Please note: The information contained in this chapter sets out good practice that should be considered by event organisers. However, it is industry guidance and does not necessarily cover everything that organisers need to consider for a particular event.

It is important that events are as inclusive as possible and that organisers consider the needs of those who may need support, such as wheelchair access or accessible toilets. Attitude is Everything offers a framework of holistic inclusive practices for live events via its Live Access Charter.

Key Points

• Create an inclusive event plan and ensure that accessibility is on everyone’s agenda
• The provision of clear access information is important
• Provide an accessible booking system, taking account of the needs of deaf, disabled and neurodivergent people
• Consider the transport needs of deaf, disabled and neurodivergent people
• It is important that accessible toilets and changing facilities are provided and clearly signposted
• Make sure that onsite facilities are accessible, using ramps and lifts etc. as necessary
• Provide accessible viewing platforms or areas with clear sight lines 
• Consider the needs of workers and artists/performers who may have accessibility requirements
• Make sure emergency evacuation plans take account of deaf, disabled and neurodivergent people
• Train event staff in disability and how to help those with special needs.

Planning

1. Creating an inclusive event requires the collaboration of the entire event team to ensure accessibility is on everyone’s agenda.

2. Start by building a budget for access provision and have a named access lead.

3. Liaise with local disabled people’s organisations and consult on the priorities for making the event inclusive.

Access Policy & Procedures

4. Planning for accessibility should be transparent available to all staff.   The creation of a written Access Policy will help to ensure that the information is available to everyone, even if staff change.

5. The policy should include:

• The reasoning behind the policy
• Communication advice
• The provisions for site and event accessibility

Emergency Evacuation Plans

6. The event’s emergency evacuation plan should take account of the needs of deaf, disabled and neurodivergent people.

7. Staff should be trained in how to assist disabled people during an evacuation.

8. The plan should take account of where deaf and disabled people are likely to congregate (e.g., the accessible viewing platform or near where a sign language interpreter may be operating).

9.  Guidance should be given to staff on how to offer instructions to deaf and visually impaired audiences using visual and auditory systems, as well how to support neurodivergent people who may experience sensory overload.

Training

10. All those interfacing with the public should be trained in accessibility and should know about the accessible facilities that are in place. This training should include:

• Appropriate language, terminology, and communication (i.e., language that doesn’t make assumptions about what disabled people think and feel).
• Understanding the Equality Act and Social Models of Disability.
• Knowledge of the event’s policies and procedures around accessibility (including emergency evacuation).
• Awareness of the facilities the event is providing for disabled customers and how to access them, including how they can access support to help them enjoy the entertainment (sign language interpretation, captioning, audio description, touch tours etc.).
• How to respond to requests and manage challenging situations.

NOTE:  See Attitude is Everything’s live event industry training. 

Marketing & Communications

11. Use inclusive design principles across all digital platforms. Aim to follow internationalhttps://www.w3.org/WAI/standards-guidelines/wcag/.  These include, but are not limited to:

Design: Website design should be as clear and clean as possible, using high contrasts.

Screen readers and zoom text: Users should be able to zoom in up to 150% and content should be accessible to screen reader users.

Hyperlinks: Use descriptive hyperlinks for clear navigation, avoiding ‘Click here’ only links.

Alt text: Provide alternative text or image descriptions for all images across all digital platforms.

Camel case: All hashtags should use #CamelCase, capitalising the first letter of each word.

Strobe effects: Avoid using strobe lights on videos. If these are used, then there must be a warning in place stating when they will be used.

Captions: Provide captions or subtitles for all moving image content.

Access information: Have a dedicated access page, which can be found within two clicks.

Contact: Provide multiple contact options for patrons, including e-mail, phone and a call-back option.

Language: Use Social Model language across platforms.

12. Websites should include a bespoke accessibility page which communicates all the event’s accessibility provision. The key areas are:

• The event’s policy regarding accessibility
• How to contact the event for further information
• A description of the venue/event (including the physical site)
• How to apply for bookable facilities such as sign language interpretation, captions, audio description)
• How to get a ticket for an essential companion at no additional cost
• A travel guide
• Arrival guide, including car parking and public transport arrangements
• What provision is being made for accessible toilets and changing places facilities
• What medical provision will be available on site
• The policy towards assistance dogs
• The use of strobe lighting
• Other information which will help those with special needs.

13. Consider all areas of the performance experience by providing braille and large print programmes, an audio described map of the site and audio described site walks.

NOTE:  See Attitude is Everything’s Access Starts Online guide.

Booking Systems & Companion Tickets

14. Ensure box office and marketing personnel are trained in accessible communication and have clear processes in place for helping those with special needs.   This might involve communicating via Relay UK or a 3^rd Party on the phone.

