Access All Areas: Mad March and Access To Arts

Mad March
Busy Bees

Fringe Festival

Access to Arts

 

That's quite enough alliteration for now!  

The face of a 'busy bee'
because that's what I have been!
(Stay tuned for more news about
this project in future blog entries.)

It's "Mad March" in Adelaide right now, where the Adelaide Festival, Adelaide Fringe Festival and the Adelaide 500 car racing street circuit come alive with activity.  

It's a very exciting time to see world-famous local and international artists and not-so-famous-yet aspiring artists. There's everything from comedy, dance, music, burlesque, street performers, visual art and lots more.  The city is buzzing. 

The arts should be something that EVERYONE can enjoy so this is a good opportunity to talk about access, in particular 'disability access to arts'.

Unfortunately, it is often the case that events are advertised and sold as 'accessible' and then people turn up with their tickets, to find it is not accessible at all!  This happens so often that plenty of people I know don't even bother going out any more because it is all too hard.  I cannot blame them.  

Take, for instance, a recent festival in Perth, Western Australia.  It is called Fringe World and it is notorious for not being accessible except this year, it advertised performances as 'accessible'.   

How exciting for wheelchair-using arts lovers!  People see the accessible notice and decide that, "yes, I have always wanted to go to that show and now I can! I will organise friends, family and staff to support me to go to the show, even if it means travelling hours from a regional area to get there and back."  How would you feel if this was you and then you got there and didn't get the experience you paid for?

Big dramas for Perth Fringe World Festival organisers who received bad publicity about their poor access.  To add insult to injury, instead of just apologising and fixing the problems,  they tried to 'spin' it in the media by shifting blame and claiming that their venues were compliant when they clearly were not.  You can read about it here:  "Fringe World Festival dubbed 'inaccessible' for wheelchairs as disability advocate left on stage"

I've recently been able to get out and about over the past 18 months to enjoy various arts events but I had an extremely bad experience as a first time visitor to a theatre that supposedly had a good reputation at the time of booking. The ignorance was gobsmacking.  My letter of complaint will explain:

Dear Manager(s),

I was very excited for the opportunity to see a performance at your theatre but the experience was marred because the theatre could not cater for my disability access needs appropriately.

These ranged from physical access needs to inappropriate behaviour of staff in relation to disability.

While I enjoyed the performance of the production by the actors, my experience at your theatre left me insulted and embarrassed.

I felt compelled to share the experience on social media and to write to you to educate people. I did not name your theatre publicly because these lessons are relevant to every theatre. The recount as published on social media appears here in bold text:

Tickets to the theatre. Before purchase I asked whether the theatre was wheelchair accessible and was told, 'Yes'. On arrival, I'm warmly welcomed by friendly volunteers. I collect my tickets, get a program and am led through: "Here's the lounge/bar. I see signs for ladies' and men's toilets and then ask "where are the accessible toilets? " It turns out there are none. It's so unacceptable to offer a bar and then not provide adequate toilet facilities.

TO ALL VENUE MANAGERS AND STAFF

When I call ahead to ask "Is your venue wheelchair accessible?" The answer is not an unequivocal "yes" here. It should have been, "The theatre space is accessible for the audience but there are no accessible toilet facilities." That way I can decide for myself whether I can manage not drinking anything for the duration of the evening and whether I risk becoming light headed and faint from dehydration. (I was by the time I got home)

In this heritage building:

The ladies toilet has a heavy swinging push door and a 5-10 cm (approx) step on the threshold that does not allow independent entry. Inside the bathroom are two narrow toilet cubicles with no hand rails.

I was offered the option to use the men's toilet (socially inappropriate as I'm a woman - another reason for unisex non-gendered public toilets) because it has a wider door. It required exiting the building through the front door and going out around the side (other patrons could access it from the bar via a door with two steps) but I couldn't get anywhere near the door to the men's toilets because the narrow alleyway to access it was cluttered with stacks of wooden furniture (also a hindrance for emergency egress and a fire hazard with all that combustible material).

