Ensuring yourvenues and events
are open to all
A brief Access Guide

Contents

1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
2. Achieving Access for All – Why bother?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
3. Getting the Basics Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
4. Disability Confidence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
5. Accessible Marketing and Communications.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
6. Brief Access Checklist.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Aerial dance workshops led by All Or Nothing Aerial Dance Theatre with members of
Scottish Ballet’s Regenerate class, Luminate 2014. Photo by Eoin Carey.

2

Shape Access Guide

1. Introduction
Unlimited Impact began work with Luminate, the Scottish Mental Health
Arts and Film Festival and the Mental Health Foundation (SMHAFF) in
2014. We were asked to create a disability access resource that would be
useful and relevant to the many partners and varied arts events they work
across. This was no mean feat! The scope of activity that happens under
the umbrella of these two organisations is huge – covering arts activity inall shapes, at venues and community groups of all sizes.
So this guide is a compilation of ‘top tips’ and general guidance forworking with and welcoming disabled artists and audiences of all ages.
We hope it offers long and short term options for people working to any
budget. It is not going to give you all the answers (we don’t have them)but we hope it will help you identify the right questions to ask.
This guide was created by Unlimited Impact and Shape in collaboration
with Luminate, Scotland’s creative ageing festival, SMHAFF and withsupport from the Spirit of 2012 Trust.

Nick Goss.

Nick Goss
Shape Access Consultant
Goss Consultancy Ltd

Shape Access Guide

3

Foreword
I am delighted that Luminate has worked with the Scottish Mental
Health Arts and Film Festival, and with Unlimited Impact, to develop
this information leaflet on access to venues hosting arts events.
Luminate is Scotland’s creative ageing festival. Our programme
explores creative ageing in its many guises, and you will find activities
taking place across Scotland every day in October that celebrate
creativity, share stories, and explore what ageing means to all of us.
Creativity has no age, and Luminate includes many activities by and forolder people as well as activities that will appeal to people across thegenerations. Alongside our public events we also feature an array ofactivities in care homes and day centres.
It’s vital to Luminate that venues in our festival are accessible todisabled people, and to older people who may need particularconsideration too. This new resource gives straightforward advice
and tips to anyone running an arts activity – whether in a village hall,community centre or arts venue – and if you are involved in organising
events I hope you find it useful.

Anne Gallacher.
Photo by Drew Farrell.

Anne Gallacher, Director
Luminate, Scotland’s creative ageing festival

Led by the Mental Health Foundation, the Scottish Mental Health
Arts and Film Festival (SMHAFF) is one of Scotland’s most striking
and provocative cultural events, encompassing music, film, visualart, theatre, dance, and literature. The annual festival takes place invenues across Scotland during October, aiming to support the arts andchallenge preconceived ideas about mental health. By engaging artists,
connecting with communities and forming collaborations, we celebrate
art and mental health, exploring the relationship between creativity andthe mind, and promoting positive mental health and well-being.
It is a key consideration for SMHAFF that all venues are fully accessible
to disabled people. As such, we were delighted with the opportunity
to collaborate with Luminate once again and develop this resourcewith Unlimited Impact. The leaflet will provide valuable information tovenues, organisations and individuals across Scotland who are planningan event and want to ensure that it is accessible.

Gail Aldam.
Photo by Davy MacIver.

Gail Aldam, Festival Manager
The Scottish Mental Health Arts and Film Festival, Mental Health Foundation

4

Shape Access Guide

2. Achieving Access for All – Why bother?
Why bother – well, firstly, it’s the law. Since the Equality Act in 2010 it is unlawful forservice providers to treat disabled people less favourably because they are disabled.
Anyone providing a service to the public must make ‘reasonable adjustments’ to makesure disabled people can access those services.
It affects us all. Advances in medical science mean we are living longer, and the numberof people with age-related disabilities is rapidly increasing.

The facts:
1. Just over one million (20%) of people living in Scotland have along-term activity-limiting health problem or disability.
(The Scottish Government)

2. Nearly one in five people of working age (1 million, or 19%)
in Scotland are disabled.
(The Scottish Government)

3. Disabled adults, or those with a disability (62%), illness orhealth problem (63%), or both (45%), are much less likely
to attend a cultural event than those without (83%).
(Scottish Household Survey Annual Report 2012).
Finally and on a more human level; access to arts is a basic human right. There is a
growing body of research which suggests that engagement in arts activity has a hugebenefit to the well-being of older and isolated individuals.
So whether you are a high profile arts venue or small community group you will want toensure that your arts event is open and accessible to the widest number of people.

