At Tilting the Lens, we value Disabled people as experts and innovators. In our audit, design and strategy work in the built environment, we partner with Disabled people who work with us to develop and co-design solutions to both small and large barriers. We believe that lived experience is intellectual property. 

Accessibility in the built environment often focuses on compliance, a minimum set of standards, that differs by country and region. These standards are informed by a limited range of disabilities and access needs. When we talk about access, it can become very technical, and the sole focus and expectation is often communicated as reaching compliance.

Lei Crowe: “If there is just, ‘I have to meet these set parameters in order to be compliant and accessible’, does that mean that it just stops people having to think about Disabled people and how we’re actually going to navigate or use a space?”

As a majority-Disabled team, Tilting the Lens partners with Disabled people through our Research Hub to co-design solutions for our clients in the public, private, and cultural sectors. This has included designing accessible packaging, auditing and designing accessible AI-based customer service solutions, designing fair reasonable adjustment processes, and designing office and store spaces that support all employees to be successful.

> Learn more about Tilting the Lens services in the built environment. 

As part of Tilting the Lens’ continued re-investment in the Disabled community, and our desire to open-source information, we host free webinars every year. Over 350 people signed up for this webinar. 

For this webinar, we wanted to reframe the conversation around the built environment by listening to Disabled people and with their lived experience and expertise, imagining what it would be like if they had a greater power, leadership and say in how a building, place, or space was designed. We also discussed what’s missing from existing infrastructure, and the meaningful elements that are often overlooked.

Scar Barclay: “It does seem to be this tension around what is operationally done versus what is built-in physically. And it’s interesting how, quite often when you feel that you have fulfilled the compliance access aspect, but there isn’t that translation into how people are trained to operate or work in those spaces, or talking through exactly what might happen.”

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Our panellists

The panel included four Disabled people who are working across journalism, architecture, teaching, research, and important voluntary services. They were: 

  • Scar Barclay (they/them), a neurodivergent designer, educator, and writer who is part of The DisOrdinary Architecture Project. 
  • Peter Torres Fremlin (he/him) is the creator of a weekly newsletter, Disability Debrief, and previously worked with international organisations, including UN agencies. 
  • Lei Crowe (they/them), a neurodivergent and chronically ill hobbyist researcher focused on queer and crip theories, and sexuality. 
  • Heylove Robert Mark Sr (he/him), a disability activist and advocate with 16 years of experience, currently serving as an Administrative Assistant at Age Action Ireland. 

Watch the webinar recording

Webinar recorded on May 6th 2026

Webinar Transcript PDF (2MB)

Key takeaways from the webinar

Our definition of accessibility is always rooted in multi-modality. You can watch the conversation back via the video, you can use the transcript, and below, you can find our key takeaways from the discussion. These are: 

  1. Prioritising candid information
  2. Understanding sensory needs and social acceptance
  3. Designing for spontaneity and privacy
  4. Co-designing with Disabled people as experts
  5. Ensuring equal access to to safety and escape
  6. Embracing accessibility hijacking and creative access

1. Prioritising candid information 

All panellists discussed the importance of sharing honest, clear accessibility information in advance. This allows Disabled people to make informed decisions, and prepare themselves for various environments and scenarios. Lei spoke about the essential nature of this communication and transparency for those with dynamic disabilities.

Lei: “I think it’s important to be upfront about what is or isn’t possible at a space or event, so a Disabled person can make an informed decision. I have a dynamic disability, and if I knew there were a few steps, and definitely no ramps, I know I could use a walking stick that day instead of a wheelchair. How do we make something accessible? There are a million different ways people could have barriers to entry to a space, so you are never going to cover them all. But if you are upfront and say these are the barriers, then you can start troubleshooting how to help them.”

The conversation also underlined how accessibility is not just about physical features; it also involves how warmly we welcome one another and the important information we share about how to use a space.

Peter spoke about a local café that he wanted to visit, but as there were steps and no visible ramp, the message, “I am not welcome”, was clear to him. However after speaking to the staff, he learned that the ramp was just hidden away with no signs or messages indicating its existence.

Peter: “Of course we have a ramp. I mean we didn’t put a sign to it, we didn’t tell you about it, there is no way that you would know that. Your experience from all these other places suggests they might not, but of course we do. So they have a little ramp, and they bring it out, and it’s beautiful. I can go in the cafe and have a sandwich and use the accessible bathroom they’ve got.”

Communication is a key element of accessibility. It is great that employers, restaurants, museums and retail stores are increasingly asking Disabled people about their access needs, but this also puts a burden of responsibility on Disabled people. It would be more effective if they shared honest information up front so that Disabled people can respond in an informed way, and if needed, ask further questions.  

2. Understanding sensory needs and social acceptance

No two Disabled people have the same lived experience, even if they have the same disability.

In built environment projects, designing for and with Neurodivergent people has always been part of our practice, and is also becoming increasingly important for our clients in the private and public sector. Often, the first solution that is requested for Neurodivergent people is a quiet room or a sensory room. In our webinar, it was re-iterated by both Lei and Scar that these are two different solutions for different access accommodations, but typically they are treated and understood as if they are the same. Both are safe places for people to decompress or reset their senses in busy or stressful environments, but in very different ways. For some Neurodivergent people, the most accessible way for them to de-sensitise in a space is to scream, release energy and emotion, while for others, their preference is to be in a low-lit space in silence.

  • A quiet room is usually located away from the louder or busy areas at an event. Typically, this will be a quiet space that includes comfortable seating, soft lighting, and fidget tools that may help someone to decompress. 
  • A sensory room is a space that embraces sensory stimuli. Sensory rooms are often stocked full of many different types of equipment. This equipment is used to assist people to focus on the present moment and to better process sensory information. Stocked equipment may be provided for balance, movement, calming pressure, or fidgeting behavior.

Where there is only a single provision put in place to meet these very divergent needs, one person’s access needs impinges on the other. Designing for both solutions and being clear in communicating what is and isn’t available, and how spaces are most likely to be used is a short term and essential piece of accessibility.

Lei: “The conference is called, Autscape, and I would describe it as a residential anti-conference run for and by autistic people. I find the terms like sensory room or sensory space is used synonymously with a quiet space, when there are actually two aspects of sensory needs, and they can exist within the same person. This anti-conference is the only space that I have seen where they have two different sensory rooms. One is quiet, and you are encouraged not to talk, but there are some fidgets and low lighting. And then, on the other side of the campus entirely, is the sensory-seeking sensory room where it’s music blaring, and people can just scream if they need to.”

There is a need to rethink a sensory approach to design beyond the traditional ‘quiet space’ to also embrace people who are sensory-seeking, and to challenge the social acceptance of disability-related behaviour types in public spaces.

3. Designing for spontaneity and privacy

We learned in the webinar that Disabled people often need to prepare themselves to enter a space. But, like non-Disabled people, our ambition should also be that Disabled people get to be spontaneous, and get to live and exist in the present. This came up in conversation, particularly in relation to transport, as we learned that some access provisions can rob a Disabled person of spontaneity and could be an invasion of privacy. Some public spaces require Disabled people to give advanced notice of their visit so that access provisions can be put in place. This is often framed as a way of managing capacity and resources, but we can’t forget the human cost. 

Heylove: “I have to call the train station for them to arrange their accessible ramp for me to be able to get on board a train to go to school. I have to give my personal details where I am going every time I am going out, […] so it’s kind of weird. I believe getting on a train, there should be some automatic ramp that I should be able to access if I am having an emergency or want to have some spontaneous trips around, so I need to call somebody to come help, which doesn’t sound right.” 

While there is a level of acceptance that this may be necessary for some older sites, planning for efficient accessibility in newer public spaces should offset this requirement.