International Access Symbol
crocheted by Jodiebodie
[2014]

And, by the way, when leading me through a crowded lobby, the polite words to move bystanders are "Excuse me" or "Excuse us" -  NOT "wheelchair coming through!" (It's actually a 'person' coming through) and DEFINITELY NOT a "wheelchair person" What is that??? Unfortunately those terms came out of the mouth of front of house staff. The latter is as offensive as terms like "boat people" to describe refugees because it immediately segregates those people as something 'other' that is to be excluded or discriminated against.

It's bad enough that mobility equipment makes one stand out in a crowd sometimes. It's hard to be discreet when that happens so the last thing I need is to have someone else creating a scene and indiscreetly demonstrating all the wrong language.

I AM SO SICK OF ACCESS ISSUES 
ALMOST **EVERY** TIME WE TRY TO GO OUT TO ENJOY OURSELVES.

Let's just say the staff had plenty of lessons to learn tonight.

While discussing the inadequate toilet facilities, a staff member inappropriately disclosed that they had a relative with a disability who used a catheter etc. 

Why do I need to know that?  

I'm sure that relative would be mortified to learn that their family member was sharing intimate details of their personal toileting habits to a total stranger (and probably without their permission). Do you share your intimate habits or personal health details with total strangers? I'd think not.

In trying to understand the staff behaviour, I wonder:

• Was the staff member trying to justify the lack of accessible toilets? 
• Was the staff member placing blame on me (either consciously or subconsciously) for the problem because my toileting need for wheelchair space is inconvenient to the theatre organisation or perhaps embarrassing to staff?
• Was the staff member indirectly suggesting that I should use a catheter bag for convenience? (A totally inappropriate suggestion on many levels and possibly a form of blaming me for not 'choosing' to do so. This is not a matter of choice or convenience.)

A staff member told me that I was the first person to raise the issue of inaccessible toilets and my need hadn't arisen before. I should be surprised but then I'm not surprised quite frankly.  These sorts of access issues happen all too frequently and are the major deterrent for people with disabilities from attending arts events, restaurants and other venues.  If people with disabilities are not attending your events, or frequenting your business, perhaps you need to consider the reasons for that. 

I was not the only patron with mobility equipment. There was another audience member who used a 'wheelie walker'.  People commonly have wheelie walkers due to physical instability or issues with balance.

If the person with the wheelie walker had been directed outside around the side of the building as I was, they might have come to grief from the broken pavement which presented a tripping hazard that could cause the small hard wheels of some mobility equipment to get stuck, causing a person to either fall head over heels over their walker, or get tipped out of their wheelchair. At night, low light levels make it hard for anyone to see the break in the pavement, especially for those with visual impairments, and increase the risk of injury.

Safety concerns in the performance space: 

Staff expected the patron with the wheelie walker to climb a high step to reach the first row of seating (made up of loose chairs arranged on a riser) while leaving their wheelie walker at floor level.  This struck me as being dangerous and seriously increasing the risk of that person falling and injuring themselves (or the companion injuring themselves as they try to assist by lifting).

My (able-bodied) companion was seated at the end of the front row on the riser while I remained at floor level. My companion and I were not at eye level with each other and the difference in level made it harder for my companion to assist me during the performance because they had to lean over and down to reach.

As for me, I was positioned next to the riser in the aisle which was used for the actors to enter the performance space and which may also be used as an egress corridor.  In the event of an emergency, a slow moving person in a wheelchair creates a danger and obstacle for everyone exiting through that corridor.  My position also became a potential hazard for the actors during the performance.

Perhaps in future, a row of seats can be arranged in front of the riser at floor level, allowing a chair to be removed to make room for a wheelchair or other mobility equipment. This way, people can sit safely, next to their companions, in reach of their equipment, and without being stuck in the aisle to become a safety hazard.

