'We are creators of culture': Putting disabled writers at the helm

In recent years, accessibility has become more considered in the arts sector. We’re likely to find more shows and performances that include NZSL interpreters or dedicated audio-described events. Although there is still much to be desired when it comes to who conceives and develops the initial seeds that become complete works, this is starting to change. 

Henrietta Bollinger (they/them) is a writer and disabled community advocate from Te Whanganui-a-Tara. In 2023, they were the recipient of the Whakahoa Kaitoi Whanaketanga Creative New Zealand Artist Fellowship. The fellowship provides $10,000 to fund a creative project by an artist who is Deaf or disabled, turi Māori or tāngata whaikaha Māori, or has a disability, impairment or lived experience of mental distress.

“It’s nice to see organisations respond to disabled people as active participants in culture – as people that create culture just as much as we consume it,” they say.

Bollinger’s project, a script called Same Difference, is their first time writing for film. They were approached to adapt the story (originally a radio drama) after speaking at a conference on diversity and inclusion in the film industry. Bollinger was given creative licence to make the story their own, and has spent time over the past few years developing the script alongside producer Robin Murphy, and script advisor and mentor Ness Simons. “It’s about disability and queerness, being seen or not being seen, how we feel about ourselves and our bodies and that conversation between two people.”

The fellowship sets itself apart by putting disabled creatives and their ideas at the helm. “Arts Access Aotearoa has always had a history of acknowledging the work of disabled artists, but this fellowship goes further than that,” Bollinger says. “We’re supported to create new work.”

“The funders come in with the assumption that you’re going to be successful, with the understanding that your journey might need some extra support, might look different, or might work at a different pace.”

Bollinger explains that Arts Access Aotearoa’s approach to the fellowship has allowed them the necessary space and time to develop the script. “We all know what’s been going on for the disabled community. Over the last year I’ve put a lot of energy into responding to the changes to disability support because it’s hard to feel creative when you’re worrying about basic needs,” Bollinger explains. "That’s what’s so significant about Arts Access Aotearoa. They recognise that all of these things are interrelated and they want to build a fellowship that really responds to the needs of disabled artists.”

Oftentimes, disabled creatives are conceiving, developing, promoting and releasing projects despite working conditions not always being accessible. “Having a fellowship that’s designed with Deaf and disabled people in mind means that they’ve considered you might have access costs that are separate from the wages you need just for doing the work.” For the 2025 fellowship, an additional $5000 is dedicated to covering access costs.

“The time that it’s taken to write the film has made it a braver version of the story,” Bollinger says. “The people involved in the writing process alongside me have made sure that I’m telling the bravest version of what this story could be.”

Bollinger is intentional about portraying disabled and queer characters in a nuanced and well-rounded way. “Because we have such limited representation, it can put a lot of pressure on those few portrayals to represent everything,” Bollinger says. “It’s been really fun to push the characters not to be just good. They’re complicated, they’re contradictory. They can bring each other joy but they can also have conflict.” 

The final step in developing the script is community consultation, specifically presenting it to trans and queer disabled folk to ensure the story resonates and is carefully told. “The world doesn’t always recognise lived experience of disability as expertise, so we have to be really staunch about doing that for ourselves and for each other.”

After community consultation, the film will move into production. “In preparation for getting the film made we're starting to think about what an accessible set looks like, and what it would look like to shoot a film with two disabled leads.”

“When we ask for accessibility from the mainstream, it’s quite often seen as an extra, additional thing. It’s really not intimidating and it doesn’t have to be laborious. I think creating access and inclusion is actually a creative challenge.”

To find out more about the Whakahoa Kaitoi Whanaketanga Creative New Zealand Fellowship, visit artsaccess.org.nz. Applications close 5pm, Monday 31 March.

Subscribe to our weekly newsletter, The D*List Delivered!