Inclusive Cultures Blog – The missing link: leading from the front line
In this blog Rachel Moorhouse reflects on their experience of the Inclusive Cultures programme.
I was absolutely buzzing to be selected to take part in Inclusive Cultures – a rare opportunity to learn from disabled professional artists and coaches with invaluable lived experiences. Inclusive Cultures also let me work alongside a group of brilliant arts leaders passionate about improving accessibility and inclusion.
How did I come to be part of Inclusive Cultures? Here’s the short version!
In 2016 Sarah Emmott asked me to direct Declaration, an autobiographical play exploring her journey towards ADHD diagnosis. We’d worked together before, and shared a drive to create work that was useful and accessible, that challenged audiences and helped create positive change.
During the creation of Declaration, we shared and learned so much. We understood what we each needed to do our best work and put measures in place to make sure that was possible. This helped shape our approach to audience care and access, as well as working with other creatives. We developed a comprehensive programme of supporting activity and access provision to accompany Declaration on tour.
In her case study of Declaration, Gerri Moriarty wrote: “Of the 3,623 people who saw Declaration, 30% identified as neurodiverse, deaf, or disabled. These attendance rates are cause for celebration, given that, in the UK, disability remains one of the most significant barriers to people enjoying the arts. For 21% of the audiences, Declaration was their first theatre experience and for 51% it was their first visit to the venue where the performance was taking place. The content of the show is important in attracting attendance from people who are disabled, neurodivergent and newcomers, but so is the level of care Art with Heart show for their audiences, revealed in their meticulous attention to detail.”
The Head of Programming at one venue noted, “The thing that makes your company stand out was that this wasn’t just a performance it was a complete care package for your audiences.”
An audience member with ADHD wrote on social media, “This is genuinely the only performance that I have EVER enjoyed from start to finish in my entire life… I walked in on my own and felt a bit self-conscious until I saw Sarah going around the audience and introducing people to each other. She came and spoke to me and made me feel at ease… Noise providing headset were provided so I wasn’t anxious about struggling with sensory overload and there was a big sign saying please feel free to leave at any point if it’s all a bit too much!!! This all made such a difference to me.”
After touring Declaration, I took up the role of Co-Creative Director at Art with Heart, the company Sarah founded, and together we made a commitment to put care at the centre of everything we create. Since Declaration a lot has happened including a huge shift in my own health, and I found myself re-entering the arts industry as a disabled artist. I began to experience first-hand just how inaccessible our industry is to so many. This only strengthened my desire to make more accessible, inclusive and representative work.
Then I got the place on Inclusive Cultures.
The action learning group sessions, led by an experienced coach in which we explore solutions collectively, were particularly invaluable. In one session, I brought a question I’d been asking myself for a while:
‘How do we ensure our access practices and standards are maintained while in someone else’s space?’
As a small arts organisation without a physical home, our work takes place in other people’s spaces, from theatres to libraries, schools to community centres. This variety has its positives; we can connect with a broader spectrum of people, and being in a familiar environment can help participants and audiences to feel comfortable. The downside is that we have very little control over the space and ultimately, no matter how much we prepare and put provisions in place, we are reliant upon staff and volunteers at these venues to uphold these practices.
Recently, there has been a long overdue increase in conversations around access in the arts. Many arts organisations have launched programmes and schemes to improve access and address the lack of representation of disabled artists in leadership positions. Though much of this work is genuine, with venues taking an active interest and investment in access, sadly some motivation is to appease funders. Either way, these conversations are often not translated into action, and much of what we prepare in advance is not implemented.
I believe the root of this problem is that frontline theatre workers who deliver, manage, and oversee events are too often left out of the loop or not given vital information. The knock-on effect of this can be incredibly damaging to audiences and artists.
At one venue we had arranged to run a touch tour for visually impaired audiences prior to a performance. When we arrived the floor in the performance space had not been flattened, which meant that wheelchair users could not fully access the stage to interact with the set. It transpired that the technical staff on duty were not given the correct information, despite us having extensive conversations with the venue. At another venue front of house staff gave incorrect information regarding the age rating for our play, which resulted in us having to turn away a parent who brought their 7-year-old to see a production rated 14+. Age guidance is a vital component in safeguarding audiences and despite us sending over a box office briefing sheet with the relevant information, it appeared that this had not been shared with box office staff and the volunteer ushers on duty.
