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Your Special Education Rights
Your Special Education Rights
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_physically-disabled-artists-speak-about-feeling-ostracised-within-the-art-world.webp "By JOHN DEVLIN and MARTYN McLAUGHLIN<br/><br/>Disabled artists across Scotland have called on venues, curators, and further education bodies involved in the visual arts scene to make widespread improvements around access and representation, with several practitioners warning of a lack of understanding of the barriers facing artists and audiences at cultural spaces.<br/><br/>A new documentary for The Scotsman, filmed and produced by John Devlin, reveals how some physically disabled artists have been unable to attend venues due to a lack of disabled access, and left feeling “unwelcome” due to the restrictions in place. They have questioned whether organisations unable to stage accessible exhibitions should continue to receive public funding, and warned the knock-on effect of a lack of representation could discourage young disabled Scots from pursuing a career in the arts.<br/><br/>The issues around accessibility and representation have flared up ahead of the upcoming Glasgow International festival of contemporary art. The programme for the prestigious biennial event includes an exhibition at the Celine Gallery, located on the the third floor of a tenement building in the city’s southside, accessible only by three flights of stairs. One artist, Penny Anderson, described that decision as “wrong.”<br/><br/>The Glasgow-based artist and sculptor, who has multiple sclerosis, said it was unclear who, if anyone, was responsible for ensuring such exhibitions were accessible, and was left frustrated after raising the issue with Glasgow Life, councillors in the city, and Creative Scotland.<br/><br/>Under the Equality Act 2010, art galleries are required to make “reasonable adjustments,” if asked, to ensure that disabled people can use its services. Ms Anderson said the legislation should be followed by Glasgow International. “They have to make reasonable adjustments to allow inclusion, and I think a reasonable adjustment is only including accessible galleries,” she explained.”<br/><br/>Ms Anderson told The Scotsman the accessibility issues went beyond any one gallery, and said there was a widespread lack of knowledge across the sector about how to include disabled artists and visitors. “They don’t understand the different levels of mobility impairment of physical disability,” she added. “I’ve had people say, ‘But we’ve got a ramp’. Ramps make my life even harder. What I need is stairs and a handrail. Even if you have a ramp, wheelchairs might not be able to use the ramp, and I think people think they know, and just assume they know, but they don’t actually ask disabled people.”<br/><br/>Ruth Mutch, an illustrator, who is autistic and has Hypermobile Ehlers-Danlos syndrome - a condition that affects the joints, causing hypermobility, digestive problems and joint pain as well as extreme fatigue - echoed Ms Anderson’s concerns, recounting her experience at college where she was unable to access materials without assistance.<br/><br/>")
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_meet-the-makers-the-sheffield-womenswear-designer-with-fashion-in-her-blood.webp "Our choice of clothes helps to define how we think of ourselves and how we think of others.<br/>An outfit can suggest social status, political beliefs, a certain taste in music and even our mood on any given day - there’s always story<br/>behind the clothes we wear.<br/>It’s one of the reasons Harriet Eccleston, whose clothing brand goes by the same name, felt compelled to continue in a family tradition of tailors, drapers and milliners stretching back generations.<br/>“It’s quite a personal thing,” she said. “The garments that you wear are one of the first things that people see about you and I guess (they) interpret your characteristics or your personality through your choice of clothing and that has always interested me - the emotion, the personality that clothes can bring out.”<br/>Working out of her one room workshop in the Albyn Works, a former<br/>factory building in Sheffield’s Kelham Island, Harriet creates<br/>womenswear with sustainability and heritage at its core.<br/>From ideation and fabric cutting all the way through to hand stitching buttons and packaging items, Harriet’s head, heart and hands are behind it all.<br/>The finest British cottons and wools are taken and combined with a soft colour palette to create elegant garments with a classic versatility.<br/>Yet the reason Harriet’s creations stand out is beyond their aesthetic.<br/>Examine them more closely and you find storytelling and tradition woven into every piece.<br/>The influence of Harriet’s ancestry is evident throughout her business.<br/>“Fashion is in my blood, their stories are in my heart,” reads her website.<br/>Scattered amid the fabric swatches and sketches on the work surfaces and pin boards of her workshop are black and white photos of a moustachioed man immaculately turned out regardless of the scene he appears in.<br/>The man’s name is E.D. Soulsby and he’s Harriet’s great great<br/>Grandfather. <br/>In the late 1800s and early 1900s, Soulsby, owned and ran a menswear shop in the industrial heartlands of Northumbria.<br/>“It was in the family for generations - everybody mucked in and was part of it.<br/>“My granny spent a lot of time there until she was married and she told me a lot of stories. <br/>“They specialised in quality menswear clothing and the idea was they were pieces that would last.”")
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