The primary goal of accessibility is to enable equitable experiences and independence for Disabled people and others with access needs. Accessibility is iterative, and when we have resources and provisions in place, we should feel empowered to continue to gain feedback, audit and iterate our solutions, so we can continuously improve.  

4. Co-designing with Disabled people as experts 

When designing buildings, public places and spaces for society as a whole, those that are tasked with design responsibilities should be representative of society and welcome everybody. This allows us to bring in the perspectives of different kinds of people, and to design public spaces that focus on how different people use buildings and public areas across the human lifecycle. We learn that society’s needs are often complex, overlap with other parts of identity, and change as people get older.

Deliberately co-creating with Disabled people, as early as possible, will be fundamental  to the design process. When buildings and public spaces truly reflect how people will actually use them, the result will be spaces that are more environmentally and socially sustainable.

Designing without Disabled voices leads to systemic exclusion, while co-design drives more effective solutions. Disabled people must be recognised and valued as experts, innovators, and decision-makers.

Peter: “I write a newsletter called Disability Debrief, and the idea is that disability gives us a new lens on the world and new lens on design and how we use spaces. The lived experience is so diverse, the way that Disabled people move and see through the world and experience it shows us a new way of understanding spaces and accessibility and how they’re used. Another thing as a designer that’s important to do, as we have all kind of been saying, is finding ways to listen to that diversity and feedback and co-creation with Disabled people is a huge asset.”

5. Ensuring equal access to safety and escape

Of course accessibility is not only about getting into and around a building; it is also about feeling safe and knowing that if an emergency were to arise, you can evacuate safely and with dignity.

This should include the use of evacuation lifts in all new multi-storey buildings, and ensuring that building management plans and the fire safety plan include the needs of Disabled people 

That may sound daunting but it really involves giving extra thought to who may require assistance and planning ahead. For example how someone who cannot hear a fire alarm can be alerted visually or with vibrations, making sure that building users are familiar with evacuation routes where they are not the one they used to enter, and ensuring that the staff are trained in how to direct and support people who may need assistance to exit.

As with everything we have discussed, asking the Disabled person rather than making assumptions about what they may need is important.

Scar: “I want people to be aware that I am in the U.K., and we obviously had Grenfell in the last few years, and that caused revisions to fire regulations. One of the things they didn’t adopt is around Disabled people having a right to escape. There was one aspect around them putting PEEPs (Personal Emergency Evacuation Plan) in place for people in residential buildings, and not making it difficult and that was the thing that got omitted. We think of fire regulations being robust, however, they have let Disabled people down and there needs to be conversations on how people experience refuge spaces and being left in refuge spaces. So the measure I would put in is that all new builds have to put evacuation lifts in, and they need to do proper training around the management plan, around safety, and around their fire strategy so people reliably enter buildings and know they are going to be safe.”

6. Embracing accessibility hijacking and creative access

Lastly, a phrase that came up again and again during the webinar was “accessibility hijacking”. The phrase was introduced by Lei to talk about the innovations for access they have seen by Disabled people, specifically for organisations and individuals that are working with low-budgets. 

Lei: “[A Queer social group] found a way to have an accessible space for multiple different needs. They rented out a music rehearsal venue, and because of the needs of instruments being quite heavy, all of the various access differences on the floors were negotiated with very gentle, sloped ramps, and because of the needs of people who are rehearsing in this space at the same time. It’s that ingenuity, when you are locked out of built-for-purpose options, that I love in queer and Disabled communities, that they hijack accessibility.”

Scar talked about their love for Carmen Papalia’s piece, “Mobility Device”. Papalia is a Blind artist who explores wayfinding and new methods of navigating the world. In 2015, Papalia replaced his white cane with a marching brass band to explore a London park. 

Scar: “Disabled people are always hacking their environment because the built environment has not been designed with diverse Disabled people’s needs in mind, so we are the most kind of creative people to respond to an environment that hasn’t desired us back. […] I really, really loved Carmen Papalia’s Mobility Device. […] It wasn’t so much that the brass band were necessarily leading him, but he was leading the brass band and starts to question a lot of these ideas about wayfinding, about playful understandings around accessibility and how we relate to other people, whether it’s about independence or interdependence.” 

We often see that the simplest approach is the most effective, accessibility does not need to mean a big spend. Often, offering different options to people with a range of accessibility accommodations ensures that everyone has a welcoming experience. Creative and simple solutions such as signage and colour contrast, printing information in larger fonts, providing a resting place, and offering different heights and types of seating.  

This webinar has focused on the built environment but how a building is used, but design alone cannot be the solution. As we know from our work in people and workplace culture, and product and service design, it is the framework of people, digital and infrastructure that create true accessible environments, cultures, and societies.

Q&A from the audience

We were so pleased that our webinar audience joined us from at least 15 countries and throughout the conversation, they were very engaged with information, feedback, resources and questions. Due to the timing, we didn’t get to answer all of their questions, but we wanted to share them below along with some responses to spark further conversations.

P.S. They also shape our planning for future webinars!

Universal design and participatory design

Question: Why is there not more evidence of participatory design?

Answered by Sinéad (Tilting the Lens): This is a question that we spend a long time thinking about. Participatory design is sometimes a synonym for co-design, or consultative design. But, the reality is that the process, outcomes and power structures for each of these approaches greatly differ.

I do think that we are seeing more examples of co-design and of new policies, programmes being developed with Disabled people. Some of this progress is because of requirements under the UN Convention on the Rights of Persons with Disabilities (UNCRD). The UNCRPD sets an obligation for governments and public bodies to meaningfully engage with Disabled people in public decision making.

But, we are also seeing great examples of new buildings, new products, and new ways of working being co-designed by Disabled people. Over the past year, we’ve been fortunate to co-design banking apps, corporate office environments, adaptive fashion and communication strategies with Disabled people. We’ll tell you about them in our newsletter very soon. 

Question: Why isn’t Universal Design applied more often in both physical and virtual spaces?

Answered by Sinéad (Tilting the Lens): The terminology of Universal Design has been in use for a long time, but still, remains largely misunderstood and is often measured against the same prerogatives and the same checklists used to measure compliance with established regulations and guidance, rather than being embraced as a design philosophy.  

At Tilting the Lens, we are specific in our approach and in our language. We deliberately speak about our work as human-centred design. We feel this is an evolution of universal design and inclusive design.

Adaptive fashion

Question: What are specific apparel needs and considerations for independent dressing or comfort? What are the primary difficulties found in clothing accessibility?

Answered by Laia (Tilting the Lens): In 2025, Tilting the Lens published a report called, “Co-designing adaptive fashion with the Disabled community”. The report was based on co-designed research with Disabled people globally about their barriers and difficulties around fashion. The report also provides a framework for the fashion industry to move beyond basic compliance to genuine inclusion.

Protected buildings

Question: What is the panel’s view on protected (historic) buildings that refuse to make adaptations to allow for access?

Answered by Orla (Tilting the Lens): There is a misconception that a building protected for its heritage is exempt from accessibility legislation, which is not always the case. The approach differs across the globe and it can be complicated, but generally speaking, while the owners or managers of these buildings must seek additional statutory permissions, that does not mean they do not need to consider what can be done. And often, the onus is on them to justify why heritage should be prioritised over accessibility.

Advocacy in the workplace

Question: How can a neurodivergent person, especially one at a lower level of a company’s hierarchy, successfully advocate for organisational awareness of diverse access needs? 

Answered by Emma (Tilting the Lens): I really like this question and wish I had explored it earlier in my career. Since much of my work now focuses on improving the reasonable adjustments process in organisations, I would suggest starting by researching your employer’s policies, processes, and materials on reasonable adjustments and disability, as well as their overall commitment to inclusion and access. This is important to understand how you can access the supports you need to be successful, whilst also being an opportunity to see if their stated values match their actions. Talking with members of Employee Resource Groups (ERGs) can also be very useful. Even if there isn’t a specific group for disability or accessibility, other ERGs can give valuable advice on how to advocate within the company. Also, I would seek out a senior colleague who is an ally or has openly shared their neurodivergent experience. Building a mentoring relationship with them can be really rewarding.

