An Inconvenient Truth

panta rei dans lullaby

Video - Panta Rei Danseteater 'Lullaby'

Norwegian dance company Panta Rei Danseteater, late last year, conducted a little experiment whereby three dance makers created two pieces with the same name based on the same idea, featuring three male dancers and two musicians, to see what the outcome was.

June 2nd, 2016

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A recent seminar, part of which focused on professional dancers with disabilities, raised a question in our collective mind about just how those dancers might be able to integrate into mainstream, professional dance companies.

At the time it seemed unfair to ask the seminars participants because they couldn't possibly speak for the companies not in attendance. So we, here in TheLab™, thought we'd ask those companies directly about just how they approach, if at all, the question of integration.

Let's be clear that we're talking about bringing professional dancers, irrespective of physical differences, into a professional touring company. Education or special projects are not what we are discussing here.

That Word

Before we get started the word "disability" is a word we don't really like. It's far too general and indiscriminate and could relate to pretty much any physical condition. It also occurs to us that a highly skilled professional dancer with physical characteristics outside what many would perceive as "normal" is probably a hundred times more physically capable than 99% of the population of the UK.

Unfortunately when you're asking questions over the phone the phrase; "physical characteristics outside what many would perceive as normal" is a bit of a word jumble especially when you're talking to a slightly harassed press officer. So disability is the word we're stuck with, for the moment!

The Questions

Article19 contacted, or attempted to contact, 20 different dance companies across the UK with a wide variety of creative backgrounds, funding levels and histories. Some of the companies are quite new and some of them have been around for a very long time.

In each case the questions were the same;

1.) Do you accept dancers with disabilities in your auditions and do you make it clear that you do?
2.) Has your company ever hired a dancer with a physical disability?
3.) If not are you taking any steps to change that or do you not see this as an issue affecting your company?

We managed to reach 17 of those companies and obtained responses from the vast majority of them. We're still waiting for the others to get back to us. There was a pretty tight deadline to meet so this piece will be updated as and when further responses come in.

Trick Question

To be honest that first question is a bit of a trick. It's against the law to discriminate against someone because of a disability and, thankfully, no company answered that question with "no".

As for making it clear that dancers would be welcome disability or not? No dance company told us that they made a specific effort to make it clear that all dancers of all physical types would be welcome.

You may wonder if not excluding someone is the same as openly inviting them?

Look at it this way. If you were a dancer with a physical disability just how likely is it that you would "rock up to the audition" (as one company put it) fully confident that you would be treated in exactly the same way as all the other participants?

Considering the disparity in the number of integrated professional companies vs non-integrated companies in the UK then, for the time being, if dance companies are genuinely open to looking at all kinds of dancers in their auditions then they really should make it clear that all dancers are welcome.

It's not about looking at them differently or giving them a job out of sympathy. The first hurdle to get over is making sure those dancers feel like they can come along and that they have a fair chance of getting the job.

With that in mind we come to our second question; "Has your company ever hired a dancer with a physical disability?"

The universal answer, with one exception, was "no". DV8 Physical Theatre were the only company to respond with "yes". The company are well know for their productions and films featuring dancer David Toole.

As far as auditions go DV8 told us;

"They are open, they're open to everyone, the thing is [though], they have to be, regardless of ability or disability, [the dancer's] have to be able to perform to a high standard and that's what we look for, that's the criteria."

It perhaps speaks volumes that of all of the companies asked, even though they maintain their auditions and their dance companies are open to everyone and with a collective history of more than 300 years, only one has ever hired a dancer with a physical disability.

DV8's response does emphasise one very important point; "regardless of ability or disability [the dancer's] have to be able to perform to a high standard".

To their credit nobody blamed training institutions (professional dance schools) for, perhaps, not providing adequate possibilities for dancers with disabilities to train. However, looking at it from another perspective, why would you spend three years training to a high standard if you have little or no chance of ever getting a job?