Shape Access Guide

5

3. Getting the basics right
It is important to remember that you do not have to be an ‘expert’, or have specialist
knowledge of a particular medical condition or impairment to make your event or venue
more welcoming to disabled people. By understanding the basics you will be able tocreate an access plan that will work for you and your potential artists and audiences.

Understanding the Social Model of Disability
The Social Model of Disability was developed by disabled people to identify, and takeaction against, discrimination.
It’s a different way of looking at disability. Rather than the disabled person being ‘theproblem’ and focusing on what someone can’t do because of their impairment (known
as the ‘Medical Model’) the social model says that barriers are created by our society.
These barriers may be physical, organisational or attitudinal.
So it’s not illness or impairment that are the real problems, it’s discrimination and thebarriers in society.
But how do we put this into practice? You could try:•

Asking about a person’s access requirements rather than details of their
medical condition – ‘what do you need?’ rather than ‘what’s wrong with you?’This is very important for hidden impairments or fluctuating health problems
where access needs may not be obvious.

•

Concentrating on improving the access you can provide, not on focusing on
individuals and their impairments.

Planning in Access
So where do you start? A key tip is to get planning.

Plan earlyStart thinking about ways in which you might make your event more accessible todisabled and older audiences at the very beginning of your project. Be clear about what
you can and can’t provide, and where you can be flexible based on individual requests.

Don’t make assumptions – ask!

Disabled people are the experts in their own requirements and access needs. It is
important to give people the chance to talk about their access requirements at the
beginning of your communication with them. This shows that you are ready and willingto talk about access and can be reassuring.

6

Shape Access Guide

Plan your budgets

Make sure you know how much money you have to allocate to access adaptations. Thinkcreatively around how to provide access – there is often a low cost solution! For example:

Relaxed performancesThis is a performance that has a more relaxed attitude to noise and movement and may
include some changes to the light and sound effects. There are a number of people
who may benefit from this and it’s completely free to run. Make sure you advertise the‘relaxed nature’ of the show to your audiences and make an announcement before theevent so everyone knows what’s happening and why.

Quiet spaces

Some people may not like busy spaces and loud noises. Can you offer a quiet space forpeople to go and relax?

Synopsis of plays or audio material

It can be pricey to provide captions and subtitles (but probably not as expensive as you
think). A good cheap alternative is to provide a written transcript for deaf and partiallyhearing people. Make sure you provide these in large print as well.

Audio Description

This is an audio narration of visual material in an exhibition or performance to makeit accessible to blind and partially sighted people. If you don’t have the budget toprofessionally transcribe and record Audio Description maybe you can record one
yourself and make an MP3 file available on-line? Or you could ask local participants andcommunity members to record their visual response to the work?

Tactile Tours

This is a tour of an exhibition or the set / props or costumes for a performance (usually
before a show). These don’t usually cost anything to run – but you do have to know what
can and can’t be touched!

Catering

Disabled people may need information about venue catering, and staff may needawareness training. If you provide food, be prepared to list allergens, and if you have firstaiders or regularly provide food you could consider anaphylaxis awareness training.

Plan for the unexpected

Be prepared for the unknown. Even when you ask people to provide their accessrequirements, you should be prepared to respond to access requests that only become
known on the day. Never make assumptions. You may wish to designate a member of
event staff as the point of contact for disabled people, and ensure they have disability
awareness training.

Shape Access Guide

7

Plan together

It is essential that disabled and older people are included and consulted in the event
planning process.
Why not invite everyone to contribute to the discussion? A wide range of people,
including disabled and older people, should be central to planning an accessible arts
event. Remember many impairments are not visible and often people covered by thelegal definition, do not consider themselves disabled. The more people you ask to input
the richer your access vision will be.
There are many ways you could invite people to input:•

Create a regular focus group to discuss what people would really like you
to provide.

•

Gather feedback after your event.

•

Provide an email and a phone contact for people to discuss accessrequirements in advance.

Moving Minds event. SMHAFF Festival.
Photo by Russell Sneddon.

8

Shape Access GuideLanguage
Language is important; it helps us avoid misunderstanding and offence but the mostimportant thing to remember is…don’t panic!
Make sure the language you use is always:
1.

Descriptive (e.g. Wheelchair user; Blind person).