To give you an example of this kind of work, I recently supported ASOS on enhancing their engagements with their Disabled employees.

Where do I start with accessibility in the built environment?

Our panellists weighed in with their ideas about where to start today. 

Heylove: “First thing that needs to be done is to do an accessibility audit and with other Disabled people and fix the simplest barriers immediately […] like adding portable ramps and the signs and prioritising seating areas. Spaces where Disabled people would occupy.”

Peter: “One of the distinctions I make is between access hardware and access software. The hardware of these physical things, whether the steps, the lifts, or the tactile surfaces or hearing loops. They are normally harder things to change. But if you’re a designer, one thing that you can do from the first point is change the software. Change that way how people are greeted and what information is available, and how the space is used, the processes that you get support or adjustments.

At Tilting the Lens we say to start where you are. We believe that meaningful change is often about progress and iteration, not perfection. It’s about all of us, at every level, embedding these practices into our budgets, contracts, leadership commitments and day to day tasks. 

References and resources

From the conversation:

Tilting the Lens resources:

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Headshots of Ade Rawcliffe and Bella Roberts collaged on a green background
Ade Rawcliffe and Bella Roberts

Ade Rawcliffe is the Chief People & Inclusion Officer at ITV, overseeing HR, Workplace Services, Global Risk, Duty of Care, and the Diversity, Equity, and Inclusion team. With over 20 years in television, Ade started in production on shows like Big Brother and This Morning, then led Channel 4’s Creative Diversity team and delivered their 360 Degree Diversity Charter. In 2017, she joined ITV as Head of Diversity Commissioning, later becoming Director of Creative Diversity and Chief People Officer. Under her leadership, ITV launched an £80 million Diversity Fund, created nearly 200 opportunities through Step Up 60, and introduced inclusive internal programmes like Amplify and Amplify 2.0.

Bella Robert is a young, ambitious, Disabled, editorial trainee and content creator, whose quick wit, humour, and honest storytelling have resonated with audiences around the world. Her contrast between “IG vs Reality” and authentic, reality-based approaches, advice, and recommendations is refreshing and much needed. In her own words, “Why lie?”. 

Our goal at Tilting the Lens is to share engaging, thought-provoking stories and new perspectives. We heard from two individuals at different stages of their careers, both committed to making a difference, through policy, practice, storytelling, representation, or narrative. They provided valuable insights and reflections for others in the industry, those looking to follow similar paths, or anyone interested in learning from diverse lived experiences. 

A huge thank you to Ade and Bella for joining us. We hope you enjoy the recording and our key takeaways below. 

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Watch the recording

Webinar recording of Inclusive media: Accessibility in TV and film

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Our key takeaways

1. Accessibility is cultural, not just procedural

Ade stressed that accessibility extends beyond processes like captioning or HR policies. It’s about the established workplace culture. ITV uses tools like Accessibility Passports and leadership education to normalise adjustments and encourage openness. 

“I do think there’s something more than just the processes; it’s about the people and how the people implement those processes, because sometimes the process is not enough, sometimes it’s about how people interact, and what they are willing to share.” – Ade Rawcliffe

2. Collaboration among competitors accelerates progress

Thanks to efforts like the TV Access Project, UK broadcasters work together to improve accessibility, even though they are competing for viewers. Ade also encouraged other industries to come together and create similar shared models that can lead to positive, sector-wide changes through teamwork.

“When we’re making television programmes, of course, we’re in competition with Netflix, which Bella worked for, and the BBC; we’re in competition with them. But when it comes to trying to change the world around accessibility, we often work together and learn from each other. We have something called the TV Access Project, something across broadcasters. So I would say to people who aren’t in broadcasting or television, think about how you can work with other people in your sector, because I think we’re stronger together.” – Ade Rawcliffe

3. Disabled leadership is essential

Representation isn’t just about hiring; Ade emphasised the importance of retention, promotion, and leadership opportunities for Disabled individuals. She highlighted ITV’s leadership programme for Deaf, Disabled, and Neurodivergent employees, which has had a positive influence on senior management.

“[The leadership programme] had an impact on the senior leadership team, because they were all being sponsored by someone on the ExCo or PLC Board. And just learning about how you have people with different needs coming together and making a space accessible for everybody. When you see that in micro, you think, how do we scale that up so all our meetings and everything we do runs like that.” – Ade Rawcliffe

4. Authentic narratives require Disabled people behind the camera

Bella highlighted that genuine representation isn’t just about featuring Disabled characters; it’s really important to have Disabled individuals in production and post-production roles too. She mentioned that without Disabled editors, writers, or crew members, stories might end up leaning on stereotypes rather than offering real, authentic perspectives. Bella’s own journey started through a BBC access scheme, which she believes should be expanded and adapted – perhaps by making it easier to skip the physically demanding entry roles like ‘Runner.’

“Why not have schemes that could bypass the runner stage and go straight into assisting, because we need assistants. And I think that’s already a barrier in place for Disabled people, especially people who are physically disabled, to even get into the industry, when it’s so drilled into you that you need to be a runner and make coffee and tea. What do we do with people who struggle physically to be able to do that? And how can we make it better? For me personally, I would love more schemes in place that would skip the runner stage and go straight into assisting.” – Bella Roberts

5. Social media as both a career tool and an advocacy platform

Bella’s TikTok and Instagram presence have effectively helped her connect with opportunities, while also sharing honest insights about working in post-production as a Disabled person. Her sincere openness challenges “inspiration porn” and sets realistic expectations for those considering entering the industry.

“It wasn’t always my intention to come into content and be that voice in the Disabled community, but it just so happened to be. I love making content; it’s given me a lot of opportunities. And I think authenticity is so important. For me, I like to be real on social media, because why lie and say it’s easy, and everyone can get in, because it creates false hope for students coming in.” – Bella Roberts

6. Access Coordinators are vital but underused in post-production

While Access Coordinators are becoming more common in production, Bella mentioned she has never seen one in post-production, which is often an afterthought. She believes having people in this role could really make a positive difference for editors and other post-production staff by improving accessibility and allowing more people to participate in these jobs. 

To find out more about Access Coordinators:

More resources

Key takeaways from our conversation with Finnegan Shannon

At Tilting the Lens, we focus on discussions that challenge conventional, or outdated, views on accessibility. In the latest episode of our webinar series, “Beyond Function: How Alt-Text Becomes Art”, our CEO and Founder, Sinéad Burke, had the privilege of speaking with Finnegan Shannon. They are an artist whose work reimagines accessibility beyond compliance, infusing creativity, intention, and even joy into the practice of alt-text, disability culture, and inclusive design.

We explore the fascinating journey of “Alt-Text as Poetry” and the significant impact of accessibility in our public spaces. Access isn’t just about functionality—it’s also about being expressive and empowering, allowing everyone to engage and enjoy their surroundings fully.

YouTube video of webinar recording. Closed captions are available.

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1. Alt text: more than compliance—it’s an art form

Alt text is a text description of an image or other visual element included in digital formats. One of its main functions is to be read by screen readers, which are used by people who are Blind or low vision. Alt-text is often treated as a box-ticking exercise and something that must be ticked off rather than a feature that enhances the experience of an image.

In 2018, Fin and their collaborator Bojana Coklyat challenged this by creating “Alt-Text as Poetry,” a curriculum designed to shift this mindset. Through workshops, workbooks, and a dedicated website, Fin and Bojana provide resources and exercises to help individuals and organisations approach alt text, not just as a compliance requirement, but as an opportunity for creativity and inclusivity.

