, many ways to think, approach life, and contribute. We often had guests from different parts of the world whom my parents had met on their travels who would stop by to visit and stay in our home, which could barely accommodate our nuclear family, in my small hometown in Michigan—one gentleman stayed for six weeks! Living in a multicultural environment was the norm for me. I went to college with a girl who had cerebral palsy. In my 20s, I made friends in the deaf and hard-of-hearing community and learned sign language," Jensen explains. "One thing built upon another. Prior to coming to the Alliance, I had either worked for or led nonprofit arts organizations for 17 years. When this opportunity came along, it was a perfect fit."

Jensen believes "education—the earlier the better—is critical to understanding the lived experience of disability" and Christine Bruno, Disability Advocate for the Alliance, agrees. Bruno, who has cerebral palsy, understands the hurdles faced by artists with disabilities and the trepidation of decision makers such as producers, directors, and casting directors.

"In addition to my work with the Alliance, I'm also an actor and teaching artist with an M.F.A. in acting and directing. As such, I have an inherent understanding of the challenges performers with disabilities face and am able to answer their questions and help address their concerns," Bruno explains. "I'm also a direct liaison between disabled performers and decision makers, who often have limited knowledge of disability. A large part of my job as Disability Advocate is to guide, support, and educate decision makers through the process of working with disabled artists, from initial consultation through performance."

"As a teaching artist, I visit New York City schools with a team of other artists. We promote disability awareness using a variety of tools, including puppets, monologues and scenes, and theatre games to introduce mostly nondisabled children to disability. With the older kids, I share my personal story and facilitate question-and-answer sessions. The best part is that all my jobs—Disability Advocate, actor, and teaching artist—feed into one another and each influences the other in a positive way," Bruno says.

"What we've found," Jensen explains, "both with respect to artists of color and those with disabilities is that before you can have real change, you need a sensitized environment in which change can occur." To that end, the Alliance works with every sector of the industry and at every stage of the process, from initial idea through production.

Jensen says, "One of the Alliance's strengths is bringing professionals together around these issues. Our goal is to expand thinking that will then lead to a change in practices. Therefore, on an ongoing basis, we invite casting personnel, directors, writers, union and guild representatives, producers, artists, disability experts, network executives, and educators to participate in a variety of discussion formats, from small roundtables to large resource events." Jensen explains. "The feedback has been incredibly positive, including comments that range from 'eye-opening' to 'life-changing.' Unless industry professionals have had a direct experience with disability, most haven't considered the options or thought about it before. People are open to new experiences and to change, but we have to talk about it."

In 2006, the Alliance launched Disability in Entertainment and Arts Link (DEAL)—a direct result of bringing industry professionals together around the issue of disability. "DEAL was specifically born out of two events: The first, a collaboration of the Alliance, Columbia University Seminar on Disability Studies and Columbia University Arts Initiative, focused on theatre and casting practices and was held in 2005 at the Public Theater in New York City. We invited leading disabled and nondisabled artists and decision makers to participate in an open discussion about issues of disability," Jensen explains. "One hundred-thirty five professionals—performers, producers, writers, directors, casting directors, and educators—attended. Following that symposium, a highly respected theatre and television writer suggested we hold a similar event specifically for writers. Partnering with The Dramatists Guild of America, Inc.; New Dramatists, Writers Guild of America, East; and the WGA, East Foundation, Written on the Body: A Conversation About Disability (full transcript available on the Alliance website) was held in April 2006 at HBO in New York City."

DEAL is a collective of arts and entertainment professionals dedicated to the full inclusion of people with disabilities in all sectors of American arts and entertainment whose mission is to help artists and decision makers in every sector of the industry develop projects that reflect the changing landscape of disability, introduce provocative ideas about disability, and put forth a more authentic representation of what it means to be a disabled person in the 21st century. Utilizing the expertise, talents, and access to resources and information of each of its members, DEAL was expressly created to aid industry professionals at every stage of the creative process—from development of the initial idea through production, marketing and public presentation.