Finding work is hard enough in dance, imagine just how hard it is if a dance company doesn't see the dancer, all they see the is the disability!

Measured Response

Our questions gave us a mixed bag of responses. The first kind was along the lines of "that's not our thing", meaning dancers with disabilities, and we should probably speak to some other company about that issue. The company that used that as an excuse declined to answer our questions citing the company being on tour as a reason.

When we, somewhat sarcastically, pointed out that it was a shame the internet had not been invented or email or cell phones they eventually agreed to answer the questions. In a week!

However it is precisely because many dance companies do not see it as "their thing" that we should be asking them these questions.

Another common response was one of deflection. The actual company doesn't have, nor has it ever had, a dancer with a disability but they do run education projects that do involve those elements so that's ok, right?

One very curious response from a particular company was that the company administrators, to whom we were speaking, would not be told if there was a dancer in the company with any kind of disability. The company cited a dancer who was deaf as an example (this was a theoretical dancer since we know the company has no deaf dancers).

If a company did have a dancer who was deaf then it would probably be very important that everybody knew that just from a practical and safety point of view. We can only imagine that the press officer was trying to say that even if their company had ever had a dancer with any kind of disability they would never have known about it.

The Final Question

With the possible exception of DV8 the final question ("... are you taking any steps to change that or do you not see this as an issue affecting your company?) throws a big bright spotlight on as issue that isn't about to change anytime soon.

None of the companies we spoke to stated that this was an issue they were particularly interested in tackling.

It is surprising to learn that in a liberal, open-minded, progressive environment like the dance world there appears to be a general consensus that unless a dancer is fully "able bodied" then we're not going to make too much effort to employ you, if we make any effort at all.

During the seminar, mentioned at the start of this piece, part of the discussion related to how choreographers work with dancers with disabilities. The answer was that they don't approach it any differently at all, end of story.

One company responded to this particular question with the following;

"Much of the work in [the company's] repertoire is either from the company's history or brought to the company from outside, these have always been pieces choreographed for able bodied dancers"

In that response we might have the very core of the problem. How can a company possibly create work or re-create work if a dancer doesn't fit the pre-determined physical stereotype many people have in their minds of what a dancer looks like?

All dancers have different physical and mental characteristics. Some are tall, short, fast, slow, strong, weak, brave, tentative, thoughtful, loose, tight, uninterested, difficult, lazy, tough, resilient, etc, etc, etc. The key seems to be the differences we choose to focus on and perceive as potential negatives.

Perhaps the answers to the final question illustrates why we have seen so little stylistic change in the repertoire of so many dance companies over the years. Are they, especially the more established ones, unwilling to come out of their comfort zone and actually push the boundaries they say they have been pushing all along?

You might have noticed that we haven't mentioned Candoco Dance Company throughout this entire piece. The reason is very simple. Candoco crossed this bridge a long time ago (18 years ago to be precise) and as of now they are an internationally recognised dance company that can hold their own against any other company out there in the wide world of dance irrespective of the physical characteristics of the their dancers.

We can only wonder when everybody else will open up and become just as progressive.

Disclosure: Article19 is currently working with Candoco Dance Company, documenting the creation of their new programme. No Candoco Dance Company members were consulted about this piece and the opinions expressed here are those of Article19.

  • A bit of history to put things in perspective - Margaret Morris, whose Scottish National Ballet predated the Scottish Ballet and Scottish Dance Theatre, was running integrated classes as early as 1915 and the Margaret Morris Movement classes continue this tradition today.

    Since contemporary dance companies are less willing to be inclusive than Margaret was and are also less perceptive about recognising who can dance, it seems to me that what we need is increased funding for disabled-led companies, whether these are integrated or not. Disabled-led companies not only challenge perceptions about who can dance but also definitions of dance and of the body itself, so they both provide role models for dancers and companies alike and add a great deal of value to the dance world per se.

