Category Archives: Accessible Engagement

Disability Pride Week 2 Claiming our place

Disability Pride Week launched at Te Papa in Wellington on Sunday November 27th. As part of the ceremony created and led by accessible celebrant Wendi Wicks, a declaration she wrote was shared. While the ceremony acknowledged and celebrated the inclusive space of the Te Marae at Te Papa, it symbolised a wider claim to place. The declaration deserves to be shared with a wider audience, and other disabled people who want to claim our place.

A Declaration for Disabled People Claiming our Place

Today we disabled people here in Wellington say “this is our place too”.

We say to you this house has made a space for us to step forward to claim our place.

We will aim to live out our place in the community of humanity, proud of who we are and how we are, and in all of our diverse ways of being disabled.

We do not back away from that word in fear, in shame, in a feeling of being lesser.

We call on others in the community in which disabled people are part to include, trust and respect us, to not tell us how inspirational we are for doing everyday things. We want a fair go and a decent job.

Live with us not in fear or contempt, but in peace and harmony. It is our world too.

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Disability Pride Week

Disabled people have been increasingly self-assertive this year, through Me Before You protests, a vigil following Japan’s disability mass killing, increasing arts activities and participation, LitCrawl, “outsider” art exhibition, book publishing etc, great success at the Paralympics, a learning-disabled New Zealander chosen for the UNCRPD committee and the Disability Strategy reviewed at long last. There’s lots to celebrate in the week leading up to the International Day of Disabled People on December 3.

I’m no Pollyanna, and recognise there is still much to be done before Deaf and disabled people achieve true equality, but a pride celebration can promote change, strengthen community, and simply be some fun together.

A group of Wellingtonians have picked up the concept of Disability Pride, first formulated and celebrated by a group of public servants in the late eighties. We said “who we are is OK, What happens to us isn’t” – in short the social model of disability. It separates a person’s impairment from the effects of a disabling society. We celebrated with a festival of film, debate, theatre and other events. Add to that a human-rights-based approach to disabled lives and a celebration sounds good.

Disability Pride is about valuing our whole selves and our experience, however we frame our identities, taking our rightful and equal place in the world, and drawing strength from one another.

Taking stock of the journey, celebrating what we have gained and looking forward to future change is a good way to finish up a shaky and tumultuous year.

Disability Pride Week begins this Sunday at Te Papa, claiming our place.

Disability Pride Week, claiming our place is written in large white letters on a square pink/purple background.

Disability Pride Week events 2016

All events are in accessible venues with audio describers, hearing loop, NZSL Interpreters present.

Sunday 27 November 2016 2pm
Launch of Disability Pride Week
Te Papa Marae (Level 4 marae)
All welcome.

Thursday 1 December
Tape Art Mural 10am – 3pm
Created on the window of Asteron Centre by disabled artists using tape
(Opposite Wellington Railway Station)
The Mural can be viewed by anyone for 5 days.

Saturday 3 December
Wellington Through our Lens 10.30 – 12.30
Odlins Plaza, Wellington Waterfront (near Mac’s Bar)
Open to disabled people and our allies.
Our open conversation about living in Wellington as disabled people will be captured by live illustrators.
Wellington City Councillors and the council Accessibility Advisory Group will be present.

Saturday 3 December
An evening of music and entertainment
Where: City Gallery, Civic Square
When: 7pm Saturday 3 December 2016
International Day of Disabled People
$10 per person RSVP Door Sales available.

Other events taking place:
Arts Access Aotearoa Auction
Thursday 1 December
CQ Hotel Cuba St Wellington
Doors open 5.45 Auction begins 6.00
$20 tickets from Arts Access Aotearoa.

Capital Support Morning Tea
A meet and greet with sharing of information
Friday 2 December 2016 10:00 – 11:00am
Conference Room in the Education Centre, Kenepuru Hospital
Parking: There are disabled car parks near the front entrance. If you don’t have a disability, please park in the public park on the left at the top of Hospital Drive
RSVP: For catering purposes or if you need support, please contact Nadine Martin: Email: capital support, (one word) at  CC DHB.org.nz; or Phone: 04 two three oh six four oh four. Space is limited, so please RSVP.

Check the Disability Pride Facebook page for updates.