Fin on rethinking alt text:

“[It] came from this idea that maybe we can shake people out of this compliance-oriented mindset, if we frame this as a creative writing practice. Also, there’s been a lot of thinking that’s been done in the world of poetry that might be interesting to reference. […] that shows us that you can write something very short and concise that’s also very expressive.”

2. The importance of alt text in digital media

With the European Accessibility Act (EAA) coming into force in 2025, businesses must ensure their digital content is accessible. A 2024 report from WebAIM says that almost 96% of all homepages fail accessibility tests. These errors include not having correct alt text for images. Many websites and social media platforms continue to leave alt text blank or depend on AI-generated descriptions that lack nuance and personalisation. Sinéad, our CEO, founder, and facilitator of this webinar, is incredibly excited about what this means for the future of alt text.

Sinéad on the future of alt text:

“Alt text is becoming a legal requirement, but that doesn’t mean we should aim for the bare minimum. It’s a chance to create a richer, more inclusive internet that truly values Disabled users.”

“I think depending on where or who you engage in advice around Alt Text often the instruction is it should be no more than two lines, and it should be succinct and brief. What I have learned in my practice around accessibility is that there is more than one way to create access. And what is accessible for one person, even one person who is blind or screen reader user is not necessarily what another person wants.”

3. Who gets to belong in public spaces?

Fin’s work often highlights the lack of accessibility in museums, galleries, and public institutions. Their well-known installation, “This Exhibition Has Asked Me to Stand for Too Long” draws attention to how spaces are not designed for Disabled people to rest and engage fully.

Fin on designing inclusive spaces:

“As I was researching why there aren’t more places to sit, what I was learning is that oftentimes it has to do with curators and ways that they are imaging exhibitions that don’t include places to sit. And I basically realised if I made an art work that was also functional as a place to sit, it was a way of working around that problem. And kind of getting a bench into a space where there might otherwise not be a bench.”

Finnegan Shannon, posed next to a bright blue bench. Their handwriting on the bench reads, "I wish this city was more hospitable to my body's needs. Rest here if you agree." Finnegan is a boyish white person with a buzz cut. They are wearing a KF94 mask, a fluorescent lime shirt, a floral fisherman-style vest.
Installation view of In New York, Thinking of You at The FLAG Art Foundation, 2023. Photography by Steven Probert. Image description: Finnegan Shannon, posed next to a bright blue bench. Their handwriting on the bench reads, “I wish this city was more hospitable to my body’s needs. Rest here if you agree.” Finnegan is a boyish white person with a buzz cut. They are wearing a KF94 mask, a fluorescent lime shirt, a floral fisherman-style vest.

They also reminded us of the personal power we hold and the traditional systems we should question and change.

“I think sometimes it’s easy to forget that all of the spaces that we inhabit are not neutral or inherent. That they embody choices that have been made over and over. And those choices have an ideology.”

4. Reimagining the “selfie”

Fin describes “Alt Text Selfies” as a recent project that evolved from “Alt Text as Poetry” and is also a collaboration with Bojana Coklyat and a third collaborator, Olivia Dreisinger. The project reimagines selfies through a disability lens by encouraging written self-portraits, or “alt text selfies,” that emphasise sensory and emotional experiences. The approach challenges traditional image-centric self-expression and promotes inclusivity, making personal narratives accessible to a broader audience. By framing alt text as poetry, participants are invited to create thoughtful descriptions that reflect their identity and experiences.

Fin on Alt Text Selfies:

“I learned so much from the way that other people describe themselves. Both in terms of strategies for self description but then also I think there’s a really — it can be a really generous social interaction. […] And the idea of a selfie generally is kind of like sharing of a certain type of witnessing or allowing yourself to be witnessed I think is really beautiful.”

5. They push back, we move forward

We are witnessing intensifying anti-DEI efforts in the US and worldwide; art, activism, and access remain crucial tools. In a time where inclusion is under threat, rest, care, and accessibility become acts of defiance. We must amplify narratives that challenge oppression and envision liberated futures. Despite setbacks, joy and collective power endure, showing that resistance is a form of creation, not just survival.

Fin on the future:

“There’s so much bad news. […] I think about the way that medicare is being attacked in the United States. […] It’s so violent. I think for me, the work feels the same. The goal is always liberation for all people everywhere. And we keep moving towards that. And in ways that state structures are failing us, we need to build outside of that. I’m always inspired by mutual aid efforts and free clinics and things like that are showing what’s possible peer to peer. […] I think it’s so hard to process everything that’s happening. Taking it bit by bit and yeah, but I think for me trying not to get distracted from how I ultimately want the world to be.”

What’s Next?

This conversation reminds us that accessibility is more than just function—it is an opportunity for creativity, care, and collective change.

Thank you to Finnegan Shannon for sharing their insights and expertise and to everyone who attended the webinar. Let’s continue to make access beautiful, expressive, and, most importantly, human.

If you don’t want to miss our next webinar, make sure to sign up to our mailing list.

Key takeaways from our conversation on accessibility, art, and culture

Our webinar on January 21st was another exciting, educational moment for our team and all the attendees who spent time engaging with us in the chat and Q&A.

The webinar, hosted by Emma Shaw, Community and Impact Lead at Tilting the Lens, explored the topic of accessibility in art and culture. Our speakers were Natalie Kane from the V&A Museum (Victoria & Albert) in London and Siddhant Shah from Access for All in India.

Siddhant joined us live from the Coldplay concert in Mumbai, where he and his team were working hard to make the event as accessible as possible—a fantastic real-time example of accessibility in action.

The conversation highlighted the importance of understanding, rest, inclusion, and funding in advancing accessibility initiatives. There was also a strong focus on embracing a global and intersectional perspective to foster meaningful change.

Speakers:

  • Natalie Kane offered a brief insight into the V&A’s upcoming Design & Disability exhibition, which celebrates disabled creativity and production.
  • Siddhant Shah showcased Access for All’s impactful work in India, including the creation of inclusive libraries and efforts to enhance accessibility at art fairs and beyond.

Both speakers underscored the vital role of community engagement, the use of digital tools, and the power of collaboration in creating an arts and culture sector that is truly inclusive and accessible for all.

Siddhant spoke about the part of his work that brings him joy in his work. “I think the fact that people feel like art and art spaces are for them, too. That feeling that they face, when they come to the museum and we have been able to make the space more inclusive and accessible through design, I think that moment is quite joyful. Being able to give people the confidence that the museum also belongs to them, that they are an equal stakeholder of the museum.”

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1. The significance and benefits of prioritising Disabled production and creativity

Emphasising the creativity and contributions of Disabled individuals is vital for several reasons. It brings forth innovation, unique perspectives, and lived experiences that challenge conventional thinking and pave the way for groundbreaking ideas. Prioritising Disabled people’s artistic practices also enriches our cultural landscape, showcasing the diversity of human experiences and fostering empathy across communities.

Natalie spoke about the approach to the upcoming exhibition, Design & Disability at the V&A Museum – “There are so many interesting stories of people who have done incredible work to get us where we are now. And we wanted to pull out really interesting themes and conversations and methodologies and those kinds of things. So, we really want to arrive at a place of joy and power and reinvention.“

Incorporating Disabled voices when designing cultural spaces is just as important. This means understanding the value of rest and inclusivity, which not only benefit Disabled individuals but enhance the experience for all visitors. Organisations can achieve this by thoughtfully integrating:

  • Comfortable seating arrangements: Allowing guests to pause, rest, and recharge while enjoying the space.
  • Designated quiet areas: Creating tranquil retreats where individuals can reflect on their experiences without distractions.
  • Flexible pacing in programmes: Accommodating diverse needs to ensure that everyone, regardless of their abilities, can engage fully and comfortably.

By embracing these practices, cultural spaces can become more inclusive, welcoming, and accessible, allowing everyone to participate, create, and thrive.

