Artist: Inside with disabilities: Little visible in the cultural landscape

According to the Federal Statistical Office, around 7.8 million severely disabled people in Germany live, based on data at the end of 2021. This corresponds to a severely disabled rate of 9.4% in the total population of the Federal Republic.

Despite the increased consciousness for inclusion , they are still strongly underrepresented in the cultural landscape. The professional integration of people with impairments lags behind, while their artistic creations do not receive the recognition they deserve, even though they are of the highest quality.

It is important to emphasize that a disability can affect each of us: only 3 % of those affected have developed their impairment since birth or in the first year of life, while nine out of ten cases are due to diseases. People who have granted the pension agency offices a degree of disability of at least 50 and given a valid ID card are considered to be severely disabled.

Almost every tenth citizen in Germany is affected by serious impairments, but they are hardly represented in the cultural landscape. What are the reasons?

Accessibility and participation as a fundamental right

In the UN Convention on the Rights of Disabilities ( UN - BRK ), the importance of accessibility and participation in all areas of human life is anchored as a fundamental right.

This also affects the cultural sector, for which Article 8, 21 and 30 are of central importance. Article 8 aims to positively influence the public awareness. Article 21 stipulates that information that is intended for the general public should be accessible to people with a wide variety of disabilities without additional hurdles.

In addition, Article 30 clearly emphasizes the importance of accessibility and accessibility of art locations as well as the express inclusion of artists with impairments. This not only serves your own well -being, but also contributes to the benefit of the entire community.

With a legally binding framework, the UN Convention on the Rights of Persons with Disabilities thus ensures that people with disabilities have unrestricted access to art and culture and can actively participate in cultural processes.

Why are so few people with disabilities represented in the art scene?

"I am surprised why there are so few people with disabilities in art and culture",

Tan Caglar also wonders in the film "From because of disabled!" by Cesa Berg, as a contribution by NDR culture reveals.

The documentary "From because of disabled!" Gesa Berg gives us an authentic insight into the diversity of people in the cultural scene. One of the protagonists, the talented painter Nora , finds her creative homeland in the renowned “Atelier freestyle” in Hamburg, a place that supports and promotes professional artists: inside with handicap.

We also meet the humorous comedian and actor Tan Caglar, who is on stage with his charming way and wheelchair and confidently addresses his handicap.

Another impressive talent that the film presents is Hornist Felix Klieser , one of the most outstanding hornists worldwide. Despite his special challenge to be born without the arms, he mastered his instrument masterfully and impresses his audience in a unique way by playing the valves with his skillful feet.

We also learn the actors: Inside Friederike Jaglitz and Michael Schumacher , members of the ensemble "Ladies and Gentlemen" , a group of professional artists: inside with so -called intellectual impairment.

The remarkable stories of these extraordinary people impressively illustrate that in art and culture the presence of a handicap is by no means an obstacle. Rather, they show us that diversity and individuality are enriching qualities that make our world more colorful and more alive.

The film encourages us to be more open to difference and to recognize and appreciate the uniqueness of each individual.

However, these encouraging examples cannot be misleading that people with a handicap in the art scene are generally underrepresented.

What are the reasons for this?

Bettina Grevel , the founder and creative head of the freestyle studio, expressed a deeply disturbing assumption in an interview with NDR culture, which has so far received far too little attention:

Artists with disabilities are systematically excluded from the art business. ”

Systematic hurdles already in artistic training

Talented people with handicap therefore have little chance of gaining a foothold at art universities and in cultural institutions , which not only prevents their individual development, but also causes a painful lack of diversity and perspectives in the art scene.

Grevel's appeal is clear and powerful: it is high time that we, as a society, take measures to remedy this grievance. The promotion of artistic qualifications for people with disabilities should not only be a lip service, but should be reflected in concrete cooperation and long -term structures. This is the only way we can ensure that these talented artists can also receive the stage they are entitled to and can fully develop their creative potential.

Dirk Sorge - visual artist with an visual impairment - is expressed in the article of the service center Inclusion in the cultural area in Saxony Noble simplicity instead of real diversity? Inclusion in the visual arts in a similar way. Art universities emphasize the importance of diversity to promote creativity and innovation. In practice, however, there is often a lack of measures to actually realize this diversity.

Apparently there is a lack of knowledge about how various needs can be taken into account. Dealing with different realities in life is difficult. The convenience of a uniform environment makes it difficult to integrate diversity.

Even if there are contacts for students with disabilities, there is often a lack of awareness and skills among the teachers. There is an urgent need for action to improve knowledge and skills for promoting diversity at the educational institutions.

Structural barriers

Often there is a lack of know-how and social skills in dealing with each other, but also in concrete things that enable physical access to the place of learning. Many art colleges are housed in listed buildings that work from the outside and museums, with stairs , columns and decorated facades.