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Let’s fix the process

If you need New Zealand public sector websites to be accessible to use them satisfactorily then the “2014 Web Standards Self-Assessments Report” published in November 2015 won’t give you much comfort.

The good news, such that it is, is that the report’s authors appear to be circling in on the root causes of the problem.

“…NZ Government websites are designed and developed in a manner that tends to overlook the range of ways that people access and interact with web content.”

One has to wonder what goes through the minds of website owners, designers, developers and content creators if they “overlook the range of ways that people access and interact with web content”. Isn’t that the very meat and potatoes of the whole web development process? Accessing and interacting with content is the point of a website – and from a range of people. Quickly exposing desired content to an audience and protecting them from overload or unnecessary navigation is the nub of web design. It’s not primarily about creating a pleasing graphic and balanced palette (although that doesn’t hurt). And, it’s most definitely not about slavishly adhering to egregious visual excesses in the name of “branding”.

There is another puzzle here. Commercial (private sector) websites in general have some sort of sales intent. Their purpose is to in some way persuade the user of the value of their business or more specifically to try and sell the user some products or services. The public sector doesn’t have that sales drive: its purpose is to provide service and enable access and interaction using the convenience of the internet. In short, for public sector websites, it’s all about engaging with web content as part of providing a service to the public at large.

So what or where does the deficiency lie? The deficiency is in overlooking “the range of ways”.

In web design, the responsibility to cater for the range of ways that people access or interact with web content is within the scope of the user experience (UX) designer. A usual technique is to create personas. Personas are fictitious composites that are created to represent broad classes of the types of people who are expected to access the website. For example, the Ministry of Justice might expect lawyers, jury members, media representatives, litigants and judges to access its website. A persona could be created for each of these and through the design process the needs of each persona is factored in. The design can be subsequently validated by matching how well it is expected to deliver against the stated needs of each of the personas.

So far so good, but this is the point where I believe that the process fails. Why? Because in the development of the personas it is unlikely that consideration is made of potential impairments. Hence, the potential access (accessibility) needs aren’t embedded into the design process. In the development of some sites, some sort of accessibility review may take place but it is generally too late to make changes. The design signoff processes in the public sector can be so involved that the idea of repeating that process just looks too difficult, let alone having to make the explanations of why it wasn’t right the first time. (As an aside, in the time I’ve been consulting for AccEase I’ve never been asked to review the personas. I’ve checked wireframes, checking off against a range of ways the site will be accessed but pretty much always in the certainty that the range of ways of accessing a site hasn’t been designed in and certainly not included in the personas.)

The notion of developing personas including people with disabilities isn’t new. Shawn Lawton Henry, a renowned web accessibility expert,  has even provided example personas.

The “2014 Web Standards Self-Assessments Report” identified three types of people (personas?) that are not properly considered:

  • people who don’t use a mouse and instead rely on a keyboard or other input device and software to interact with web content
  • people with impaired vision
  • people who use special software to help them interpret and understand the structure and relationships between different bits of content on a web page (e.g. what’s a heading, what’s a list item, etc.)

It is up to User Experience designers to ensure that the full range of users are properly catered for.

Where else in the web development lifecycle would it make sense for accessibility to be addressed? Any time later is at severe risk of missing out a design consideration for a range of users. The classic approach is to “test it in” by doing an accessibility assessment once the build is complete and then apply the recommended changes. As noted above, this approach fails as designers are often unwilling to make changes and signoff procedures too cumbersome to achieve meaningful change. This approach also consigns “accessibility” to being an inconvenient afterthought, an encumbrance.

Process vs Technical change

Generally, the resolution to achieving a better state of web accessibility is considered to be the application of the technical elements that afford accessibility. However, I contend that it is a process change that will lead to a better state of web accessibility in our public sector websites. The technical elements do, of course, need to be applied but at present that fails to happen as there are often no explicit requirements generated in the user experience design.

In simple terms, let’s first think of the user (the ends) and then of the standards (the means).

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A personal perspective on arts access

I spend a lot of time advocating for various forms of arts access for disabled people. For once I thought I would share some of my own personal views of things I dislike most about museums, galleries and theatres, and a few things I like too. Don’t get me wrong, I love GLAM, (galleries, libraries, archives and museums,) theatre and music performances; I have done so all my life. But as a vision-impaired person, as distinct from blind, I often feel frustrated by the simple changes that could be made that would be helpful for many arts patrons, especially in an ageing community. As a lifelong arts patron I think I, and others like me, deserve better. Currently we often pay the same price as everyone else for a lesser experience.