2. Expand accessibility beyond the physical space

Accessibility in arts and culture isn’t limited to physical exhibition spaces. Digital tools such as audio descriptions, visual captioning, and sign language interpretation can significantly enhance access to cultural experiences. These tools empower individuals who cannot physically visit exhibitions to engage with art from the comfort of their own homes.

For example, online curator tours provide an ideal platform for incorporating these features. Virtual tours hosted on websites can include:

  • Audio narratives to explain the artwork for those who are Blind or have low vision. Great examples can be found on the Guggenheim.org
  • Visual captions to ensure important information is accessible to those who are Deaf or Hard of Hearing.
  • Sign language interpretation to enrich the experience for Deaf individuals.

In addition, offering background resources like interviews, articles, and other multimedia content can deepen the audience’s understanding of the artwork.

By prioritising digital accessibility tools, cultural spaces can foster inclusivity, ensuring that everyone, has the opportunity to connect with and enjoy art and culture.

Why not… Enjoy the artworks of the National Museum of Modern and Contemporary Art, Korea from your home with a virtual curator tour! Accessibility benefits everybody.

3. Breaking barriers for Disabled artists in arts and culture

The arts and culture sector shapes our worldview, yet Disabled people face significant challenges to participation, especially in non-Western countries.

Siddhant spoke about a residency partnership between the UK and India and highlighted the differences in support between the two regions – “Artists in the UK, they had support from the Government, in terms of having a Sign Language Interpreter, having a scribe writer. But in India we had to pay for all these facilities and that went out from the grant money. So that just puts in perspective that of course, we are growing a day at a time but it is still very different when you answer the question on the two sides.”

Key Barriers:

  • Accessibility: Many venues lack essential infrastructure like ramps, accessible restrooms, and adaptive technologies such as sign language interpreters.
  • Cultural stigma: Negative attitudes often marginalise Disabled artists, limiting their visibility.
  • Economic constraints: Limited funding and limited training or mentorship opportunities hinder career growth.

Despite these obstacles, advocacy and community-driven projects are driving positive change. Collaborative efforts between artists, cultural institutions, and disability rights organisations are creating more inclusive spaces.

Steps Toward Inclusion:

  • Increase accessible funding for Disabled artists.
  • Provide training on disability awareness for cultural professionals.
  • Create mentorships and welcoming programmes to support diverse talent.

By addressing these challenges, we can ensure Disabled voices are celebrated, enriching arts and culture for all.

Artists to know:

Bella Milroy

Finnegan Shannon and Bojana Coklyat, who did Alt Text as Poetry

Janet Cardiff

Jonny Cotsen

At Tilting the Lens, we are committed to advancing the conversation and moving the dial on disability, inclusion and accessibility, not only in gaming but across all industries and regions. Stay connected with us for more insights and upcoming events by subscribing to our Newsletter. Click here to subscribe.

You can also follow Tilting the Lens on our social media

If you would like to share any thoughts, questions, ideas for future conversations or ways we can make our events more accessible, please feel free to get in touch at: team@tiltingthelens.com

In 2021, at Tilting the Lens we held our very first live conversation, with renowned Korean-American sound artist, Christine Sun Kim. The interview was hosted on Instagram Live with our CEO, Sinéad Burke, and it is now available on our YouTube Channel. Below we have gathered a few key insights from the conversation regarding accessibility budgets, access riders, and advice for Disabled artists.

Thank you to Deaf interpreter Chris Tester and to Beth Staehle who joined us to help with voice and understanding.

Kim has crafted a renowned practice that considers how sound operates in society, deconstructing the politics of sound and exploring how oral languages operate as social currency. Musical notation, written language, infographics, American Sign Language (ASL), the use of the body, and strategically deployed humour are all recurring elements in her practice. Working across drawing, performance, video and large-scale murals, Kim explores her relationship to spoken and signed languages, to her built and social environments, and to the world at large.

What accessibility means to Christine

“To me, I would say that accessibility means that there’s no tension, that there’s a sense of welcoming, a lack of anxiety. To me, those are the experiences that would be experienced with accessibility whenever you encounter accessibility or you get access, you wouldn’t have to worry, you wouldn’t feel stressed.”

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On incorporating accessibility into budgets

“When you think about [accessibility] from the beginning, you’re always better off budget-, energy-, and time-wise.”

“In the future, I hope to see budgets start to consider accessibility and have that be part of the total operational budget, instead of it being something separate or an afterthought. I want to see it become a line item in the total operational budget and it be part of the plan from the beginning on how to provide accessibility.”

On accessibility riders

“So many artists like me […] have an accessibility rider ready. What I’m able to do is at least save time and labour on my side to answer some of the most frequently asked questions. But you’re right. Whoever is inviting us or saying that we’re welcome, or whoever is a person with privilege needs to take some responsibility and do some research on their own before reaching out. I will say, as artists, we want to be able to spend more of our time and energy on creating the work rather than doing the education or showing best practices, when that’s something you can kind of look up yourself or do on your own time, because it’s disempowering or it’s exhausting for us.”

“So, for example, we’re still in the pandemic, but if, let’s say, somebody asks me to have a meeting and they want to have an interpreter, I’ve got a rider ready for average day rates, best practices. If the meeting is longer than two hours, we need to hire two interpreters, indicating what are better platforms to use, communicating the work process of interpreters where they switch every 20 minutes or 30 minutes or so. It’s quite detailed. I will share that I just did a nice photo shoot with some friends and I for the New York Times, but the shoot was based in Berlin, and there’s no ASL interpreters in Berlin.

What I did is show some different images of how to work with interpreters, being that one interpreter could be on an iPad working remotely on a stand or working from a laptop. I had these visual mockups, if you will, ready to show and share with the New York Times team so that they had a sense of what this would look like when working with an interpreter. Of course, every situation is different and every interpreter works differently. But every time I encounter a new interpreting situation, I document it, and then I add it to the accessibility rider.”

On studio visits

“I make notes of some quick reads on Deaf culture, on different ways to work with Deaf people, because I’ve had a ton of studio visits where people will come to my studio and ask me to explain what it means to work with Deaf people, and that explanation takes up so much time that there’s only a few minutes left to talk about my work. But I just lost all this precious time on a studio visit trying to do that, so now I’ve come up with a quick read list for people to do to prep for studio visits with me.”

Advice for other Disabled artists

“I think I would say the bottom line, or at least the parting advice I have is pick your battles, right?

There are so many things that I choose to either ignore or turn away from just in order to preserve my energy and to ensure that I don’t have burnout. What I try to choose to battle is the things that impact me the most or the things that will have the greatest impact for generations to come.

As I’ve gone through my practice, I’ve actually kind of mastered or gotten better at two things:

  1. When I’m invited to participate in something, what I ask is, how accessible are all the platforms that this institution is on? Is your website accessible? Is your Instagram accessible? If I hear yes, then I’m more comfortable being a part of their exhibits or any other work that they’re doing in their institution, because I encourage the work that I partner with to be accessible.
  2. What I try to do if I’m interviewed for any kind of publication, is that I ask the publication to not interview just me as the only Deaf artist or the only Disabled artist, but to also interview other artists with disabilities in the future, and that I’m not the first and last artist with disabilities that this institution or publication encounters.”

 

On teamwork

“I would also add that I have been fortunate in my career to work with a wonderful group of colleagues, interpreters, and everything I do requires so much teamwork. This isn’t something I do alone. It’s the people that I work with that help push me and help me kind of take on the battles I need to, or they take on the battles I can’t. Right? We shoulder this responsibility together and take turns. In that way, I’ve been so lucky, and so I would advise you to build up your team. When you find somebody really amazing, maybe an ally in some system or some institution, at that point, you are good to go.”

More resources

Follow Christine on Instagram.

Sign up for our next webinar here.