However, this may be nice to look at, but is extremely impractical, since in Germany the monument protection is treated like an inviolable commandment: "You shouldn't rebuild your father's house."

A lack of accessibility not only hinders the commitment of students with disabilities, but also affects teachers and other employees at universities. The question is raised how the normality of disabilities can be established if lecturers and professors are already prevented from access to buildings.

Disadvantages in the application process

The application process at art universities is characterized by many barriers. From anonymous submission of application folders to multi -day aptitude tests with handwritten tasks and practical work, there are numerous hurdles to overcome.

Especially for students with disabilities, uncertainties can arise, since the accessibility of the rooms is often unclear and individual needs are not taken into account transparently. The decision on admission can even be dependent on prejudices and (negative) experiences of the examination committee. In a strong competitive situation - as mostly prevailed by art academies - these disadvantages can hardly be weighed up.

Open communication and barrier -free information channels are urgently necessary to ensure equal opportunities for all applicants.

Asymmetrical balance of power

The reactions to people with visible restrictions at art universities are often shaped by prejudices. For example, a blind part of a spontaneous reaction is "assumed" that due to his disability, he would not be able to study fine art.

Here, those art students feel in a good debt that they have to explain their suitability for art studies separately. In addition, unpleasant balance of power can result from a lack of consideration or also by constant help. This would lead the students with a handicap into a dependency on chance and benevolence.

Helpfulness does not replace accessibility! "

Missing role models and hardly companions

Dirk Sorge mentions in the course of the article that he would have liked to have known fellow students with disabilities more often, as an exchange partner and orientation aid.

To date, there has been no sufficient data on the number of practicing artists with disabilities, their level of training and their financial situation. Many artists prefer not to address their disabilities publicly because they fear stigmatization.

It is feared that your art will be evaluated differently, does not pay enough attention or that your person is only reduced to the disability.

The prevailing perception of art of people with disabilities as primarily therapeutic or leisure activity means that professional artists with disabilities disguise their identity.

The success in the art market depends heavily on the image and context, which is why it is unfortunate that there is no prominent examples of successful visual artists with disabilities. In principle, they run the risk of incorrectly assigned to “Outsider Art”

It is therefore important to promote the recognition of your works regardless of your disability and to raise awareness of real diversity in the art scene.

Incidentally, you can find works by the visual artist Dirk Sorge here: Dirk Sorge: Works .

Precarious financial situation

Dirk Sorge convincingly argues that special support programs are necessary for artists with disabilities. He emphasizes that disability and illness, the already difficult financial state of an artist, represent additional poverty risks and bring people into precarious conditions.

The current support measures are often not sufficient because they do not take into account the special needs of artists with disabilities. Accessibility, financial support for additional costs and flexibility in the work environment are mentioned as important points.

His proposal is to determine the individual needs of artists with disabilities and create targeted support programs in order to prevent them from being disadvantaged solely on their own disabilities.

Inclusion in art: there is still a long way to go

In the cultural landscape, the implementation of inclusion remains a challenging task. The presence of this term shows that we are still far away from an actual equality. The descriptions of Dirk Sorge also show the clear need for action on the part of politics, institutions, educational institutions and other actors in the cultural sector.

Comedian Tan Caglar brings it up to the point:

Only when we no longer need inclusion as a concept did we achieve our goal. ”

Bettina Grevel from the freestyle studio also hopes that the term inclusion will be obsolete one day. There should be no form of exclusion, especially in art and culture.

Impulse provider, pioneer and support offers for more visibility, recognition and participation in the art and cultural landscape

Regardless of the aforementioned need for action and the still long path to the inclusion of artists with disabilities, there are a number of impulse providers, pioneer and support offers that are already doing valuable work for many artists and prospective art students with impairment and offer orientation and help.

The most sensible approach to put the diversity of people with disabilities and their artistic work regardless of their impairment is to present works by artists: to present interior and cultural workers with disabilities or to work with them in general.

01 Federal Government Commissioner for the concerns of people with disabilities

A diverse cultural landscape forms the basis for an inclusive society. representative for people with disabilities is committed to an inclusive cultural policy. This should enable people with impairments to participate in all cultural events as spectators or participants.

At the same time, artists should be established with disabilities in the art market and visible in all areas. The strengthening of consciousness and the prerequisites for this is a central goal of the “Culture in the Kleisthaus” .

Free events and cultural events have been offered within many years that are barrier -free as possible. These include exhibitions, (listening) film screenings, readings, concerts and panel discussions. There is an increased cooperation with festivals and cultural institutions to continue the idea of ​​inclusion in art and culture.

Here you can see the first episode of the video podcast "Salon in the Kleisthaus". Johann König , who created an institution of the contemporary art market with his gallery in the St. Nags Church in Kreuzberg, was a guest and conversation with Jürgen Dusel

Purely digital formats have also been offered since 2020. "Culture in the Kleisthaus" is an integral part of the federal government's national action plan.