15. Box office and marketing personnel should be trained in how to communicate changes to the programme or cancellations.

16. An accessible booking system is one that provides various ways in which to contact organisers to enquire about, or book, access facilities. It also includes different ways to purchase tickets, (i.e. face-to-face, phone or web).

17. The process on how disabled people book tickets should be properly communicated on publicity material and via ticket agencies. If evidence is required to support a booking, this should be as flexible and as open as possible.

18. Entrance policies for venues should consider varying access requirements, including early access. 

19. Early bird schemes for events that incorporate accessible campsites are particularly helpful.

20. Ensure all information is accessible by providing it in a variety of options:

• Easy Read guide
• Sign language video
• Audio file
• Large print/ rich text

21. Storing customers’ details in a database enables disabled people to register their access requirements and eligibility for bookable facilities, removing the need for evidence to be submitted repeatedly.

Getting to the Event

22. It is important to consider the journey visitors might be making to and from the event, and their experience upon arrival. 

23. General travel advice is essential as well as consideration of the accessibility of the various options, such as if the local train station has level access or is step-free from the train to the exit.

24. It is important to ensure that any transport laid on to or from the event is accessible.

25.Clear information should be given with regards to car parking arrangements and public transport drop off points. 

26. Provide a video or photo route from the nearest transport drop-off point, including information about drop kerbs and the local environment (i.e. cobbles, traffic lights etc.).

27. Offer fast track queuing for deaf and disabled visitors.

28. Queuing lanes require a minimum clear width of 1.2m. If the entrance is also used as an exit, the minimum width should be 1.8m.

29. Counters, such as for ticket sales, should be between 800–850mm in height and an induction loop should be available.

30. Staff should be knowledgeable about all access facilities and have received disability equality training.

Making an Accessible Site

31. Create a level access site by providing alternatives that take stairs out of a route. Ramps and lifts are part of level access provision. 

32. Where steps cannot have a permanent ramp or lift, alternatives can be used, such as a portable ramp or a different route avoiding the use of steps.

33. Hard surfaces or pathways provide easier access for many people with a variety of impairments. 

34. For large sites and outdoor events, it can be beneficial to offer access ‘cut throughs’ via backstage routes to reduce walking distances. The provision of accessible shuttle buses or transport should also be considered.  

35. The event plan and accessibility statement should highlight arrangements for disabled people to get around the event.

36. Signage should be large, with a colour contrasting plain background. The text should be in Sentence Case and in a Sans Serif font. Icons should be next to the text and easily identifiable from a distance.

37. Site maps should include key access points. 

38. If using an app, ensure it is tested for accessibility and that audiences can use the Zoom Text or Screen Reader technology.

39. If the event finishes after dark, make sure that suitable lighting is provided to enable visitors to return to their campsite or car park area.

Accessible Toilets & Changing Places

40. The availability of accessible toilets is a vital part of providing for the needs of those with disabilities. The lack of accessible facilities will deter some disabled visitors from attending an event.

41. Accessible facilities should be provided for both audiences and the workforce.

42. Accessible toilets should follow the guidance of Approved Document M- Volume 2, Section 5.

43. Changing Places are required for people who require support when using the toilet. Without this provision, some disabled people will be unable to access toilets. Learn more about Changing Places on their website.

44. Accessible facilities must be kept clean and must not be used as storage areas. 

45. Some people may require sterile spaces for self-treatment. 

46. Consideration should also be given, particularly on festival sites, to consider providing private clean spaces (such as on an accessible campsite) if it’s not possible to provide a changing space.   

47. Organisers should be even more mindful of cleaning schedules in accessible spaces.

48. Ideally, accessible toilets should be unlocked and easy to access. However, if there is a risk they may be mis-used, it may be necessary to provide a key code, radar key or access control to ensure they stay clean and available for those who need them.

49. It is important to ensure that accessible toilets and changing places are clearly marked on the event plan.

50. Accessible toilets come in a variety of unit styles, and it is important to understand their limitations. For instance, accessible portaloos are not accessible for some disabled people. Also, some accessible toilet units have foot-controlled toilet flushes or hand wash sinks that cannot be used by many wheelchair users.   

51. The layout of the units is important to ensure sufficient space is allowed for larger power chair users to transfer from their chair to the toilet while the door is closed and locked.

52. When booking toilets, consider the requirements of accessible people and, where possible, use plumbed-in units.

Bars & Traders

53. Encourage bars and traders to be accessible at the design stage of developing their units. Trying to make a unit accessible after it has been designed or installed is often ineffective and can feel like an "add on".

54. Lowered counters should be provided at 800–850mm height, with a recess that is 700mm to 750mm high. 

55. There should be clear signage and a 1.2m wide access aisle to the bar/counter.

56. Avoid using the bar/counter to store items on.   

57. Where lowered counters cannot be provided, consider how disabled visitors can be served effectively. This might include a table service, a drinks runner or staff coming out from behind a counter to serve them.