    Anjali dance company, for example, is the world's leading company for dancers with learning difficulties and has developed a unique aesthetic based on their different physicality which has brought them international acclaim. However, Anjali has been struggling for survival since losing their Arts Council grant in the recent cuts that have seen 90% of Disability Arts organisations lose their ACE funding in favour of 'mainstreaming'. Sign Dance Collective is another company in a similar position, while the majority of 'integrated' companies have also lost their funding.

    We need to reinstate and increase funding for these companies and for individual disabled dance artists, since from the above their only career choice is to set up on their own, often using film-dance to perform since so many venues themselves are inaccessible back-stage.

    I wish I lived in 'ACE world', where the only thing holding disabled dancers back from entering the mainstream is their own belief that they aren't good enough. However, the world I live in, where self-belief, talent and hard work doesn't begin to get you through the door, is very accurately reflected in the above comments.

  • Jo Verrent

    take a look at www.danceagentforchange.co.uk - be good to have some comments there, especially on the myths and realities section.

    Is it possible to change the perception of who can dance?

    My perception keeps changing.

  • katy

    Hi there, it is so healthy to sustain a sense of critique in this dance world without being self conscious of it. But less easy to do granted.

    This is a heated debate because it's dealing with discomfort and emotive language. Some comes across as a bit knee jerk but that is language..it's only good at saying what it says and misses out a wider truth...of experience?

    I have over 20 years of the latter in "integrated dance". That is not to boast but to create a perspective. I do not speak for any one only for myself.

    My first response...Not many professional dancers already producing work in the industry would want to take a blank sheet of paper and start working with people who they presume "can't do" it. The point being that they feel that is what it takes, being compromised, closing down ideas, rather than opening up to a challenge... they doubt the pressure of time and project funding? what other excuses? However unjust that may sound they are REAL feelings.

    Let's see an alternative; I work with a dancer who is blind and autistic who toured international stages with a main stream Japanese company because he COULD do amazing things on stage, he was nurtured by the director and taken to an edge, now dropped from the company he is with us, still fearless he will keep going there.

    So the wider issue in the dance world, the main stream if you wish, is about perception. We only do what we know. If we can't perceive it we don't know it. If you don't want to shift other people's perception then you won't shift yours.

    That is my goal; to shift perception, shift taboo, prejudice and elitist culture.So I do it/we in the company together in fact, and in a way with methods and people that we know work for all to participate.

    I work outside of mainstream deliberately I decided many years ago to opt out, and didn't go seeking integrated dance, it sort of found me.

    I do not think we can expect everyone to want to do this thing. I do not agree that it doesn't involve a compromise. It is also not true that choreographers working with Candoco haven't had difficulties. I have often felt the disabled dancer (in the more recent years particularly and I am not criticising just giving my reading of the body moving) to have been underused or that the choreographer clearly tried to put their style on the company rather than work with it and that is sometimes like an ill fitting glove.

    Other points; The agenda of the ACE is hypocritical. They will not put funding into integrated dance in order for the quality to be outstanding/mainstream; other than the flag ship company Candoco. They want to support artistic development and then dont support making and touring the work well enough.There is a much wider discussion here about funding though.Culturally; dis- is not only an issue in Dance

    Look at theatre too, where are the disabled actors?

    Demographic fact...We have to also account for the fact that out of all the disabled people around the percentage in terms of our population is low, so the number of disabled people aspiring to be on stage is also fewer. Those who have been wanting to like David Toole and many others have made it and done it for as long as they could hack it.... and many still are doing so.

    BUT if integrated dance wants to create new dance work they have a long way to go to establish themselves on a par with mainstream companies who have been doing the "bipedal" stuff so well,as culture likes conformism, conservatism etc. But there isn't the room up there (shamefully) in the cultural economoy and the ones who are there just don't get it, have it, want it bad enough to allow room.