The growth that has taken place over the last decade, Jensen and Bruno stress, has been a joint venture. "It's taken like-minded people and organizations with common interests working for change, such as the Tri-Union Performers with Disabilities Committees and the Media Access Office in California. Our mutual efforts have increased opportunities for the available talent pool of disabled artists, and we hope, provided role models for younger, aspiring disabled artists to demonstrate that a life and career in the arts is possible," Jensen says.

"Often our work is behind the scenes and under the radar. We get involved, not only in New York City where we are based, but all over the country." The Alliance has consulted on such projects as Academy Award–winning There Will Be Blood and NBC's Law & Order: Criminal Intent. "We worked with the executive producer of Law & Order: Criminal Intent on the episode "Silencer," which was about a murder on a deaf campus," Jensen explains. "They employed 51 deaf actors for that episode, seven as principals and 44 background actors. That's unprecedented."

"Nationally, the entire talent pool of performers with disabilities is between 900 to 1,000 and that includes actors with years of experience and training, background actors, and actors who are just starting out," Bruno explains. Comparatively, the combined membership of SAG, AFTRA, and Actors' Equity is approximately 150,000. (According to an article in the March 3 issue of Variety, an estimated 40,000 actors hold dual membership in SAG and AFTRA.) Those numbers and the fact that just 1.5% of SAG members identify as having a disability and of that 1.5 percent, just half of one percent has had speaking roles (according to a 2005 UCLA report), are a pretty clear indication that "this profession is lagging behind other professions, because so much of it is about the visual representation of what we see on stage and screen," Bruno says.

Given those odds, how then has this four-person nonprofit become nationally recognized for its 20-year commitment to inclusion in the industry? Jensen explains, "We're a small organization, but we can both initiate and respond to issues quickly. We try to reach people where they are, whether they are new to the issue or more advanced. We try to help them take next steps. Every day we learn something we didn't know before, and we're reminded there's always further to go and more to be done."

For more information on Alliance for Inclusion in the Arts, visit www.inclusioninthearts.org.

VSA Arts Announces Groundbreaking New Media Exhibit

Thu, 01 May 2008 22:11:00 GMT

A groundbreaking new media exhibition was been announced in February 2008 by VSA arts, the New York-based international arts organization founded in 1974 by Ambassador Jean Kennedy Smith to create a society where all people with disabilities learn through, participate in, and enjoy the arts.

Making its premiere at the World Financial Center Courtyard in New York City, Renascence is an internationally juried exhibition of works by artists with disabilities. Artists were charged with using new media to convey personal experiences—and Renascence does exactly that by displaying startling new ideas from international talent that will likely change perceptions of disability as well as the role of new media in the traditional art world.

"Renascence is the first new media exhibition that captures the disability experience," said Soula Antoniou, president of VSA arts. "We're excited to bring this dynamic exhibition to New York, a city long known for redefining artistic boundaries."

Utilizing digital formats that are accessible by everyone, the exhibition allows all artists a platform for personal expression. Digital media opens up a tremendous and vital new avenue for artists with disabilities to express themselves in unique, non-traditional ways.

Highlights include: New Yorker Leon Lim's four-part multimedia installation, “Silent Story.” Lim uses a video format to test the boundaries between the hearing and the deaf world by flashing contrasting images from the two different communities. Video, photography, and a blog depict artist Hans Bernhard's life with a mental disability in “Psych/OS cycle.” Mary Behr's interactive sculpture, “MOVE!” is a powerful response to the invasive nature of airport security checkpoints for those with artificial joints.

The anchor piece of the exhibition is Lihua Lei's 40-foot installation, “Phantom Pain.” Transparent, butterfly-like wings float over glass casts of the artist's own legs. Lei, who has polio, was recently named a 2008 National Women's History Month honoree and won the 2007 Newhouse Award for artists of excellence.