58. When providing picnic benches or other eating areas make provision for wheelchair access. There should be 1.2m between benches. 

59. If possible, consider a separate bench and table option so that wheelchair users can use the table.

60. Be mindful of how crowded the route is between the Accessible Viewing Platforms and the bars and food stalls. If the routes are likely to be too crowded, offer a drinks service or provide a bar at the viewing platform.

61. Sponsored activations, bars and performance areas are becoming a common feature at large and medium-scale events. It is useful to decide at point of contract whether these should provide relevant accessibility, including level access, including safe ramps (with handrails and kickboards).

Viewing Platforms & Areas

62. The provision of dedicated viewing platforms, or accessible areas that offer clear sight lines to the performance, is key to experiencing any event. 

63. Be mindful that different impairments may require different locations. 

64. Deaf people may prefer to be near the front so they can feel the vibrations and have a clear vision of an interpreter and the performance. Whereas some disabled people, such as wheelchair users and those with mobility impairments, may prefer to be away from the crowds.

65. Every attempt should be made to ensure viewing platforms or areas are as close as possible to accessible toilets but retain good visibility.

Viewing Platform specifications

66. Accessible viewing platforms should follow the guidance in ‘Temporary Structures 3^rd Ed 2007’:

• Space for wheelchair user = 900mm x 1350mm
• Space for seated person or companion = 500mm x 1350mm

Therefore:

• 1 wheelchair user and companion total dimensions = 1400mm x 1350mm
• 1 non-wheelchair user and companion = 1000mm x 1350mm

67. The ideal height of a viewing platform should be between 850mm and 1000mm.

68.  Ramp gradients need to follow the guidance provided in ‘Approved Document Part M’, Sections 1.19 to 1.26. A ramp’s gradient should be at least 1:15, where possible. Less than 1:12 is not advised as wheelchair users would at risk of tipping.

69. A long ramp (5m+) should include one or more flat ‘rest areas’ at intervals. These should be at least 1.5m long.

70. Ramps should be at least 1.2m wide, have handrails and kickboards and a non-slip surface.

71. Charging points at viewing platforms enable customers to recharge electric scooters, electric wheelchairs, or other access provision.

Viewing Areas

72. A viewing area can be more appropriate for events with a small capacity, small stage, or a seated audience. 

73. For standing events, these work best at the front of the audience without an obstructed view.

74. Viewing areas need to be:

• Located in a position that has a clear view of the stage
• Clearly signposted
• Barriered to ensure a safe area
• Stewarded
• Have access to drinks and toilets

Respite, Quiet & Sensory Spaces

75. Busy events can be an overwhelming sensory overload for some disabled people, such as those who are neurodivergent, autistic, or learning disabilities. Offering an escape from this environment allows people to self-regulate before re-entering the event environment.

76. Respite options could take the form of the following:

• A bespoke space: a tent with comfortable furnishings, sensory toys, ear defenders, eye masks.
• A “Quiet Spaces Map”: recommendations of spaces at the event site or near the venue that will be less busy.

77. While organisers might choose to locate the respite space near the welfare area, this is not recommended as others using the space may be there because of over-intoxication or other factors that may not be conducive to a respite environment.

Assistance Dogs

78. Assistance dogs enable their owners to be independent. Assistance dogs are trained to assist people with epilepsy, people who are visually impaired, people with limited mobility, people with hearing difficulties, diabetes, and other conditions. 

79. To refuse entry to an assistance dog owner is discrimination under the Equality Act 2010.  Therefore, consider the following:

• Be transparent – make sure communications and access information state that assistance dogs are welcome.
• Provide a ‘Spending Area’ with a bowl of water.
• Have a dialogue with the owner of the dog to understand both attendees’ needs (e.g., will there be other dogs on site, do they need access to somewhere to store dog food, is there any further support may be needed?)
• Outline how the venue manages interactions between other attendees and assistance dogs.

Accessible Campsites

80. An accessible campsite should include:

• An access information point
• Accessible toilets (plus non-accessible ones for companions)
• Accessible showers (plus non-accessible ones for companions)
• Accessible water points
• Charging points for power chairs and other access equipment
• Options for power supplies to be provided to tents/ campervans
• Medication storage (fridge) facilities

81. Other points to consider:

• Provide access lanes (1.8m wide for wheelchair access).
• Ensure the location is close to the arena via a level route.
• Ensure there are multiple toilet options, including a Changing Places facility, and toilets that are large enough for power chairs.
• Consider appointing stewards or security to this area to protect the access facilities.
• Provide a baggage drop off/collection point or trolley service.
• Consider the location of food and beverage services.
• Open the site at the same time as other campsites.
• Consider the option of pre-erected tents within the campsite.