    However there HAS to be the possibility of offering professional development opportunities. The Place tried to iniated a scheme where Visually Impaired students were supported on a one to one in the classes. Dance degree courses are open to all since the DDA, but the reality is they don't often know how to meet the needs of the student, (hence Candocos own training filling a gap). I know this for a fact. Some places do but they have been investing in real time and effort.

    It is almost too big... people just don't have the vision or the capacity to shift their thinking and open up the vision, very often they feel they are being closed down.

    If there are folk around like Marc, who have training, and want to dance then there is room for that and if it's not in the main stream I have to say it's pretty good on the independent dance scene so come join us here!

    I appreciate the passion and outspoken views wishing the world would/could be different...and I also know that it can take many years to get integrated dance right...( this is a reflection upon working the material/ther relationships/if you are starting from scratch,) it was far easier when I lived and worked in Denmark and got full funding to work and tour an integrated company for a 2 year period ... than here where you just can't, in the NW anyway.



    Finally Let's not forget the impact that we independents have on the scene though, let's celebrate NOT being mainstream too, there are many of us wanting to create but chosing deliberately to avoid mainstream. Maybe it's just too exclusive, not our thing - yet? far too much more to say, just skimming the surface, Katy

  • Hi,

    As a disabled dancer and choreographer I feel quite strongly about the issues raised by Article19 and am grateful that the article is allowing the opportunity for debate.

    In this comment I would like to share my thoughts on the audition process.

    To give you a brief background, I am what you would call a professionally trained dancer. Having graduated from the Australian Ballet School and worked Internationally as a professional dancer before and after acquiring a disability. I was fortunate to have received formal training and I agree that there are limited opportunities for disabled dancers to gain access to formal training (this deserves a separate response). Just as there are limited opportunities for a disabled dancer to be employed by a professional dance company.

    After 6 years dancing with Candoco Dance Company I was looking for new challenges and decided to go down the route as all dancers of auditioning. One thing was clear for me and that was I didn't want to be stereotyped to an integrated dance company just because I had a disability. I therefore applied to audition for a number of companies that were not integrated as I fitted the job description of male dancer with +2 years professional experience with ballet and contemporary training. But believe me I wasn't what they expected when I wheeled in and to be honest they didn't really know what to do with me. So they just left me to my own devise and I did what I do best, dance.

    In this scenario I have to admit it would makes a welcoming difference when you know that a company is open to the possibility of dancers with disabilities attending the audition. As with businesses looking at recruiting new employees they do state whether they are an equal opportunity employer or not. I always feel encouraged and welcomed to apply when I see the equal opportunity tick of approval and it then wouldn't be such a shock for the employer when I wheeled up for the job.

    Needless to say I didn't get the jobs but by being at the auditions it did add diversity and offered room for possibilities. People had to start looking outside the box and I believe their perceptions were challenged. I was however at those auditions to get a job and not to tick boxes, yet the question of whether my presence was ticking boxes did cross my mind.

    I was asked to stay right through to the end at a couple of the auditions which of course got my hopes up (as with all dancers) thinking that maybe this was the company with a director that has the courage to take the bull by the horns and employ a disabled dancer. Sadly not, I was told that I was a talented performer/actor with a great personality and maturity but I was not right for the job. I wondered whether they knew that when the audition started and if so should they have let me continue? I wanted that job just as much as the dancer who stood beside me but I forgot for a second as I thought it was about talent and ability not whether one was standing or sitting.

    I now question whether I would ever be right to fill the position of a dancer in a "mainstream" dance company. I hope to differ but I don't think so not when a director or choreographer has such difficulty in overcoming their own personal obstacles of how they could possibly hire a disabled dancer.

    I say (in a gentle tone), if the shoe fits wear it and together you will find a way to make it work. It will just take time and someone with an open mind to try it on. Who knows, you may just find the perfect fit.

    Just a thought.