I decided to speak directly to these frontline workers: Technicians, Front of House managers, Box office assistants and volunteer ushers. I contacted a cross section of people who work/ed in a variety of settings from theatres to educational institutions to festivals, asking them to fill in an anonymous survey: The Missing Link.
Here’s what I found out from what they said.
First, some stats, because who doesn’t love a stat:
- 66% of respondents deal with both audiences and artists in their current role, 34% solely with artists.
- Two thirds of respondents hadn’t been provided with a copy of their employer’s safeguarding policy, code of practice or accessibility policy.
- 100% of respondents were either ‘rarely’ or ‘sometimes’ involved in conversations / decision making prior to an event or performance taking place.
- Only 1 person had been asked about their own access requirements.
- Two thirds of respondents had taken part in staff training.
Some observations:
- When asked about advance information on events or visiting artists, it seems
minimal information reaches the people who need it. A technician noted that they are provided with, “Only tech info they thought we needed”. A front of house manager said they were sent, “company name and room booking, potentially told if they are wheelchair users in high numbers or if an event is relaxed”. Someone who supported artists on a large festival replied, “I would be involved in some production meetings; however, I was brought on quite close to the festival so I was constantly playing catch up.”
- Very few respondents were advised about access needs of visiting artists and audiences in advance. A front of house manager said they only knew “what’s in the booking notes”. A technician said that they were rarely passed information ahead of an event: “Artists get frustrated with us as they have sent information, and we must try and get up to speed. It makes me feel anxious and can affect the output.”
- When asked, what information they were given about the access provision that has been put in place by visiting artists, the answer was a resounding, ‘nothing’ across the board.
- It is very rare that the access needs of those working in front line jobs is considered. As one person put it, “We can’t look after people, if we aren’t being looked after.”
- It was encouraging to read that two thirds of respondents had taken part in staff training, specifically relating to accessibility, diversity, inclusion or safeguarding.
- It was great to read that someone had used their experience to improve systems for others: “I have moved into a management role now, so I have tried to rectify this by keeping the team up to date with access and support needs for both artists and performers.” A former front of house manager said, “having a senior staff member whose job was centred on accessibility was helpful because it meant we had someone who was always centred on that”.
The Arts Council recently announced a new UK-wide access scheme which aims to improve the experience of deaf, disabled, and neurodivergent people when attending creative and cultural events. Through ‘All In’, the Arts Council plans to; introduce the first UK-wide accessibility standards for the creative and cultural sector; offer training, resources, and support to help organisations meet these standards; create a digital system that allows people with access requirements to create a profile that they can securely share with venues; connect organisations with suppliers that can help improve their access provisions and provide insight and data to give them a better understanding of their audience’s access needs.
It sounds great on paper, and I hope that organisations get behind the pilot in 2024. However, unless we empower our front-line theatre workers and take them with us on the journey, we will continue to face the same problems.
I am keen to continue conversations with front line staff, cultural leaders as well as staff across all departments to better understand what can be done to help them support the access needs of audiences and artists, and to uphold any pre-established access provision provided by visiting companies. If you are interested in being part of the discussion you can contact me via [email protected] or fill in the survey here.
In the meantime, here are some suggestions from staff working on the front line:
“I think honesty and communication from all sides about what is needed but also what is possible at the venue. If everyone understands the parameters it would stop a lot of issues.”
“It would help to be involved in projects and conversations earlier, such as having direct meetings with programming teams about what has been offered and what I will need to support on.”
“Receiving Level 1 BSL training and having access to the Visual Story that audiences see so we know things that should/shouldn’t change. As well as usher’s having debriefs on access needs specified by audiences.”
“There needs to be a system for people to ask for access requirements in advance and they need to be shared with us!”
“I’d like to see a better work culture for all staff to help avoid burn out and better look after us.”
By Rachel Moorhouse- Theatre Maker & Producer, Co-Creative Director at Art with Heart
Themes Alumni Journeys Inclusive Leadership Practice Qualities of Leadership