Christine’s galleries are Ghebaly Gallery in Los Angeles and White Space in Beijing.

Christine Sun Kim in “Friends & Strangers” – Season 11 | Art21

The Sound of Temperature Rising | Christine Sun Kim | UNIQLO ARTSPEAKS

Christine Sun Kim uses her experience of deafness to caption Manchester

1. Accessibility is the outcome of inclusive design

A central theme of the discussion was that accessibility isn’t something to be added after the fact; it should be an inherent part of the design process. Bryce Johnson explained that accessibility is often misunderstood as a separate feature or accommodation rather than a natural outcome of good design.

“All accessibility really is, is personalisation that takes into account human diversity,” Johnson said, explaining that making products adjustable and flexible is key to creating truly inclusive experiences. He pointed to Microsoft’s Xbox Adaptive Controller as an example, which was designed not for users to adapt to the product, but for the product to adapt to the user. This philosophy pushes developers to create systems that are customisable, ensuring everyone can engage meaningfully.

The reason why the adaptive controller is called the adaptive controller, isn’t because you adapt to it, it is that it adapts to you.

For Bryce, designing with accessibility in mind means thinking beyond compliance. He believes that inclusive design leads to better outcomes for everyone, not just Disabled users, and that flexibility within our process and products is what we should strive for. He shared, “the Inclusive Tech Lab here does not try for one-size-fits-all. Often I have to push against industrial designers and other people who think they’ve cracked the code: ‘I can do it, I can make this one thing that works for everybody’. Designers have good intentions and big ambitions in how to create a universal product, but actually, creating something that is multimodal, that people can adapt to suit their specific requirements is not only more usable, but it invites even greater innovation.”

2. Gaming is not just a visual medium

SightlessKombat, a passionate advocate for accessible gaming, offered a fascinating perspective on the misconception that gaming is primarily a visual experience. As a gamer without sight he has achieved milestones in games like The Last of Us and Killer Instinct without relying on sight. Instead, audio cues, vibrations, and assistive technologies have allowed him to fully immerse himself in gaming.

“Gaming is seen as a visual medium, but that’s not inherently true,” said SightlessKombat. He went on to explain that audio design and adaptive technologies can provide a rich experience for gamers who are Blind or low vision. Games like The Last of Us Part 1 have made significant strides by incorporating a suite of accessibility features that create multi-faceted sensory experiences. We asked SightlessKombat about the desirability of classic games being re-introduced to the market with more accessible features. He said “the fact of the matter was, I was then able to sit down on my own terms, and play through a game that I had been waiting for nearly a decade to complete at that point, I was never able to play it without assistance. […] Remasters like The Last of Us Part 1 give us the chance to experience games that were previously off-limits.”

His experience underlined a broader truth: when developers include features like menu narration, navigational assistance, and audio cues, they unlock opportunities for a whole community of gamers who were previously excluded from the gaming world. This shift not only enhances the gaming experience for Disabled players but also enriches the industry as a whole.

3. Co-design and global testing are essential

The conversation also emphasised the importance of meaningfully collaborating with the Disabled community throughout the design and development process. Both Bryce and SightlessKombat stressed the need for developers to engage with Disabled gamers from the early stages of development to ensure that accessibility features are meaningful and effective.

SightlessKombat highlighted the significance of remote testing in a familiar environment, and global engagement: “you reach out to people from different parts of the world, offer them the ability to test remotely, and get feedback from a wide range of experiences. It’s essential for developers to consult not just with experts but with casual gamers and those new to gaming post-disability.” He shared his own experience working with The Coalition on Gears 5, where his feedback on navigational cues led to tangible improvements that made the game more accessible for Blind players.

On this, Bryce Johnson shared Microsoft’s philosophy at the Inclusive Tech Lab: “I have a discussion in our lab with colleagues, we call it ‘nothing about us without us’. It is to make sure that my colleagues have a constant set of opportunities to go and talk to folks from the Disabled community.” Both Bryce and SightlessKombat also talked about the need to ensure Disabled people are valued, that their expertise is budgeted and paid for. As Sinéad said, “lived experience is intellectual property.”

The Inclusive Gaming webinar underscored that accessibility is not a final goal, but an ongoing journey. Developers must continue collaborating with Disabled players and value them as experts rather than merely as the end user. When developers meaningfully engage Disabled players to be part of the process and integrate their insights into the game design, they ensure that the gaming industry can fulfil its potential as a truly inclusive space where everyone can play, and the requirements of Disabled players are met.

For more information:

If you’d like to explore more about inclusive gaming, we recommend these resources discussed during the webinar:

  • Special Effect and RNIB’s “Design for Every Gamer” initiative
  • Platforms like Can I Play That for further learning

At Tilting the Lens, we are committed to advancing the conversation and moving the dial on disability, inclusion and accessibility, not only in gaming but across all industries and regions. Stay connected with us for more insights and upcoming events by subscribing to our mailing list.

You can also follow Tilting the Lens on our social media

If you would like to share any thoughts, questions, ideas for future conversations or ways we can make our events more accessible, please feel free to get in touch at: team@tiltingthelens.com

Fatima Timbo aka Fats Timbo and Layton Williams celebrate the Smirnoff ‘We Do Us’ initiative in partnership with Tilting The Lens and Sink The Pink on November 29, 2023 in London, England. Photo by Dave Benett.

The campaign began in November 2023 with a colourful club night, full of pop music, drag queens and sequins, in London’s 26 Leake Street, a cool event space held in the arches of the iconic, graffitied tunnel that runs underneath Waterloo Station. Hosted by Fats Timbo and Layton Williams, and with performances from Melanie C, Sink the Pink, Drag Syndrome, Leigh-Anne, Mae Muller, and… me, We Do Us shone its spotlight on Disabled and non-Disabled entertainers equally.

Sinéad Burke, the CEO of Tilting the Lens, had a clear goal for this night. “At We Do Us, we created an event where the ambition was to achieve equity of experience. We define this as a night where every guest, whether they be Disabled or non-Disabled, can experience joy, autonomy, agency and choice. But, one night alone is not systemic change. This is just the beginning.”

As an attendee and a performer, I had the esteemed privilege of experiencing thoughtful inclusion in the crowd, backstage and onstage. As a wheelchair user, I usually have to make compensations on nights out, like being lifted in through the front door, not being able to use the toilet, feeling cornered, or having no clear view of the stage, and this leaves me with a feeling of being unequal to my peers. But that night, access was a priority, making me and every Disabled person there a VIP.

With Tilting the Lens’ expertise in accessibility, and their lived experiences as Disabled people, they not only raised the standard in access at We Do Us, but they provided the safety net that so many Disabled people lack when they socialise at public events. While DJing, I caught sight of a glorious moment where people in manual and electric wheelchairs, crutches users, and the Drag Syndrome performers, who all have Down Syndrome, dominated the dance floor. I have never seen such a diverse range of Disabled people share a collective freedom like it.

Áine Aherne, a consultant with Tilting the Lens, stresses the importance of having Disabled people involved from the very beginning of planning an event. “We were there on the first site visit to 26 Leake Street, and immediately we could see what needed to be done,” she says of the successful collaboration with Smirnoff, Stonegate, 26 Leake Street, Sink the Pink, and RanaVerse.

For any event to be as inclusive as possible, the three main elements are communication, physical access, and service.

Communication

One of the key starting points in access and inclusion is information. In the lead up to the We Do Us club, no guest or performer was left in the dark about what to expect. With ease, guests could find out everything that they needed to know about the event.

Once people registered for tickets, there was clear communication from the event planners via email. This same information was easy to find on the official posts shared by performers and event planners on social media. Clear photo carousels, along with image description, were shared by performers, so anyone who follows Mel C or Leigh-Anne, even if they weren’t attending the event, could learn more about access.