    Kindly,

    Marc

  • emma

    whats the big problem with everyone? jeez!

    if article 19 want to raise the issue fair enough.i dont see what everyones making such a big song and dance about.

    its an on going issue that to many people shy away from. and it doesn't just happen in dance.



    one thing i would say though is article19 it would be good for you to say who wrote the article etc. means people can reference you for essays.

    :)

  • Kema

    Hi Laura, it's good to see some people replying to Article19 at last.

    My issue is not really with Candoco it's with the other training institutions not providing a service. If you were a trained dancer and became disabled but still able to perform like you said, there are a few companies you could dance for.

    But if you were disabled teenager who wanted to dance your choices wouldn't be as straightforward.

    I always like to make the distinction between Candoco being a Contemporary Dance Company first with a few disabled dancers as opposed to being an integrated company, an integrated company would accomodate blind, partially sighted etc

    If I use your training as an example, I presume from your ballet training you are very technical. I guess you would have been good enough to audition for UK Ballet companies but if you were a black female instead of a white female your options would have been different, you would have been steered toward say Ballet Black, go to Ailey School for some training, do some more contemporary and try Holland, Germany and Belgium for contemporary ballet companies.

    My point is the dance world is not very straightforward even for the best trained people.

    We all really know what's going on but Article19 is the only place where a bit of honesty happens.

    We know Wayne Mcgregor and Matthew Bourne haven't really got the time to choreograph every step of their work, you won't see a Black British male ballet dancer in the Royal Ballet maybe an American (just in case they want to do Agon!)

    Lloyd Newson says he will take anyone in DV8 but we know he wants specific people for his needs and this time "ethnics" were needed. Do you know anyone (non dancers) who likes watching Richard Alston, Siobhan Davies? but to deny them funding would be ludicrous as they were the spine of British Contemporary Dance.

    The Ballet Boyz are two ex-ballet dancers who by their own admission cannot choreograph, yet they get funding!! I've looked at your CV you've done loads; can you imagine you and one of your mates getting funding? Hi we can't choreograph but if you give us some cash we'll buy in some Forsythe, Cunningham and Maliphant choreography and some extra dancers; very unfair.

    cheers

    Kema

    Manchester

  • "an integrated company would accomodate blind, partially sighted etc"

    Strictly speaking we don't think that is the case. It's not a tick box approach to being integrated. We don't speak for Candoco but we do know that dancers are employed because of their skills and their skills alone.

  • Kema

    "an integrated company would accomodate blind, partially sighted etc"

    Strictly speaking we don't think that is the case. It's not a tick box approach to being integrated. We don't speak for Candoco but we do know that dancers are employed because of their skills and their skills alone.

    I agree with you that these are very skilled dancers. Would these skills get them into Random/Alston/Davies/Bonachela/Protein/Phoenix etc?

    No, that's the whole point of this article isn't it?

    cheers

    Kema

    Manchester

  • Laura Caldow

    A well established fact about the dance industry is that it discriminates by gender, race, physical appearance - a whole host of things. I believe it is also illegal in the UK to discriminate by gender yet audition notices always state whether they are looking for men or women. Bare Bones for example will once again tour 'The Five Man Show' next year. Most likely the choreographers of that show would feel their vision somewhat compromised (or at least altered) should Bare Bones hire women for the project.



    Every dance company has 'it's thing', and each one has a different target audience to please due to this. It may be frustrating that the companies whose work is the most recognised and supported are often the ones with the most traditionally trained, physically virtuoso styles of dancers, but I would argue that there are prominent companies, including of course Candoco, who offer alternatives at a very high level.

    I graduated from ballet school and also completed contemporary training and yet there are companies which I wouldn't audition for because I know that I'm physically unsuitable for their work.

    I wouldn't imagine it would be a particularly pleasant experience for a dancer in a wheelchair to 'rock up' to a Random Dance audition, but I wouldn't anticipate a particularly pleasant experience from that audition myself. Happily there are a few companies from the many around London whose work I think I fit well to, and this seems to keep me busy!