2.

Understandable (e.g. has a hearing or speech impairment).

3.

Simple (no unnecessary adverbs like ‘severely’ or ‘profoundly’. They mightmean very different things to different people anyway).

4.

Not emotive (no ‘suffering from…’ or ‘victim of…’).

5.

Respectful – be guided by disabled people and incorporate a social model
perspective.

Take the lead from disabled people and be open and adaptable to change the language
you use, based on their suggestions. Here are some of our suggestions to get you started:

Please try

Please avoid

Disabled people/person/older person

People with a disability/disabilities‘The’ Disabled
The elderly
Handicapped
Suffering from a disability
Physically challenged
Someone who cannot…hear, speak, walk etc

Non-disabled person/people

Able bodied person
NormalWheelchair user

Wheelchair boundBlind person/people
Visually impaired person/people

The Blind
Person without sighttable continues overleaf…

Shape Access Guide

9Please try

Please avoid

Learning disability
Learning disabled person/people

Retarded/retard
Special needs
Spastic/Autistic/Aspergers/Downs/Mongol

Person of small stature

MidgetDwarf

Mental health service user
Mental health system survivor (or just“survivor”)
Mental Health or Wellbeing (when referring
to everyone)
People with lived experience of mental healthproblems

People with mental health (that’s all of us)
MentalMad (though sometimes reclaimed by lived
experience groups)
Mentally ill
Diagnostic labels like anorexic, schizophrenicor manic depressive, especially as adjectives(a bit OCD)

Recovery

Cure

Personal assistant/PA
Support worker
Access assistantCarer (unless a disabled person uses the termthemselves)

Accessible toilet
Adapted toilet

Disabled toilet

Accessible parking
Blue badge parking

Disabled parking

Has
Experiences

Suffers from

Access requirements

Access needs (although it is used andacceptable sometimes)

10

Shape Access Guide

4. Disability Confidence
If you understand the social model, have the appropriate language and a clear vision of theaccess you can provide – then you can be disability confident when dealing with the public.
The following general guidelines can help:
1.

Listen – Listen to what disabled and/or older people are asking for or telling you.
Make time and space for this.

2.

Ask – Be confident in asking disabled and/or older people for advice,information or the best way to work together. Never assume.

3.

Act – Acknowledge that you have heard and understood – then respondaccordingly.

4.

Learn – Learn from what went well and what didn’t – build access into every
stage of the review and evaluation process.

Disability confidence is about both providing everybody with the same level of good
service and knowing what you can do differently for disabled and / or older people toensure equal access.

Spotlight on being Dementia Friendly
People experience dementia in many different ways, and, as highlighted throughout
this guide it is important to listen to people’s access requests and respond to individual
requirements. People with dementia can find areas such as communication andnegotiating unfamiliar surroundings more difficult.
The following guidelines are aimed at increasing confidence and helping to ensurethat groups and events are accessible and inclusive of people with dementia, theirfamily and friends.

Communication:1.

Be calm and patient and allow plenty of time for the person to take in what you
say and to reply.

2.

Put the person at ease – be friendly, smile and make eye contact.

3.

Make sure that your tone, body language and facial expressions match what you
are saying.

4.

Try not to confuse or embarrass the person by correcting them bluntly.

5.

Don’t stand too close or stand over someone to communicate.

6.

Speak clearly and calmly and do not cover your mouth. The person should be
able to see your face clearly.

Shape Access Guide

11

7.

Use short, simple sentences. Ask straightforward questions that can be
answered simply e.g. yes or no.

8.

Talk to the person with Dementia

Environment:
1.

If you are holding regular events, can these be held in the same space withinyour venue to help people familiarise themselves with their surroundings?

2.

Clear signposting can make a big difference. Are signs, for things like thetoilets, clear to see and easy to understand?

3.

Contrasting colours can help, e.g. signs, light switches and doors being a
different colour from the surrounding walls making them easier to see.

4.

If possible avoid busy patterned or shiny flooring as some people withdementia can find it difficult to recognise and negotiate these surfaces.

5.

Mirrors can be disconcerting for some people with dementia. You may want tocover these up and/or remove these.

6.

Consider the furniture in your space. E.g. introducing chairs with arm rests
might be more suitable for older people and people with dementia.

Vital Xposure, Let Me Stay.
Photo by Libby Watson.

12

Shape Access Guide

5. Accessible marketing and communications
Accessible print
1.

Try to write information in plain English. It is clearer for everyone. Keep yoursentences short and do not use complicated words.