As a person with a disability and a wheelchair user, I like to be included in my community:

• 'Included' means being able to sit together with my companion(s) in the audience at the same level and not being stuck in an aisle being distracted by the potential danger of being in the way or injured by someone bumping into me.  Being positioned in a traffic area instead of within the confines of the general seating area is a subtle form of exclusion. 
•  'Included' means being able to enjoy a show without a risk to my health whether that be from physical hazards  or from restricted fluid intake (due to a lack of appropriate toilet facilities) causing dehydration.

Ignorance is harming your business:

The lounge bar was warm and inviting with a welcoming ambience. I would have enjoyed it more by purchasing a drink before the show and a coffee at the intermission, thus helping to fund your theatre enterprise but the lack of facilities forced me to abstain.

Are you aware that the latest Census data from the Australian Bureau of Statistics shows that 18 per cent of respondents identify as having a disability? That is one in five people or 20 per cent of your potential audience.  By disregarding the needs of people with disabilities you are missing out on a significant market share.

I understand that the your theatre is a heritage listed building but that is no excuse for not providing an accessible toilet facility somewhere on the premises. It does not necessarily need to be under the main roof or adjoining the building (which is preferable) but it needs to be in a safe, close place for access.

The suggestion that a single female wheelchair user like myself should leave the theatre complex at night to travel up the street to find an accessible toilet at a nearby sports venue is not an inclusive or safe solution.

When it did come time to leave, I was unable to do so independently because staff had locked one half of the double doors at the main entrance making the doorway too narrow for my wheelchair to get through. This is plain thoughtlessness. That door should have been opened right up as soon as the performance ended for the benefit of all patrons. 

The door was not manned and I needed to wait until I could find a staff member to assist me because my companion was a child who could not reach the locks.  Had my taxi been waiting, I would have incurred the extra financial inconvenience of waiting fees.

Do feel free to share this letter with staff and any authority if it helps you to obtain the necessary funding and approval to meet modern standards of accessibility by providing a safer environment and accessible toilets!

It strikes me that education about health and safety and catering for people with disabilities must be lacking in your organisation: from the people in the booking office who gave me incorrect and incomplete information about accessibility of the venue to the front of house staff that used inappropriate and offensive communications.  

It is important that all of the theatre companies that use your theatre are made aware of these safety risks and disability access issues.

I want to support local arts communities which is why I refused the compensatory offer of a ticket refund.  A more effective resolution would be to instigate broad training across your business about the needs of people with disabilities and how to cater for them; together with urgent renovations to provide the basic service of public toilets for ALL.

Businesses often find room in their budgets to hire financial, legal, marketing and advertising consultants. May I suggest you find room for a disability access consultant as well who will be able to advise and train you, your staff and volunteers.

Yours faithfully,

First-time visitor to your theatre
Wheelchair user

Reading it back, I feel like signing it "First-(and last-) time visitor to your theatre!"

Example of a manual wheelchair.
Most are not designed for lawn.

I hoped the Adelaide Fringe would do better (and it has) but I have my misgivings about "The Garden of Unearthly Delights" - a venue I have never been to because it is in the parklands. Have you ever tried to push a manual wheelchair over thick lawn?  It's not easy (impossible for some).  

Also, as far as I know there is only one accessible toilet in that park in a permanent toilet block. As for  'portable' toilets, I haven't had much joy with their access in the past either.  I could be totally wrong about the access to this venue but haven't been bothered to investigate. Based on prior experience of other outdoor events, this is one I have placed in the 'too hard basket.'

Anyway, the positive is that, this year, the Adelaide Fringe has developed an "Access Guide". I got very excited about that. If you use their phone application, you can filter events by wheelchair access, accessible parking or toilets, audio description, Auslan Interpretation (the Australian sign language), open captioning, relaxed performance, tactile tours, hearing loop and language no barrier.  

Mobile phone cover
Crocheted by Jodiebodie
[2014]

I don't have the phone app but they have put little icons next to events in the big printed program.  I was disappointed at the lack of Auslan Interpreter icons.  The majority of events had the wheelchair accessible icon but with so many, I wonder how many of them are truly fully accessible or just in a range of accessibility levels.  It felt very unbalanced to have so many wheelchair icons but hardly any other access icons.  The ironic thing was an event to come and try Auslan that didn't have the Auslan icon in the program!  The main thing is that they now have disability access on their radar and are making positive steps.