“Renascence” will be showcased as part of the World Financial Center program, an innovative series of free performances, exhibitions, installations, and festivals created to showcase emerging as well as established artists. The Courtyard Gallery is located at 220 Vesey St, between West St. and the Hudson River. Gallery hours are from noon to 6 p.m. Tuesday through Friday and from 1 to 5 p.m. Saturday and Sunday. For more information, please visit http://www.vsarts.org/renascence.

Theater By the Blind Changes Name to Reflect an Enhanced Scope

Thu, 01 May 2008 18:18:00 GMT

February 4, 2008 - For 29 years, the internationally recognized Theater By The Blind has worked to develop blind and vision-impaired talent for the theater, television, and film. But the company, while maintaining its commitment to vision-impaired artists, is breaking down some metaphorical walls. And its new name is clear evidence that they’re doing exactly that. Now dubbed Theater Breaking Through Barriers, Ike Schambelan, Co-Artistic Director, said, “We must include all artists with disabilities in our work.”

He added, “As baby boomers age, more and more Americans will be dealing with disability. 52,000,000 already do.” Schambelan went on to note that only two percent of characters on television exhibit a disability—an obviously disproportionate representation. But he has a viable solution. TBTB is going “to get the reality of our rich, independent lives in front of an audience.”

And they’ve already been hard at it. Last year the theater produced A Midsummer Night’s Dream featuring an actress in a wheelchair. The New York Times didn’t just notice, they suggested that “a most delightful extra layer of meaning in the production” was added. TBTB also produced Rules of Charity, written by a disabled playwright, John Belluso. Again, the Times called it a “dark, scalding play (in) a sharp New York premiere.”

TBTB’s goal is to become the home-base theater for all people with disabilities, including actors and audiences. They’re well on their way and, as the adage goes, the best is yet to come.

Partner Wheelchair Dancing

Fri, 25 Apr 2008 16:16:00 GMT

If you’ve been sitting in your wheelchair watching Dancing with the Stars and yearning to sweep gracefully across the dance floor or longing to join your friends in a night out on the town, dream no longer. Across the globe, dance studios offer people with disabilities the opportunity to learn this socially and physically beneficial activity. If you’re a person with a competitive side, you might even find yourself competing regionally or internationally some day.

First begun in 1972, wheelchair dancing integrates disabled and able-bodied individuals in a variety of dances and helps people with physical impairments restore a sense of normalcy in their lives. Depending upon your tastes, you can learn waltz, tango, Viennese waltz, slow foxtrot, quickstep and Latin-American dances like the samba, cha-cha-cha, rumba, paso doble, and jive. While any dance that progresses around a floor, such as waltz and fox trot, is easier to accomplish in a wheelchair than some of the basically stationary dances, such as the cha-cha-cha and swing, with a good teacher, patience, and persistence, any dance can be mastered.

In wheelchair dancing—also known as adaptive dancing—the wheeler propels the wheelchair while the able-bodied dancer leads. Both partners concentrate on keeping time to the music and both take an active role in what happens on the dance floor. Other styles of dance include duo-dance, which features two wheelchair dancers together, and group dance, which includes wheelchair users and able-bodied individuals dancing in synchronized formation, as well as participating with free-style movement to the music. Individuals with varying levels of ability in either manual or power chairs can participate.

Besides helping to build confidence and reduce the sense of social isolation that sometimes impacts wheelchair users, researchers have shown that dance offers many health benefits. Mayo Clinic researchers reported that social dancing helps to reduce stress, increase energy, improve strength, increase muscle tone and coordination—especially of the arms and shoulders—and maintain flexibility. The National Heart, Lung and Blood Institute (NHLBI) reports that dancing can lower your risk of coronary heart disease, decrease blood pressure, and help you manage your weight.

Other touted benefits of dancing include building and increasing stamina, developing the circulatory system, and helping release toxins via sweating. Dancing’s social aspect helps you develop strong social ties and leads to less stress, depression, and loneliness. Because dance also requires memorizing steps and working with a partner, the activity provides mental challenges that are crucial for brain health—including reducing the risk of developing dementia and Alzheimer’s disease, according to researchers at Albert Einstein Center.