2.

You don’t have to compromise your creative or descriptive writing. The
challenge is to make what you write interesting and accessible. It can be done!

3.

In some circumstances, you may choose to produce an Easy-Read version of
more complex material. Make it visually interesting and do not patronise thereader. Don’t cram the page – keep it clear and simple.

4.

Use text at 14 point (12 point is the absolute minimum). Many Blind andpartially sighted people will require a point size of 18+. If in doubt ask.

5.

Avoid italics, serif or ‘handwritten’ fonts or capitals for long, continuous text.

6.

Use high contrast between colours and text (at least 25%).

7.

Avoid putting text over images, unless you use a gradient or a semi-transparent
layer between the text and the image to ‘smooth’ the image.

8.

Close-set type can be daunting. Leave space between paragraphs and keep yourparagraphs short.

9.

Avoid glossy papers (they reflect too much light), low paper weights (because
text can show through), and paper folds that hide text.

10. PDFs are often incompatible with screenreader software and therefore may beinaccessible to Blind and partially sighted people. It’s best to have a plain Word
version of any documents too.

A choice of formats
1.

Invite people to ask for different formats – don’t make it sound like a chore. For
example, say “please ask us for this information in alternative formats” rather
than “this information is available in alternative formats upon request”.

2.

Know which alternative formats you can supply, and how long it will take you to
produce them. Find some suppliers such as printing companies that can produce
your brochures or flyers in Braille and media companies that can convert text
into audio or video files. If that’s too expensive, think about what you can
produce yourself.

3.

Find out the costs of translation in advance so you can plan this into yourbudgeting. You could keep some funds back to pay for these alternative formats.

Shape Access Guide

13

Online1.

Use images of your work. For each image provide a line of text that describes
the image; this helps screenreader software and makes your material moreaccessible to Blind and partially sighted people.

2.

Include subtitles for online video materials – or include a transcript.

3.

Use meaningful links. Imagine the link appears on its own at the top of
the page – will people know what will happen if they ‘click here’? Make thewhole sentence the link by saying ‘click here for more info about accessible
marketing’ or ‘click here for more details of our next exhibition’. Check yourexisting links work in this way.

4.

WC3’s Web Accessibility Initiative (WAI) is an accessibility standard
for websites, allowing you to achieve an A, AA or AAA rating. For more
information, visit their website www.w3.org/WAI

The Falkirk Cabaret led by Love Music, Luminate 2014.
Photo by Drew Farrell.

14

Shape Access Guide

6. Brief Access Checklist
The following access checklist is not intended as an exhaustive list. Some areas may not
be relevant for your group or venue but should be used as a starting point to think more
broadly about access:Publicity/Marketing

Reviewed ?

Action

Reviewed ?

ActionHave you included information about what access you are providing in:your print, on your website, at your venue (on site) and in any materials
sent to other places (i.e. in press releases)
Have you made information available in any alternative formats, forexample: Large print, Audio, Braille, Plain English, Easy Read (which may
include pictures and icons to illustrate meaning), a Word version for
e-mailing/downloading, maps with symbols/textured maps
Have you informed people how they can order information in alternative
formats? Is this mentioned in all your marketing materials?

Journey/Travel
Do you have accessible, clearly sign posted parking bays? Are thesesuitable for minibuses?
Are these clearly indicated in your marketing and known to all your staff
and volunteers?
Have you publicised the nearest public transport links (including
information on access at stations, bus services and road works causing
disruptions)?
Have you included information on the nearest accessible taxi service?
Have you indicated the distances/gradients between key points?
For example toilets, parking, venue or surrounding facilities?
Where are your drop-off/pick-up points? Are they clearly visible
to visitors?
Have you indicated any landmarks to guide people to your location?

Shape Access Guide

15

Signage and Orientation at your Venue

Reviewed ?

ActionDo you have someone as first point of contact for access at your venue or
the location of your event? Will they be easy to spot?
Have you placed all signage at a suitable height for wheelchair users?
Are there any reflective surfaces that may make visibility difficult?
Have you made sure all event signage has good colour contrast and that it
uses clear font types and suitable point size?
Is signage written in plain language and/or illustrated?
Have you considered accessible display/exhibition layouts? For example:
Suitable hanging height of works, labels/interpretation panels, plinths,
display cases (eye level at 1.10m for wheelchair access)Turning space for wheelchairs and buggies (i.e. minimum of 1.30m across)
Adequate lighting
Interpretation in a range of formats e.g. Audio description, Braille, Large
Print, Plain English etc.
Have you installed signs to highlight all entrances/exits? Have you ensured
footpaths and access routes are level and removed any obstructions?
Have you indicated any stairs, ramps etc. using high contrast markings?