The event’s accessible web page provided a thorough breakdown of access information, including the various transport routes, a description of the surrounding area, precise measurements of the gender-neutral and accessible bathrooms, and early entry times for a more relaxed admission experience.

But the communication didn’t stop there. From the first email to the last song, clear communication needs to be maintained. Clearly marked signs that used strong lettering and coloured lines stuck to the floor told guests the location of the accessible bathrooms, the quiet room, the bar, the VIP area, the stage, and the viewing platform throughout the space.

Those signs were then lit by spotlights, “Perhaps it’s a case of overcommunication,” Áine says, “but we had to make sure that they were definitely seen.”

With the option to be directly dropped to the door of 26 Leake Street, guests were met by staff upon arrival who explained the layout of the step-free venue. They reaffirmed that if guests need assistance throughout the evening, any member of staff wearing a red t-shirt, of which there were many, would help.

Physical access

Collage of photos from We Do Us event on November 29, 2023 in London, England. Left to right: Lou Bru, Drinks menu in large font and in Braille, Lucy Edwards. Photo by Dave Benett

26 Leake Street is one of the few central and medium-sized locations in London that could host an event like We Do Us. With a mostly flat interior and close proximity to an accessible Tube station and accessible parking bays, it was an ideal choice, but some physical adjustments had to be made to the space.

Each bar had a lowered counter so that wheelchair users and people with a lower stature could order drinks and pay easily. When the measurements were taken for the bar installation, the lowered counter was a priority, and this was a note made by Tilting the Lens at the first site visit. All of the bar menus were available in Braille and its staff underwent disability awareness training in the lead up to We Do Us.

While 26 Leake Street is a ground floor venue, and has its own platform lift that connects to a mezzanine level, the number of internal ramps leading to the accessible toilet felt excessive. Disabled guests would have to slope down and then slope back up to get to the bathroom. Tilting the Lens team pitched the idea of a built-in platform to create a level pathway.

“When you suggest building a platform, it’s the type of thing that sounds complicated or expensive, but it was an affordable and easy alternative,” says Áine, adding that ramps aren’t always an ideal access solution. “A flat surface is always preferred.”

Luckily, the venue has existing accessible bathrooms that meet the standard requirements, but Tilting the Lens made sure that they did more than just meet the standards. By adding a full-length mirror, a footstool, menstruation products, and low coat hooks, these fragrance-free bathrooms provided what many accessible bathrooms so often forget to include: the basics. Even the bathrooms backstage were fully accessible, which is something that a lot of Disabled performers rarely get to enjoy.

The platform leading to the accessible bathroom was made from the same materials used to build the viewing platform. An interesting thing happened with the viewing platform on the night itself; very few people used it.

The reason for this was that everybody in attendance was aware of the space Disabled people needed to feel comfortable, so the dance floor was never crowded. The front row view was prioritised for Disabled guests, with folding chairs available to use there too, so when given the choice between the raised platform at the back of the room or a front row view of Mel C’s DJ set, there was one clear winner.

At We Do Us, all attendees shared the space and the spotlight equally. The queens from Drag Syndrome danced and twirled throughout the audience, getting Disabled and non-disabled people to move freely. When you design an event to include everybody, the end result is total and joyous inclusion.

Outside of a Disability-led night, extra work will need to be done so that we can allow the considerate dance floor to filter out into venues across the country.

Inclusive access

Collage of photos from We Do Us event on November 29, 2023 in London, England. Left to right: Paddy Pio Smyth and Arthur Hughes, George Robinson, Fats Timbo. Photo by Dave Benett

Access is often limited to the needs of just wheelchair users, so Tilting the Lens made sure that all the needs of people with physical, learning, and intellectual disabilities, as well as Autistic people and those who are neurodivergent, were catered to at We Do Us. By offering in-app and on-demand visual interpreting, specific lighting designs, a quiet room, and providing noise-reduction headphones made, this was an all inclusive event.

Just as everything was clearly signposted throughout the venue, everything onstage was signed by professional BSL performers. The BSL performers brought an extra level of movement to the stage, translating the music and capturing the vibe so that Deaf or hard of hearing people could connect to the performances. BSL interpreters were available at the bars and throughout the venue, too.

On the floor, coloured lines directed people to the different spaces, mapping out 26 Leake Street in a memorable way. This colour system helped people to move around the venue and to manage the crowds as they got acquainted with a new space. These strips were easy to apply and just as easy to remove; a clever way of communicating the layout of a venue.

Similarly, lighting was used to enhance communications within the venue.  Existing lights, or ones hired in for the event, can illuminate signs, bathrooms, service counters, steps, and seating areas, benefitting everybody. This is a very simple thing to integrate into lighting specifications for different events. Additionally, the lighting throughout the venue was bright, but not harsh to ruin a good selfie, and no strobe lighting was used during any of the performances.

The quiet room at We Do Us was a particular point of pride for Tilting the Lens. It’s very easy to create a space that reduces the hum of being in a crowd, using soft furnishings, low lighting and no music, but finding the room to create it can be the biggest obstacle. Located away from the main thoroughfare, the quiet room for We Do Us was distinct and clearly marked, ensuring that it didn’t become a general hang-out spot for everybody to wander in and out of.

In busy, social settings, it can be difficult to monitor who should and shouldn’t be using the quiet room, but just like the considerate dance floor mentioned above, there needs to be an increased awareness of their importance.

In theory, quiet rooms can be used and shared by everybody, but it’s how we use them that matters. Rather than fencing them off or grilling everyone on why they need to use it, these spaces can be overlooked by staff trained in crowd control and disability awareness.

Service

Lowered counter at the bar at the We Do Us event on November 29, 2023 in London England

The difference between an event staffed by people who have received Disability awareness training and who haven’t is huge. Having great access is half the battle for inclusivity, and if staff aren’t regularly trained in Diversity and Inclusion, their behaviour or language could ruin an evening for Disabled guests. No matter how good a viewing platform or quiet room is, if a member of staff is rude or dismissive, that will be the memory that lasts.

In the weeks leading up to We Do Us, all staff underwent training to make sure that all Disabled guests were treated with respect. It was important that everyone, from security to bartenders, felt confident serving people with different access needs without doing or saying the wrong thing.

Our language, our actions, and even how we greet people, like hugs, handshakes, or any touch without warning, can contribute to the overall experience of Disabled people.

In contrast to late night spaces where there’s a “Go! Go! Go!” attitude to serve as many drinks and customers at once, the pace at We Do Us was relaxed. This requires the serving and security staff to consider a new approach to how they work, creating a more chilled and welcoming environment.

In a lot of venues, accessible facilities can be misused or treated like storage areas, but this training emphasised the importance of keeping all access accessible. For example, the lowered counters were not to be used like a service area for empty glasses, and they had to be kept clear at all times. This communicates to Disabled people that access is for us, and not to be treated as a prop for non-disabled people.

Conclusion

Good access is a very achievable thing, and Tilting the Lens highlighted how existing access can be steadily improved upon at We Do Us. By incorporating Disabled people into the planning of this event, and prioritising us as guests, as well as including us on the line up, access flowed into every corner of the venue.

“In partnership with Diageo and Stonegate, Tilting the Lens are now working on the scaling and implementation of these learnings. We must work towards ensuring that every night out, every event, offers this same level of thoughtfulness and accessibility. It’s crucial that we don’t view tonight as a standalone success, but rather as a stepping stone towards a more equitable society where these practices become part of workflows, budgets and measures of success. We have shown what is possible when we prioritise accessibility from the outset. Now, it’s about embedding these principles into the fabric of all our social spaces, ensuring that the joy and freedom experienced here becomes a standard, not merely an exception or a campaign.” (Sinéad Burke, CEO of Tilting the Lens)

Access isn’t a fully measurable thing; it depends on the space, the event, and even the time of day or night, but every venue has room to improve. Disabled people have social lives, but with poor access, or none at all, in venues, they are socialising in the most comfortable or safe way.