Once you become competent with social dance, you might be tempted to take it to the competitive level. Competitive wheelchair dancing has been around since 1977 when the first international competition in Wheelchair Dance Sport took place in Sweden. The first World Championships took place in Japan in 1998, the same year that Wheelchair Dance Sport became an International Paralympic Championship sport, though it is not currently part of the Paralympic program.

So whether you want to learn to dance for a wedding, special event or parties, to compete, or for pure pleasure, if you have the desire to dance, go ahead and live your dream.

Resources
American DanceWheels (includes video clip)
http://www.americandancewheels.com

Atrium Dance Studio
http://www.atriumdance.com/DanceLessons/AdaptiveBallroom.php

International Paralympic Committee
http://www.paralympic.org/release/Summer_Sports/Wheelchair_Dance_Sport/

Wheelchair Dance Sport USA
http://www.wheelchairdancesportusa.org

One Woman's Mission to Include Performers With Disabilities in Film and Television

Mon, 14 Apr 2008 16:42:00 GMT

The moment you start talking with film, television and theatre actress Diana Elizabeth Jordan, her positive spirit is infectious. She makes you a believer that good things are happening all the time.

"If you believe in something, everything is possible. Look at how far performers with disabilities have come. We've come a long way, but we still have a long way to go," Jordan says, "but I don't look back. You can choose to sit around and be frustrated, but I choose to focus on where we need to go. That's what motivates me."

In fact, Jordan has been motivated to reach her dreams her entire life. Born with cerebral palsy, she had a love of acting since childhood. After earning a bachelor's degree in Theatre and Media Arts from the University of Kansas, she began her acting career in Chicago where theatre offered opportunity. Her love of the theatre grew.

"I never wanted to sit around and say 'What if? What if I had gone to Los Angeles?' Life is not about regrets. So, I applied to the California State University at Long Beach to further my education and have another tool so I could teach while being closer to Los Angeles," Jordan explains humbly, "I was accepted into the program."

She not only was accepted, but she made history when she became the first actor with a disability to obtain a Masters of Fine Arts degree at Long Beach.

In 1999, she accepted a position at Performing Arts Studio West, which provides professional hands-on training, career management, and on location support for performers with disabilities.

"Diana has worked with us for nine years. She was extremely important in the very early stages of what we were creating," says John Paizis, Performing Arts Studio West Founder and Director. "As an acting instructor and on-set coach, she provides a tremendous amount of insight as she understands the challenges and helps performers work through them. She has been instrumental in getting our actors prepared."

While she sees her work as part of a team effort, Jordan has probably helped hundreds of students who have taken classes at Performing Arts Studio West over the years. But, her own dreams continue as she's performed on the WB's 7th Heaven, in several independent films, and on stage in many productions including The Glass Menagerie at the Steppenwolf Theatre.

Jordan has had an especially warm relationship with the critically acclaimed Cornerstone Theater in Los Angeles as she prepares to perform in her fourth show with the company.

"Cornerstone is dedicated to diversity. I performed in my first show with them while I was in graduate school. I'll never forget that call," Jordan remembers. "They worked around my graduation and finals schedule. They were very generous."

Jordan is now rehearsing for another Cornerstone show that features characters with disabilities.

"Playwright Julie Marie Myatt wrote a part with me in mind for 'Someday.' An ensemble piece, it's about a single woman with cerebral palsy who fights to adopt an abandoned baby, while a middle-class couple struggles to conceive. It's a universal story and Julie understands that. The fact that a playwright thought enough of me to develop something with me in mind is amazing," Jordan credits. "The majority of the stories in the disabled community are also stories that are universal. We get married and divorced; we have hopes and dreams; we have children; we deal with families; and we live life. My disability is a part of who I am, but it doesn't define me."

In writing the part of a woman with disabilities, Myatt embraced the character's added dimensions as she conducted research for the play.