16

Shape Access Guide

Accessibility Across all Areas

Reviewed ?

ActionHave you considered the timing of the event?
Would a matinee performance be more suitable than an evening event?
Have you included any additional assistance/extra services such as:
Facilities for guide dogs (water bowl)
Use/hire of wheelchair/buggy/scooter
Induction loop
Visual announcements for intervals/alarm system?
Are your work spaces accessible (e.g. studios/offices/rehearsal or
dressing rooms)?
Have you considered the height of tables/counters to accommodate
wheelchair users in all the public areas on site e.g. café, reception area,
lobby, box office etc.?
Have you considered seating options for wheelchair users in performance
spaces, ensuring they are not segregated from non-wheelchair user
friends/family?
Can you provide soft seating and/or seating with armrests (to assist
people getting out of chairs)
Would some audiences benefit from extra heating at your venue?
Or extra lighting?
Have you informed all your team of the seating options available(for example the gradient and type of seating, leg room, floor surfaces)?
They can only help people who ask if they know what’s available.
Do you have reserved seats for deaf audience members near the front(so they can lipread, clearly see the interpreter or captions (if applicable)?
Have you informed your team where any support options will be placed?
Are your accessible toilets well maintained (e.g. that the emergency pull
cord is within reach from the floor and NOT tied up out of reach)?
If toilets are kept locked is signage clear on how to access them, do all ofstaff know where the key is kept and are they aware of any obstructions
stored inside?

Shape Access Guide17

A final word
Improving the health and wellbeing of individuals andcommunities is a cause that I have advocated throughout
my professional life, and one which is also very close to myheart, so I am delighted to see Luminate’s creative ageing
festival move from strength to strength.
What is striking about the festival is the lengths to which
it goes to engage new, diverse audiences and performers.
From care homes to island communities, their reach knows
no bounds, and their strategic approach to partnerships
suggests that breadth will continue to grow and develop.
Through Spirit of 2012’s partnership with Unlimited
to deliver the Unlimited Impact programme we havesupported the tour of “Let Me Stay” by Julie MacNamara – atender and moving exploration of the impact that Alzheimer’s
can have on family relations – and brought it to a wide rangeof audiences. Dementia is a difficult but increasingly prevalentreality which is touching the lives of many of us, and istherefore an important subject for artistic exploration.

Sir Harry Burns.

Spirit of 2012 was founded by the Big Lottery Fund to ensurethat the magic of the London 2012 Olympic and Paralympic
Games – of people joining together in celebration as a nation
and as a community – continues to be felt across the UK.
Luminate is a wonderful example of this; its work to challenge
and improve attitudes to and understanding of ageing is
inspirational, and I am glad that Spirit is able to help further its
reach and impact.’
Sir Harry Burns
Spirit of 2012, Trustee and Professor of Global Public Healthat the University of Strathclyde

18

Shape Access Guide

Unlimited Impact is supported by the Spirit of 2012 Trust and is a new extension ofUnlimited; the £2 million, three-year programme delivered by the disability-led arts
charity, Shape, and arts producing organisation, Artsadmin, and funded by the National
Lottery through Arts Council England and Creative Scotland. Unlimited Impact focuses
on developing and inspiring the next generation of young disabled people passionate
about making change through the arts; extending Unlimited’s reach by supporting
venues across the country to successfully programme ambitious and high quality workby disabled artists; and deepening discussion and debate around work by disabled artists.

Contact
Fiona Slater
Shape Programme Coordinator – Unlimited
020 7424 7366 (voice)fiona@shapearts.org.uk
www.unlimitedimpact.org.uk
Shape provides opportunities and support for disabled artists and culturalorganisations to build a more inclusive and representative cultural sector.
Shape is supported by Arts Council England.
020 7424 7330 (mainline Voice)www.shapearts.org.uk

This work is licensed under the Creative Commons AttributionNonCommercial 4.0 International License. To view a copy of this license,
visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter
to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.

Shape Access Guide19

www.unlimitedimpact.org.uk
www.luminatescotland.org
www.mhfestival.com