clearly. So now, I'm wondering what you miss about the Australian experience things that might attract you to coming back. What are some opportunities that might be generated here now that you are back? MARC BREW: Great question. I have look at those opportunities and they are happening now, which is great. I think one thing that appeals to me being back in Australia is of course being home, the friendliness and openness of people. And I think attitudes and perceptions have changed a lot more from 17 years ago. People are more open to having this conversation is now and beginning to invest in this type of work. So that's really exciting and fruitful for me, as an artist, to look at how I can then come back and do more. Obviously for me, I'm not as young as I used to be, so I really feel like it's part of my role to support the next generation of. And just recently, we have a catalyst program for Accessible Arts where we had over 20 disabled artists looking at choreography, which was really exciting. It's about bringing it back, or those opportunities have had to support Australia to grow. FIONA WINNING: Fantastic. Question up here? QUESTION FROM FLOOR: Do you have any ideas on how we can encourage our elite arts education institutions to support both invisible and visible disabilities? MARC BREW: Being able to have those doors open, those conversations. I think for them to see work is really important, to see the potential. But people say, "Why would we be training disabled artists? There's no jobs out there." But there are loads of jobs. We are always scouting around looking for disabled artists, but I think more needs to be done with our training institutions. In the UK, there is this concept of having agents for change. Caroline Bowditch lives in Scotland, she was employed for Scottish Dance Theatre to be an agent for change. She was like a mosquito, to be really annoying, asking questions, using disabled artists or emerging people can access training. That is also a good possibility, a good concept to use. Also, (inaudible), we have had disabled artists who were auditioning and I was brought in as a consultant. Obviously, as part of their audition process, they were using artistic goals that they couldn't find, couldn't apply to a disability.
clearly. So now, I'm wondering what you miss about the Australian experience things that might attract you to coming back. What are some opportunities that might be generated here now that you are back? MARC BREW: Great question. I have look at those opportunities and they are happening now, which is great. I think one thing that appeals to me being back in Australia is of course being home, the friendliness and openness of people. And I think attitudes and perceptions have changed a lot more from 17 years ago. People are more open to having this conversation is now and beginning to invest in this type of work. So that's really exciting and fruitful for me, as an artist, to look at how I can then come back and do more. Obviously for me, I'm not as young as I used to be, so I really feel like it's part of my role to support the next generation of. And just recently, we have a catalyst program for Accessible Arts where we had over 20 disabled artists looking at choreography, which was really exciting. It's about bringing it back, or those opportunities have had to support Australia to grow. FIONA WINNING: Fantastic. Question up here? QUESTION FROM FLOOR: Do you have any ideas on how we can encourage our elite arts education institutions to support both invisible and visible disabilities? MARC BREW: Being able to have those doors open, those conversations. I think for them to see work is really important, to see the potential. But people say, "Why would we be training disabled artists? There's no jobs out there." But there are loads of jobs. We are always scouting around looking for disabled artists, but I think more needs to be done with our training institutions. In the UK, there is this concept of having agents for change. Caroline Bowditch lives in Scotland, she was employed for Scottish Dance Theatre to be an agent for change. She was like a mosquito, to be really annoying, asking questions, using disabled artists or emerging people can access training. That is also a good possibility, a good concept to use. Also, (inaudible), we have had disabled artists who were auditioning and I was brought in as a consultant. Obviously, as part of their audition process, they were using artistic goals that they couldn't find, couldn't apply to a disability.