Abstract
Venue managements often think they have provided for individuals with complex needs if there is some form of wheelchair access when, in fact, they have merely provided a token adaptation for audiences with just one of many complex challenges. Disabled audiences often avoid public arts events, due to physical barriers to attendance, but also aesthetics such as flashing lights, loud noise, confusing narrative, etc. which can create confusion, discomfort, and distress. Fear of public embarrassment caused by own behaviour such as experiencing meltdowns, needing to use the bathroom frequently, displaying physical symptoms such as tremors, echolalia, etc further deter such individuals from attending public theatre events. Many individuals with complex needs therefore avoid attendance altogether. Such individuals are indirectly denied access to arts experiences as envisaged by the Article 27 of the Universal Declaration of Human Rights and therefore denied the opportunity to become involved in enriching, integrated arts experiences. This study is an account of the process of curating an Inclusive Arts Festival for audiences with complex needs in Cape Town, South Africa where I had to consider questions around the target audience and how to invite the audience into safe curated spaces.
Presenters
Margot Marie WoodDirector, Theatre and Dance, Storywood Inclusive Arts, Western Cape, South Africa
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
The Arts in Social, Political, and Community Life
KEYWORDS
Disability, Accessibility, Inclusive, Safe spaces, Curating