It is disappointing that people with disabilities still need to make extra phone calls when booking to check the accessibility. (If only we could trust the advice in the programs etc.)  I also hate it when disabled people have to use a 'special'** phone number that is different to the normal booking number, meaning we cannot book through the regular online system if we have disability access needs. (This is still the case in cinemas too. Don't get me started on cinemas!) What if the person's disability makes it impossible to use the phone?  

The Adelaide Fringe is promoting "Access Champions" - a noble idea, I'm sure: 

"Need support with venue access? Chaperoning to your seat? Advice on accessible shows? Please request an Access Champion when contacting the Accessibility Booking Line. Access Champions are volunteers with training in inclusion, disability and access requirements."

- Adelaide Fringe Access Guide

The fact that one can speak to someone with proper training in access is fantastic and I am excited about that but it is also bittersweet.  

I am a bit miffed that the Adelaide Fringe hasn't included access training across the board. If EVERYBODY involved in the festival had the proper training, we wouldn't need to be making extra phone calls on special phone numbers that the rest of the general population don't need to do!  The word 'segregation' comes to mind.

How nice would it be to be able to just ring up on the regular number and have everyone on the phones properly trained and briefed about access.

Here's the good bit though.  This is the first year the Adelaide Fringe has put in the effort around accessibility.  I think it is worthwhile - a few weeks ago, a representative of 'The Fringe' was on radio stating that their ticket sales were up by 18 per cent on the same time last year.

18 per cent. 

That figure looks familiar.*  

Coincidence?

* According to the National Census data, 18% of Australians have a disability. 
That's 1 in 5 people.
** In the context of disability, the word 'special' is an offensive euphemism:  " 'special' often means 'a bit sh*t' " (Stella Young)

P.S.  A fabulous example of inclusion: 

This week, I had the privilege to experience the wit and wonder of the awesome Tim Minchin kicking off his Australian tour in Adelaide. His impressive performance could be enjoyed by a wider audience due to a wheelchair accessible venue and provision of Auslan interpreting plus audiovisual cues including text in the stagecraft. 

Deaf interpreting services work both ways too - not just aiding the hearing impaired but raising awareness of deaf culture and giving the entire audience a chance to learn about Australian Sign Language. Far from it being a distraction, (a common complaint by those who don't want to make the effort) it enhanced the performance. Excellent!

Links to Further Information

Adelaide 500: https://superloopadl500.com.au/

Adelaide Festival: https://www.adelaidefestival.com.au/

Adelaide Fringe: https://adelaidefringe.com.au/

Auslan Signbank: http://www.auslan.org.au/

Australian Bureau of Statistics: https://www.abs.gov.au/Disability

Perpitch, Nicolas, "Fringe World Festival dubbed 'inaccessible' for wheelchairs as disability advocate left on stage" online article, ABC News, Australian Broadcasting Corporation, updated 21 Jan 2019, 6:28pm: https://www.abc.net.au/news/2019-01-21/wheelchair-user-forced-to-sit-on-stage-at-perth-fringe-festival/10732254

Tim Minchin: https://www.timminchin.com/

Young, Stella, "The Politics of Exclusion" ABC Ramp Up, online article, Australian Broadcasting Corporation, 26 April 2013: http://www.abc.net.au/rampup/articles/2013/04/26/3745990.htm 

Related Posts on Lupey Loops

"Access All Areas: Stella Young", 9 January 2015: https://lupeyloops.blogspot.com/2015/01/access-all-areas-stella-young.html

"Access All Areas: International Access Symbol", 14 November 2014: https://lupeyloops.blogspot.com/2014/11/access-all-areas-international-access.html 

"Heatwave: Hot & Spicy Phone Cover", 8 February 2014: https://lupeyloops.blogspot.com/2014/02/heatwave-hot-spicy-phone-cover.html