With the expertise of Tilting the Lens, We Do Us is moving in the right direction – to the dance floor – and they are doing their best to make sure that no one gets left behind.

Louise Bruton

Further Reading

Hosted by Tilting the Lens CEO, Sinéad Burke, the two discuss Kerry’s intrinsic involvement at Wrexham AFC, disability inclusion at Wrexham and in football more broadly, and the changes that Wrexham has made to create an accessible and equitable environment for fans and players.

We hope this dialogue will help expand and educate practices surrounding accessibility, disability, and equity in football, sport, and within society. This session was supported by BSL (British Sign Language) and ASL (American Sign Language) interpretation, live captioning, and visual descriptions to ensure the inclusion of as many people as possible.

Tilting the Lens Presents: Welcome to Accessible Wrexham with Kerry Evans & Sinéad Burke

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Kerry’s recommended resources for creating an accessible and inclusive experience for all football fans:

Centre for Access to Football in Europe

The Centre for Access to Football in Europe (CAFE) actively explores every element of the match-day experience from all accessibility angles, from making the ticketing system accessible to Disabled fans, to providing audio-descriptive-commentary for Blind and low-vision fans. Their support of the Disability Access Officer role across more than 50 countries means that a focus on inclusion is increasingly central to sports organisations worldwide.

Link to the Centre for Access to Football in Europe’s website

 

Level Playing Field

Level Playing Field is a registered charity in England and Wales, and acts as a campaigning and advisory organisation to its members and other parties across all sports. You can find information on Disabled fans’ facilities at clubs and stadia, along with useful disability and access reports, guides, good practice documents and general Disabled supporter information.

Link to Level Playing Field’s website

 

Guide to Safety at Sports Grounds’ ‘Green Guide’

The SGSA is the UK Government’s advisor on safety at sports grounds and a world leader in safety. They provide independent, expert advice on making football in England and Wales a safe and enjoyable experience for spectators. The Guide to Safety at Sports Grounds (also known as the Green Guide) is recognised around the world as best practice for the design and planning, and the safety management and operation of sport grounds. Its aim is to assist in the assessment of safe capacity of a sports ground.

Link to Guide to Safety at Sports Grounds ‘Green Guide’

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A Panel Discussion with Aariana-Rose Philip, Ellie Goldstein, Selma Blair and Sinéad Burke

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Key Takeaways

Visibility is only one part of achieving real systemic change

The visibility and representation of Disabled models has helped in making so many people feel seen and heard. But it is important to also acknowledge the road that’s left to go and how much more we need to travel. The groundbreaking May issue of British Vogue reminds us that representation can’t be limited to the runways, campaigns and covers. Representation is equally needed in the room where decisions are made. We need CEOs, CMOs, chief financial officers, editor in chief, who bring lived experience and representation in those rooms across the industry to create true systemic change.

A mindset shift is required

Having a conversation about disability representation in fashion is essential in helping us reframe how we think about the aesthetics of accessibility. It opens up the topic to allow the idea of accessibility to become our collective opportunity and responsibility. We need to aim for a mindset shift in society that creates a new minimum standard of accessibility beyond just compliance. Creating spaces where people can show up, feel safe, and have a choice about when and where they participate. Because for too long Disabled people have to do the labour themselves or are excluded because there wasn’t enough time or resources for them to be prioritised.

Accessibility is about progress and not perfection.

The May issue of British Vogue, “Reframing Fashion” represented a historic milestone in disability representation. Tilting the Lens supported the British Vogue editors, marketers, operations, digital and wider teams by providing insights and actionable advice, ensuring that the lived experience of Disabled people and better practices in accessibility were at the heart of this edition. And while actions like this are incredibly powerful in creating change, understanding what continues to be barriers and challenges is how we truly move the dial forward.  To quote Tilting the Lens CEO, Sinéad Burke: “If change is only embedded in the present, change will be a moment, not a movement.”

Read the British Vogue article by Tilting the Lens CEO, Sinéad Burke here.

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Key Takeaways:

1. Do’s and Don’ts for Advocates and Allies

Dom shared that “If you are a non-Disabled ally, don’t police Disabled people’s language. Some people prefer to use identity-first language. Some people prefer to use person-first language. Listen to Disabled people when they tell you something is inaccessible, and centre Disabled people, in particular multiply-marginalised Disabled people, and their experiences.” Vulnerability is essential in allyship –  Dom highlighted that “it’s so important to be humble and willing to learn, and to do better.”

2. Listen, Learn and Lead 

As founders and CEOs of growing organisations, Dom and Sinéad shared the view that even as leaders, they are always learning, which they see as a strength rather than a weakness. “I really appreciate call outs. I appreciate call ins. I appreciate as a leader when somebody says, ‘Hey, you kinda messed this up, or, this language wasn’t right’.  I then can take a step back and reflect, learn, acknowledge and do better, rather than react and be defensive.”

3. The Future of Disability in America 

The Americans with Disabilities Act (ADA) was passed in 1990, 32 years ago. This monumental landmark saw a lot of change, but more change is still needed for the future of disability in America – which is where New Disabled South, and their eventual expansion might take shape. “I see us not only doing regional disability work in the South, but I see us having it across this country in all regions. My vision is a New Disabled America, where we have a New Disabled South, a New Disabled Southwest, a New Disabled West; organisations, coalitions. I see us doing this work nationally and being able to have that regional focus throughout the country. Being able to see that people in the South have access to home and community-based services, that Disabled people can get married, we don’t continue to see Black and Brown Disabled people brutalised by police and incarcerated at alarming rates in the South or across the country. I want to be able to see change in the next couple of years, and measure those changes.”

4. Learning from lived experience 

At Tilting the Lens, we believe that accessibility is a continuously evolving practice. Dom and Sinéad agree that learning from and listening to the lived experiences of other Disabled people is at the heart and centre of the work. Spotlighting the work of other advocates, organisations, and innovators was an important part of this conversation, we hope anyone who engages with the video, this article, or the transcript is encouraged to be curious, to question and start conversations to address inaccessibility.

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Below is the list of the Disabled advocates and educators mentioned by Dom during the conversation:

Link to Rasheera Dopson’s Instagram

Rasheera is a disability justice advocate, author, scholar, public speaker and founder of the Dopson Foundation and Beauty with a Twist brand — which was established in 2020 to increase representation, social justice, and professional and health equity for women and girls with disabilities. Their podcast Womanhood and Disability is dedicated to uplifting, amplifying, and sharing stories of women and girls with disabilities.

Link to Sonya Glick’s Instagram

Link to Sonya Glick’s Blog 

Sonya is a multidisciplinary artist and activist who uses dance and other artforms to expand empathy. Her approach to art and activism is informed by the principals of disability Justice and her lived experience as a Queer and Disabled woman.

Link to Alice Wong’s Instagram

Link to Alice Wong’s Disability Visibility Project Website

Link to Alice Wong’s Book Year of the Tiger

Alice Wong (she/her) is a Disabled activist and founder of the Disability Visibility Project, an online community dedicated to creating, sharing, and amplifying disability media and culture.

Link to Neighborhood Access’ Website

Link to Jules Good’s Twitter

Neighborhood Access is a consultancy founded by Jules Good (they/them) that works with community-facing organisations to help make their processes and practices accessible to the Disabled community.

Link to The Politics of Disability Podcast

Link to Mary Fashik’s Instagram

Mary Fashik (she/her) is a queer disability rights activist, author, public speaker, and workshop facilitator, who hosts the podcast The Politics of Disability, a podcast that addresses the politics, and unpalatability of Disability.

For further book recommendations, check out our reading list: Link to Recommended Reading: 12 Non-Fiction Books on Disability Inclusion