    From a quick google I counted 16 integrated companies in the UK, a few of which are quite well established. I assume that they vary in terms of quality of the work, but this is also the case for non integrated companies. It would be interesting to hear from disabled dancers working in the UK how difficult it is to find good quality performing work.

    For sure the goal to aspire to must be Candoco, with the exciting and diverse choreographers they bring in each season. It would also be interesting to know from Candoco how many disabled applicants to jobs they have and how many non-disabled applicants to jobs.

    One word about training. I have no idea exactly what LCDS, Laban etc offer in terms of programs for disabled dancers, most likely not a complete training at this point. I would imagine that most of the staff at those institutions wouldn't have much experience in this field. What, therefore, is the problem with disabled dancers emerging from Candoco's training system?

    They would seem to have some of the most experienced practitioners available to give the best possible training experience. At least the big established schools in London now have completely wheelchair accessible buildings so the potential for fully integrated training is there.

    I also have to point out that most people who train in dance complete a 3 year course to a high standard with 'little or no chance of ever getting a job' (at least a decent paying performing job.) Another well-acknowledged industry fact sadly, and a possible reason why this particular Editorial has garnered so much attention and protest.

  • Kema

    If having a disabled dancer got you points with the Arts Council all companies would have a disabled dancer.

    As it is,it doesn't affect anyone's funding.

    Is Candoco an integrated company or is it just a contemporary dance company with a few disabled dancers in it? How many of the disabled dancers with Candoco trained at NSCD, LABAN, LSCD, SSCD etc? How many of the disabled dancers got their jobs through being trained by Candoco? If the disabled dancers are products of Candoco training or from other countries then the other issue is with our UK dance training system.

    Look at our current training system: Graham, Cunningham Ballet based systems that are reliant upon a certain bipedal, flexible, fit, strong body type. If you do not fit that you are not going to get into a college, no matter what their "equal opps" policies say.

    Our artform is based pretty much upon virtuosity of performance. The weak,older/mature,disabled, not very flexible etc are not going to get into a college never mind a dance company.

    Most audition notices say this:

    "strong ballet and contemporary technique essential"

    What they should say is:

    "I would prefer NSCD cos you're usually stronger, but if you're from Laban you can choreograph sections for me whilst I meet with my lighting guy, but no Rambert cos you lot don't improvise that well. But especially don't come if you are partially sighted/one legged/Deaf/deaf/really tall/really small/large build/small build/a jazzer/black/asian/Chinese cos you don't fit with what I want and I'll get rid of you lot after the warm up anyway.

    This much would be much clearer than "We are an Equal Opportunities Employer" which blatantly isn't true for most companies.

    cheers

    Kema

    Last thing could some of you "anonymous" cowards have the guts to own your comments?

    To Mr/Ms/Miss Anonymous most people criticise an industry openly because they want to bring an awareness of its problems to the masses. Unlike the backslappers who tell you how great your piece was when it was crap!!

  • CA

    In response to the above comment from Jacqui:

    Scottish Dance Theatre seem to be carrying out your wishes."Angels of Incidence" 2007 by choreographer Adam Benjamin toured internationally and included four dancers with "disabilities", one of whom, Caroline Bowditch is now employed full-time by SDT.

    Maybe some mainstream companies are already "broaden(ing) their horizons" without making a song and dance of it.

    CA

  • That information is not accurate. The project you are referring to was a just that, a project. The dancers were not in the main company and Ms Bowditch is not a dancer with Scottish Dance Theatre.

    The point of this article is dancers in the main company, just like any other dancer.

  • Jacqui

    Hi,

    I personally felt that your article has a very good point, and given the intense response from many readers who feel the need to deny that there is an 'inconvenience' in the dance world, it shows just how bad the problem actually is.