Stage Access & Artists

82. Accessibility for artists and their teams should include all areas used during event preparation. This should include the performance, hospitality, dressing room, shower/ toilet and after show arrangements.

83. Consider making areas backstage accessible as default. 

84. Where permanent access to the backstage and stage is not possible, access solutions should be available when needed. These could include the provision of a temporary access ramp or platform lift, hiring an accessible toilet for a backstage area or creating a dressing room area from an alternative space.

85. To take the onus from the person, include a question when booking asking about access requirements as standard. This question could be: “Do you or any of your team have any access requirements?”

86. More information about asking about access provision can be found in Attitude is Everything’s Just Ask guidance: https://attitudeiseverything.org.uk/industry/working-with-disabled-artists/just-ask-guide/

Accessible Performances

87. The key forms of assisted performance to consider are: 

Audio description is additional commentary of the performance for blind, partially sighted and visually impaired audiences.   Traditionally, this is done by audio describers observing a performance and creating a script.   Audio Description comprises of three parts:  

• Pre-recorded introductory notes: This is an audio recording that describes the set, costumes and general information.
• Touch Tours are an opportunity for the audience to come onto the stage to explore the stage, equipment, props, costume and find out more about the cast. This usually happens a couple of hours before the live performance.
• Live description is where a narrator describes the visuals in time with the performance. 

A technician should be available to manage audio headsets and sound quality.

Consider providing braille and large print programmes, an audio described map of the site and audio described site walks.

In live music settings that have one-time performances these processes may not be possible. Organisers should have a conversation with the audio describer or a consultant to discuss what may be possible.   It may be possible, via the band or tour managers, to source videos from previous venues that can be used to prepare descriptions.

Sign Language is a recognised language for deaf people. To prepare for an interpreted performance, the interpreter will require a script and, if possible, a video of a prior performance (this doesn’t need to be high quality). They will then translate the text into sign language.   Points to consider when arranging interpretation:

• The interpreter should be qualified and can be found on a registration list (i.e. NRCPD, RBSLIor SRLPDC).
• The number of interpreters needed will depend on the length of the performance.
• The location of the interpreter
• Whether information about the performance in sign language can be videoed in advance and made available online.
• Customers should have clear information about how to register to use the service.

Captioning services provide text on screen for deaf or hard of hearing audience members. Like subtitles on television, this is provided in-time with the performance.

Captions can be projected to the audience via caption units, TV screens or projectors. They can also be sent directly to individual screens, such a tablets or an audience member’s smartphone. For events that are not ticketed, or have a high capacity, a projected option usually works best.

Audio enhancement systems can be used to enhance the sound of the performance for deaf and hard of hearing audiences. These include:

• Induction loops
• Infra-red systems
• FM systems
• Sennheiser Mobile Connect

Systems can be built into the audience area, meeting rooms and box office points.

Where these are provided it is important to communicate the provision with signage and information on the event website.

Relaxed Performances offer a reduced sensory experience for learning disabled, neurodivergent and disabled audience members.  Primarily used in theatre, live music events can also create a relaxed offering by providing:

• Information about the event in Easy Readformat (i.e. a visual story or social story).
• A pre-show announcement to encourage an inclusive environment.
• Cut or reduce loud and sudden noises.
• Lighting levels remaining on a low level for the duration of the event.
• Enabling audiences to freely come and go.
• Providing a quiet, ‘chill-out’, or sensory space (which could include sensory/ fidget toys, weighted blankets, printed Easy Read information, eye masks, ear defenders, etc.).
• Pre-briefing for staff, including neurodiversity training.
• Having additional staff on duty.

Some audience members may also benefit from arriving early or having a familiarisation visit prior to the performance.

Evaluation & Feedback

88. Organisers should strive to improve accessibility practice by evaluating best practice and asking for feedback, specifically from disabled audiences, artists and workforce members.

89. Feedback can be achieved in several ways:

• Feedback forms at the viewing platforms and accessible campsites.
• Email survey sent post-event.
• Providing a survey link on the web access page for the event inviting feedback at any time.

90. Include a discussion around the accessibility provision within the post-event debrief so that all team members have accessibility within their role. Areas of discussion could include organisational policies, inclusive communication, further training and access provision on site.

91. Attitude is Everything works with Mystery Shoppers to provide feedback from disabled audience members to events: https://attitudeiseverything.org.uk/support-us/volunteer/mystery-shopping/ 

Further Information

https://attitudeiseverything.org.uk/industry/

http://www.attitudeiseverything.org.uk/resources/access-starts-online

https://www.euansguide.com/news/is-your-festival-accessible/ 

https://withoutwalls.uk.com/resources/access-guide-2020/