Rugby League – The Musical

The words hung in the air, powerful and poignant. ‘My support worker is my pair of hands. They’re an extension of my body,’ Emily Dash, actor, writer, and disability advocate, told the ‘Driving Change’ symposium on its second day. I sat in the audience, reflecting on how those words resonated with my own experience.

For a few months following my lower right leg amputation last year, I relied on NDIS support workers for basic tasks like tidying up and grocery shopping. While my needs were temporary and less extensive than Emily’s, that period gave me a glimpse into the crucial role support workers play in enabling people with disabilities to live full and independent lives. It also highlighted the importance of recognizing these individuals not just as caregivers, but as integral partners in navigating the world.

Emily’s powerful statement underscored the need for greater accessibility and inclusion within the film industry, a topic that was central to the symposium. The presence of support workers on set is crucial for providing personal care, but true inclusion requires a deeper understanding of access needs. This is where Access Coordinators come in. These professionals act as advocates for everyone on set, ensuring that the environment is welcoming and safe, regardless of an individual’s abilities. They assess physical accessibility, communication needs, and potential sensory sensitivities, making adjustments to create a truly inclusive space.

‘You don’t want to get a reputation as a difficult person,’ Emily shared, explaining why many with disabilities hesitate to speak up about their support needs. The emergence of Access Coordinators is a crucial step towards normalizing these conversations and fostering a culture where everyone feels comfortable voicing their requirements. By proactively addressing access needs, we can move away from the stigma often associated with requesting support and create a more equitable and inclusive industry. Hopefully, the growing presence of Access Coordinators, spearheaded by major film corporations, will lead to greater involvement of people with disabilities in all aspects of filmmaking and television production.

This need for authentic representation was echoed by my ABC colleague, Nas Campanella, during a panel discussion on disability in the media. ‘Not all of us want to be Paralympians,’ she joked, emphasizing the limited and often stereotypical portrayal of people with disabilities on Australian television. While acknowledging the incredible achievements of fellow panelist and Paralympic champion Ellie Cole, Nas highlighted the importance of showcasing the diverse range of experiences and talents within the disability community.

Nas herself has been a trailblazer. As the first blind newsreader at Triple J, she challenged preconceptions and paved the way for others. Initially, listeners were unaware of her vision impairment. When she did share her story, the focus, she noted, was often on the assistive technology she used. She also referenced the late Elaine Harris, another vision-impaired announcer at the ABC, with whom I briefly worked in Canberra, highlighting the scarcity of such representation even within a public broadcaster. Since then, Nas has become a powerful advocate for disability news coverage and building internal support networks within the ABC.

Ellie Cole offered a fascinating perspective on the evolving public perception of Paralympic athletes. She described the limited media interest during her first Games in Beijing in 2008, the growing attention in London 2012, and the significant increase in subsequent years. This shift, she believes, stems from the ‘human, relatable stories’ that are often at the forefront of Paralympic coverage, providing a powerful counterpoint to the often-singular focus on athleticism in traditional Olympic coverage.

While acknowledging the progress made, the conference also confronted the stark reality of underrepresentation in advertising. Despite people with disabilities comprising up to 20% of the population, they appear in less than 1% of advertisements. This disparity reflects a fear of failure, a fear of ‘getting it wrong and being cancelled,’ as one panelist put it. This fear, while understandable, perpetuates harmful stereotypes and reinforces exclusion.

Fortunately, there are resources and guidelines available to help advertisers create authentic and inclusive campaigns. Organizations like the Unstereotype Alliance, whose representative spoke at the conference, are actively working to promote diversity and inclusion in advertising. Their research demonstrates a clear link between diverse representation and increased sales, both short-term and long-term. Authenticity resonates with consumers, and advertisements that reflect the true diversity of our society are simply more effective.

The key, another panelist emphasized, is to include people with disabilities in the decision-making and creative process. This ensures that their perspectives and experiences are genuinely reflected, minimizing the risk of misrepresentation and tokenism.

As the two-day conference drew to a close, my colleagues and I gathered, exhausted yet exhilarated. We were buzzing with ideas about how we, at the ABC, could contribute to a more inclusive media landscape. We left with a renewed commitment to increase the number of people with disabilities you see, hear, and read about on our platforms. This isn’t just about ticking boxes; it’s about reflecting the true face of Australia and ensuring that everyone feels seen, heard, and valued.