    On the one hand, of course companies need to be open to disability due to disability discrimination policy, however you are absolutely right, how many actually make it past the audition stage? With that in mind, how can someone with disability confidently attend an audition knowing that they have most probably less of a chance than anyone else?

    I understand that some people feel that the choreographer shouldn't have to sacrifice their vision for the sake of the dancers, but having said that - have they ever tried? how do you know that the new piece might actually be so freaking awesome with someone who brings in a new tack? What Claire said is absolutely correct, Candoco have brought in mainstream choreographers and they have in no way had to sacrifice their vision. The resultant pieces were phenomenal.

    I would love to see more integration happening within mainstream companies, i'm tired of seeing that there is either integrated companies or mainstream companies. it would be great to see a mainstream company broaden their horizons further and take the plunge and try something new. If everyone starts doing this, more oportunities would be available for disabled dancers and more would be able to train and become better dancers.

    Mr/Ms 19 I like this article, thanks for putting it up!

    J

  • Anonymous

    I am really enjoying your childish slants, Article 19, whenever anyone challenges your opinion. I wonder how you would respond should someone like Alistair Spalding (who seems to be the butt of all your acerbic 'wit') reply to your articles in this way. Maybe you can respond to your readers in a more respectful manner in the future. It seems a little bit like your the bully in the playground throwing their weight around.

    I've been an avid viewer of this site over the years and I'm disappointed that you have turned on the dance world recently. I still really enjoy the content you provide and usually enjoy the good humour in your articles but recently it just seems like you're angry about everything. I quite often agree with your comments in principle but recently you seem to take it too far. I wholeheartedly agree with your BDE comments as it as usual always the same people invited to these events. I think your comments would resonate more if they didn't sound like they were coming from someone who hates this industry. As for the reason commenters are not providing their names, i should think this is completely obvious given how small the dance community is.

  • Hate, anger, etc. Strong words hidden behind the anonymity of the internet. None of those things are included in this piece and BDE, Alistair Spalding, etc have nothing to do with this piece either.

    This piece raises an important issue that it might be nice for the dance world to recognise and act upon. No one is "turning on the dance world" as you put it. If what you seek is cheerleading then I'm afraid you won't find it here and that has never been the case.

    Should the courage of your convictions come to the fore then you can identify yourself over the phone on 0131 208 1845 or email us at [email protected] if your concerns are so heartfelt. We promise to keep your name confidential, otherwise your words ring more than a little hollow.

    We are more than happy to engage in debate with anyone but honesty is far better than disingenuous platitudes and many in this comment thread seem more intent on shouting at us than talking about the issues raised.

  • I see what you did there, that's funny, for you at least, if it was anybody else I would be hugely disappointing in the lack of creative ability in the "wit" department.

  • Losing faith

    1.)Have any disabled people written articles for your website?

    2.) If not are you taking any steps to change that or do you not see this as an issue affecting your website?

    3.) If you feel that strongly about this have you considered starting your own company where you can show us all the best and most ethically sound way of operating. Lets not forget your work must be amazing as you've critisesed virtually everyone else's.

  • Hi Neil (is that right?)

    So why isn't this particular article attributed to an author when 99% of Article19's articles are? Your argument that it is about the issue and not who wrote it implies that knowing the author of, say, "Don't Worry, He Won't Get Far on Foot" is irrelevant to how the book is read or valued).

    And why not name the companies involved? And why would some of the companies be so reluctant to be involved if this not – as you say – a sensitive issue?

    Cheers

    Simon

  • For the reasons already mentioned.

  • Article19's editorial responsibility falls on the shoulders of the Editor, Neil Nisbet. The piece is not attributed for the same reason the names of 99% of the companies contacted are not mentioned, the piece is about the issue, not the specific companies or the author of the piece.

    I fail to see why this is a "sensitive" issue at all but sensitive or not people should own their words and stand by them.

    Almost all pieces written on Article19 are attributed to an author.

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