Here are some of my pet peeves, and likes, starting from the beginning of the process, which can stop me in my tracks.

Advertising is often unreadable. Accessibility options are buried on web sites and difficult to find. Its fine to have aesthetic design but communication with an audience is paramount. Web sites and other advertising are often designed with art rather than access in mind. The two aren’t incompatible. The New Zealand Festival is making progress this year with an easily found accessibility section on the web site, (although an access link would be even better on the home page.) The Fringe, not so much. A shame as Fringe events may be within the budgets of more disabled people.

Booking is often difficult and expensive and plain inaccessible in many cases. I love Circa Theatre for their friendly and direct regular booking process. Chamber Music NZ  and New Zealand Opera also have user-friendly ticketing for audio described performances. The booking process should be easy, with accessible alternatives if necessary.

Lighting can be very poor in places where I most need it, such as reading my programme or catalogue, often difficult to read anyway, or on labels on exhibits. Carefully targeted lighting is possible. Transitions from light to dark, in particular are often inadequately managed and a bit scary.

Clutter and wayfinding. Museums often leave me exhausted with sensory overload and a struggle to find one thing to focus on, with so much sound and vision all together all at once. I realised how much I miss when I get a little taste of audio description. Poor lighting can contribute to this confusion.

Print materials are generally designed to look good rather than for readability. A downloadable more readable and accessible version would help. Labelling in galleries and museums could be easier to read, with larger, clearer print, or again downloadable so I can read them on my chosen device in comfort.

Libraries.  As a passionate reader, I am a regular user of our precious public libraries. Here there has been a real change. I use an online catalogue to find my chosen reading matter, but best of all, public librarians will, without question, help me find things on the shelves. In the past I found librarians rather intimidating and unhelpful. I don’t use the Blind Foundation library as I can read some print, often on my iPad. If the government ratifies the Marrakesh Treaty there should be more large print books available too.

Disability experience reflected in art, culture and heritage.  Last but not least we, disabled people, and our stories on our terms are largely absent. So-called “outsider” art is fashionable and collectable, but often not seen alongside “real” artists’ work in mainstream galleries in New Zealand yet. Theatre is slowly beginning to explore our stories, and disabled performing artists are appearing. But we still have a long way to go. Our heritage and history on our terms are not included in museums, and literary writing by disabled people is invisible. I have found few books on disability subjects I can relate to in our libraries by New Zealanders. Popular media stories are not the answer as they reflect unrealistic stereotypes. I want to see and hear and read “real” stories like mine.

What can we do? I am a practical person who tries to find solutions to the problems I encounter. In the research I have done over the years I know there is a lot of help available, and some wonderful stories to be told, and I’m not talking about sob stories, super crips or inspiration porn either, but human nuanced stories well presented. Our history, sometimes uncomfortable, unsafe and shameful, is largely untold in heritage institutions.

There are also opportunities missed. For example the wonderful Shapeshifter sculpture exhibition at the last NZ Festival would have been an audio describer’s dream as most exhibits in the outdoor exhibition were touchable. Perhaps this year? Cultural festivals such as the Chinese New Year, Cuba Dupa and Diwali, have possibility too. We have terrific trained audio describers in Wellington who are really keen to work.

Making change is not always easy. The disabled audience is diverse, and has to be cultivated and developed.  But talk to us, engage with us on social media and in person. Often the people factor is the most important. There are Arts Access Advocates who are knowledgeable and enthusiastic, often arts practitioners ourselves. The skilled and helpful people at Arts Access Aotearoa, have a wealth of resources available, some of which I helped create. These resources include a much wider range of arts access ideas, tools and advice than I have covered in this personal account. Most are free.

But don’t take the expertise of individual disabled people for granted. We are experts just like curators and other staff. That needs recognition in the same way.

We are an ageing population. Arts institutions need to retain us as audience. The arts are a critical part of my life. I desperately want to keep it that way.  We, disabled people are 24% of the population, and growing. Ignoring and excluding us as patrons and participants is not an option.

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Filed under Accessible Engagement, Disability Issues, Disability Rights, Inclusion, Information Accessibility, Media, The Arts, Web Accessibility