"Upon meeting Diana in the Cornerstone interviews, I found her honesty about her life and desires for motherhood very engaging and compelling. I was moved. And, I feel motherhood and disability are so rarely talked about in the conversation about reproductive rights. It is certainly, rarely if ever, talked about on stage. It's high time to talk about it," Myatt reinforces. "Diana brings the same depth and honesty in talking about her own life to her acting, and I felt I wanted that lovely quality and voice at the heart of this play."

As a member of the Screen Actors Guild Performers With Disabilities Committee, Jordan envisions an inclusive environment in the entertainment industry.

"I want to create opportunities for other performers with disabilities. We need to see diversity. We need to see people who are wheelchair users. We need to see people with cerebral palsy and people with Down syndrome. I want our voices to be heard," Jordan emphasizes. "This is about authenticity and equal opportunity. The doors are starting to open and Hollywood is slowly changing. We do have great success stories. Actor Robert David Hall is a great example. On 'CSI,' his character is part of society, he's a coroner, while the disability is just incidental."

Jordan makes a point to find acting opportunities. She is currently appearing in an original series for the Internet "Hollywood Acting Class," created by John Walcutt, produced by Fabiola Prieto, and executive produced by K.J. Bowling. She appears in the upcoming film Rule of Three, written by Rhoda and Eric Shapiro, directed by Eric Shapiro, and scheduled to premiere at Fangoria's Weekend of Horrors at the LA Convention Center April 25 - 27. She also performs in the soon-to-be-released film The Young and Evil, written and directed by Julian Breece.

Throughout her life, Jordan has used her enviable ability to set goals and achieve them. Of course, every time she reaches a goal, she sets the next bar higher.

"I would love to make a living as an actress and teach night classes. My long-term goals are to work in more film and television projects. Theatre is a great avenue as it offers opportunity to create a recognition of our universal talents and abilities," Jordan notes, "but I believe there's more change ahead. I'm a positive thinker who is very blessed and I find a way to focus on my blessings each and every day. But, this is a team effort and our work has just begun."

For more information on Diana Elizabeth Jordan, visit www.DianaElizabethJordan.com.

To view the online series "Hollywood Acting Class," visit www.tooniceguysproductions.com/hollywoodactingclass. Jordan appears in episodes 1, 5, 6 and 10.

For information on Performing Arts Studio West, visit www.PAStudioWest.com.

Someday will be performed at The Bootleg Theater, 2220 Beverly Boulevard, Los Angeles, from May 29 – June 22, 2008. For more information, visit www.CornerstoneTheater.org.com.

Fangoria's Weekend of Horrors at the Los Angeles Convention Center will be held April 25 - 27, for more information visit, www.www.fangoria.com.

To read about other Performers with Disabilities, visit www.PerformersWithDisabilities.com.

University Showcases Artwork Expressing Values of Deaf Culture

Wed, 09 Apr 2008 21:29:00 GMT

Through April 17, 2008, Lamar University in Texas will showcase an innovative art exhibit called “Deaf Artists in the Community and Schools” that was five years in the making. The 40 pieces of art showcased range from realistic to abstract and express certain elements of deaf culture, including sign language, the joys of deaf bonding, communication breakdowns, the discovery of language, community, and the history of deaf people. Paintings, graphic art, and even wooden gourds are among the pieces.

At a panel discussion about the project, Jean Andrews, professor of deaf studies and deaf education at Lamar University said, “Artists typically work in isolation. This exhibit provides a forum for deaf artists to discuss their work with each other as well as discuss deaf art with an audience from the university and local community, including the deaf community. It will also involve K-12 students—both deaf and hearing—viewing the work.”

That’s right, even the American Sign Language (ASL)-impaired can enjoy all of the elements included in the series. Lamar interpreter-coordinator Brenda Mendoza has worked hard to ensure that each element of this truly collaborative project leaves no interested person behind.

Visitors can watch, listen, read text, or see ASL so that everyone is accommodated. Each panelist is projected on a screen so everyone can see them signing. Voice interpreters will interpret signing into spoken language for the hearing/speaking community, and a screen will provide a closed captioning-type experience.