Further information: Disabled Officer.de

02 State Association of Socio Culture Saxony

The state association of socio -culture Saxony has launched service center inclusion in the cultural sector In their programs and offers, the focus is on artistic work and the respective topic, not the disability of artists: inside.

Practice is lived not to reduce it to their impairment in order to avoid “othering” and exoticization In this way, the recognition of your art and personality can be promoted.

A selection of projects and practical help:

• In an Access Rider, art and cultural workers with disabilities or chronic diseases formulate their access needs.
• Making Art Accessible : Podcast about accessibility and participation in the art area
• Art terms in easy language
• Including theater theory : workshops for teachers of theater universities and theater skills

Further information: Inclional-kultur.de

03 Eucrea Association Art and Disability eV

EuCREA was launched more than three decades ago in 1989 and has since established itself as a leading umbrella organization in the field of art and inclusion in German -speaking countries . The association combines a diverse community of almost 100 members, including artists with different artistic backgrounds and skills, both with and without disabilities.

In addition to these talented individuals, advocacy groups, art stolens , foundations, clubs and other organizations are also among the committed members of the association, all of whom share the common passion for art and inclusion.

Programs and projects:

EuCREA designs exemplary programs and projects that are intended to illustrate how inclusion can be implemented in the field of art and culture.

The organization sensitizes artists, cultural and educational institutions, politics and administration for participation and diversity. It networked actors, promotes the further development of inclusive ways of working in art and focuses on improving training opportunities and professional fields.

Through regular specialist conferences and publications, EuCrea acts as a central platform for discussions and communication on this topic. In terms of artistic terms, Eucrea is passionate about event ideas in various artistic areas that promote diversity, change viewing habits or toast new dialogues.

Further information: eucrea.de

04 Euward - European Art Prize in the context of intellectual disabilities

Since 2000, the Euward has established itself as an important forum for art in the context of intellectual disabilities. He recognizes the unique qualities of these works of art, which offer unique access to the world and their perception.

The Euward is a respected European award that recognizes the entire work of each individual artist and thus becomes a unique price. This art prize, which is viewed worldwide, is largely supported by international museums and cultural institutions. The Augustinum Foundation awards the price every three years.

The sponsors of this year's EUward9 include the Action Mensch, the Edith Haberland-Wagner Foundation and the Louisoder and Pfefferkorn Foundation. For the ninth edition of the art prize, over 240 artists from 25 European countries applied; The EUward curatorium nominated 19 participants for the price.

Further information: euward.de

05 Art initiative Behindart (Hessen)

The Behindart is based on the inspiring quote from Paul Klee, who aptly said:

Art does not reflect the visible, but makes the invisible visible. ”

Behindart's projects impressively show how the art of people with disabilities enriches our culture in a unique way. It does not matter whether the artist has a disability or not. Rather, the focus is on art as a powerful expression of the self -determination rights of disabled people.

The creative minds are supported by institutions of the disabled help and take part in diverse art projects, exciting creative courses and inspiring painting workshops, always accompanied by committed artistists.

For realization, the initiative cooperates with 25 organizations and institutions throughout Hesse.

Further information: Behindart.org

06 Diakonie- art and cultural offers by and for people with disabilities

A main focus of the artistic institutions of the Diakonie is on the promotion of an authentic artistic style of the participants, which is actively associated with contemporary art. Various projects and workshops create an exchange between talented artists and viewed artists from home and abroad.

The art and cultural offers of the Diakonie for people with disabilities across Germany are characterized by diversity. Art education programs in the studio, theater and literary sector are offered to promote artistic development and creativity.

The following video shows short portraits of people with disabilities from the Malaria theater group and from the art workshop of the Diakoniewerk:

07 Kaethe: K Kunsthaus in Pulheim

Even if the catchment area of ​​this inclusive art house is limited regionally, we would like to take it into our list, as it can serve as an inspiring, well -functioning example for many other places.

In the Kaethe: K Kunsthaus in Pulheim, which was founded in 2020, artists work with disabilities. Supported by art educators and social workers, they develop both as humans and in their art.

The studio is aimed at talented people with impairments and is supported by the Gold-Kämer Foundation , which is known for their inclusive projects. A total of twelve artists are currently working on three floors. Most of them were taught at special schools and then worked in disabled workshops or auxiliary workers.

An example is Elias von Martial, who cleaned truck after school and now learns complex animation programs and attended courses at an art college. The talented women and men are networked with art and cultural business when they are ready for it.

interview with the WDR, the head Schmitt emphasizes the peculiarity of the Kaethe: K Kunsthaus as an institution that paves people with disabilities the way into the art and culture world, which is not yet a matter of course.

Further information: kaethe-k.de