The panel discussion is one of three components of the Deaf Artists in the Community and Schools project. Another part of the project is presentations during which the artists involved discuss their works with the varied members of the audience. This is intended to give the public the chance to learn and ask questions about what it’s like to be a deaf artist using visual art to share an experience with the world. DVD production is the third component, and perhaps has the most far-reaching educational implications of all of the showcase’s elements.

“We’re going to videotape the panel discussion, and our artists are also going to talk about their work in interviews with us,” Andrews said. The footage will be edited into a documentary that includes the exhibits and speeches. The resulting DVD will then be shared, at no charge, with 60 schools for the deaf and 1,000 mainstream programs for their art education curriculum. Following the exhibition, the organizers also hope to share some professional writing about the exhibit to add to the world’s understanding of deaf artists.

The exhibit is presented in part thanks to a $9,000 grant from the National Endowment for the Arts (NEA), along with money from Lamar University (Beaumont, TX). Andrews, along with Lamar University’s Dishman Art Museum Director, Lynne Lokensgard, say they applied for the NEA grant the first time two years ago and have been rejected twice before this most recent success.

Lamar University will present “Deaf Artists in the Community and Schools” in the lower gallery of the Dishman Art Museum. Admission is free. For more information please call (409) 880-8141.

Exploring Lincoln Center

Thu, 03 Apr 2008 17:23:00 GMT

Two years ago my sister-in-law bought tickets to the New York Philharmonic. My family would enjoy a night of beautiful music at Lincoln Center. She had called ahead to establish that we needed accessible seating. The box office staff said this wouldn’t be a problem. More on that later.

Lincoln Center for the Performing Arts, Inc. was incorporated in 1956. In 1959 President Dwight D. Eisenhower broke ground for the first building, Avery Fisher Hall (originally called Philharmonic Hall). Since then, eight more buildings have been erected. The campus is now home to 12 performing arts-related organizations.

From the beginning, wheelchair seating and accessible restrooms were part of the architectural plans. But, it’s interesting to note that it wasn’t until 1985 that the Department of Program and Services for People with Disabilities was established.

Since its inception, the department has encouraged people with disabilities to become involved in the Center’s activities. Staff members get intensive sensitivity training, and strive to find new ways to make services and performances accessible. An outreach program keeps the community aware of services offered. Another program brings performances to hospitals and nursing homes. A third offers children the opportunity to attend performances and meet artists of varying ilk.

Despite all these efforts, I had a problem inside Avery Fisher Hall. My family and I were escorted to seats we were told were wheelchair friendly. This turned out to mean that I could either sit in my wheelchair in an empty space some distance away, or transfer into a seat and have my chair taken outside the auditorium. I transferred and pulled my chair next to me in the aisle. A heated argument ensued. I was told I was creating a fire hazard. I explained that, in the event of an emergency, I needed my chair near me. Would staff members think to bring it while other patrons were rushing out? Security officers threatened to remove me.

Finally, during intermission, one bright young man removed a seat at the end of the aisle my family occupied. I was now able to park next to my mother. After the show, staff members apologized, explaining that they were new and no one had informed them of the removable seat.

I suspect my incident was a rarity. I’ve since spoken to the director of the Department of Program and Services for People with Disabilities, Bobbi Wailes, who profusely apologized for my troubles. I’ve learned that most auditoriums have the ADA prescribed number of removable seats (Alice Tully Hall is currently undergoing reconstruction and the New York State Theater has an empty space for wheelchairs in the orchestra section). For every performance, large-print and Braille programs are available. And, assistive listening devices are available throughout the campus. For people who wish a tour of Lincoln Center, sign language interpreters and a map of the campus, in Braille, are available.

A visit to Lincoln Center should be on everyone’s to-do list. Check out the Web site here.

To order tickets, contact the box office (www.lincolncenter.org or 212-875-5030). For best results, confirm reservations the day before. Mention your seat number, so the staff can be notified if a seat removal is needed. Then log onto the website. Check for construction details, because the Center is undergoing a major renovation.