Accessibility for Artist Residencies National Resources Beth - - PowerPoint PPT Presentation

Accessibility for Artist Residencies National Resources

Beth Bienvenu Office of Accessibility National Endowment for the Arts

Who we are

The National Endowment for the Arts is a public agency dedicated to advancing artistic excellence, creativity, and innovation for the benefit of individuals and communities. The Endowment awards more than $115 million each year to arts organizations of all sizes in all 50 states and U.S. territories.

The Office of Accessibility is the advocacy-technical assistance arm

• f the Arts Endowment to make

the arts accessible for people with disabilities, older adults, veterans, and people living in institutional settings.

University of Saint Francis

Office of Accessibility

Axis Dance Company Oakland, CA

Accessibility Laws & Regulations

Overview - Federal accessibility laws:

• Non–discrimination
• Equal opportunity (and the provision of any reasonable

modifications, auxiliary aids or services necessary to achieve it, such as sign interpretation, audio description, etc.)

• Basic standards of architectural access (such as entrances,

restrooms, etc.)

• Equal access to employment, programs, activities, goods and

services.

Accessibility Laws & Regulations

Americans with Disabilities Act of 1990 (ADA)

Prohibits discrimination and ensures equal

• pportunity for persons with disabilities (amended in 2008)

Title II – State and local government services (State Arts Agencies) Title III – Public accommodations & services, private organizations, commercial facilities, transportation (museums, historic sites, universities)

Section 504 of the Rehabilitation Act of 1973

Prohibits discrimination on the basis of disability in programs:

• Conducted by federal agencies (e.g., NEA events)
• Receiving federal financial assistance (e.g., NEA grantees, State Arts Agencies,

etc.)

Accessibility Laws & Regulations

Arts Organizations

National Endowment for the Arts Funding

Arts Organizations

National Endowment for the Arts Funding

504

ADA Title III

Arts Organizations

Local Arts Agencies State Arts Agencies Regional Arts Orgs

504

National Endowment for the Arts Funding

ADA Title III

Arts Organizations

Local Arts Agencies State Arts Agencies Regional Arts Orgs

504

National Endowment for the Arts Funding

504 504 504

ADA Title III

Arts Organizations

ADA Title III

Local Arts Agencies

ADA Title II

Local Arts Agencies

ADA Title II

State Arts Agencies

ADA Title II

Regional Arts Orgs

504 504

National Endowment for the Arts Funding

504

Arts Organizations

ADA Title III

Local Arts Agencies

ADA Title II

Local Arts Agencies

ADA Title II

State Arts Agencies

ADA Title II

Regional Arts Orgs

504 504

National Endowment for the Arts Funding

* Not all state arts agencies provide funds to local arts agencies for redistribution. ** Only local arts agencies that are government agencies are covered by ADA Title II.

* * ** 504 **

Accessibility in Artist Residencies

Artist Spaces

Santa Fe Art Institute, Santa Fe, NM

Artist Spaces

• No-step entry for buildings
• Accessible upper floors when part of residency
• r communal space
• Ask artists what they may need to do their

work – e.g., table/desk heights, types of seating, type of lighting, etc.

Artist Spaces

Vermont Studio Center, Johnson, VT

Residential Spaces

• No-step entry for buildings
• Accessible upper floors when part of residency
• r communal space
• Appropriate door widths, lower bed heights
• Compliant bathrooms and roll-in showers,

compliant public restrooms

Residential Spaces

Vermont Studio Center, Johnson, VT

Santa Fe Art Institute, Santa Fe, NM

Communal Spaces

Anderson Center, Red Wing, MN

Communal spaces

• Examples
• Kitchens, dining rooms, cafeterias, lounges,
• Classrooms, shared workspaces and presenting

spaces

• No-step entry for buildings, accessible upper

floors, accessible restrooms, appropriate door widths

Public Spaces

Santa Fe Art Institute, Santa Fe, NM

Public Spaces

• Galleries, performing spaces, classrooms, gift shops,

etc.

• Ensure access to building, restrooms, stages/back stages
• Be careful not to program activities in non-accessible

spaces

• Provide program accessibility (ASL interpreters, captioning,

large print/Braille, assistive listening devices, audio description, etc.)

• Ensure electronic accessibility for websites, videos, PDF

documents, etc.

Resources for physical accessibility

2010 Standards for Accessible Design

https://www.ada.gov/2010ADAstandards_index.htm

Regional ADA Centers https://www.adata.org

Physical Accessibility – Outdoor Spaces

PLAYA, Summerlake, OR

Accessibility – Outdoor Spaces

• Paths – paved or otherwise accessible
• Parking
• Pavilions and performance spaces

Resource – National Park Service https://www.nps.gov/aboutus/accessibility.htm

Accessibility – Historic Spaces

• Residencies in historic buildings must still be

accessible

• Residencies must be integrated and inclusive
• Work with experienced architects to find solutions

Access Accommodations for Artists

• Ask artists what accommodations they may need
• Also ask artists what will help them do their work in the

most comfortable and productive environment

• Consider adding funds to cover cost of accommodations,

including bringing personal care attendants

• Many accommodations have zero cost

Resource: http://askjan.org

Programmatic Accessibility

• Public contact information for requesting

accommodations

• Accessible electronic materials, application process
• Alternate formats request (large print, Braille)
• Accommodations (ASL interpreting, real-time

captioning, tactile opportunities)

• Closed/open captioning
• Assistive listening devices

Accessibility Statement

“We welcome everyone to our Institute and are committed to making our programs and events

• accessible. Please inform us of accessibility needs

(including limited mobility) to allow us to provide seamless access and a positive Institute experience. The Institute training sites are wheelchair-accessible. We will gladly make additional accommodations with advance notice by September 1st.”

“Nothing About Us Without Us” Include people with disabilities in planning:

• Panels, boards, staff, etc.
• Community needs assessment
• Partnerships
• Artists with disabilities

Innovation: Accommodating Artists with Disabilities

Electronic Accessibility

• Screen-reader friendly structure
• Captioned videos
• Easily readable fonts
• Use of color (meaning and contrast)
• Alternative text for photos

Residencies for Artists with Disabilities

• The Anderson Center, Red Wing, MN
• 3Arts, Chicago, IL

The Anderson Center

Deaf Artist Residency

To support artist residencies for Deaf artists and writers. The artists selected will be native speakers of American Sign Language and will explore with their fellow artists what it means to be Deaf in a hearing culture. At the end of each residency, the Anderson Center will host a public forum where the resident artists will present their work and discuss the impact of the residency. FY18 $10,000 Multidisciplinary & Presenting

Cynthia Weitzel, Program Coordinator

Deaf Artist Residency at The Anderson Center

"Sometimes the most effective, efficient, meaningful approach to full accessibility for members of the Deaf creative community is to create and support an environment where they are free to simply be together and be themselves.“

Cynthia Weitzel, Program Coordinator

3Arts, Residencies for Artists with Disabilities

3Arts FY18 $15,000 Chicago, IL

Accessibility Questions

Federal regulations require that all projects funded by the National Endowment for the Arts be accessible to people with disabilities. Complete this form and submit it to NEA Staff with the Project Budget form.

1. Buildings and facilities (including projects held in historic facilities) are required to be physically accessible. This can include, but is not limited to: ∙ ground-level/no-step entry, ramped access, and/or elevators to project facilities and outdoor spaces; ∙ integrated and dispersed wheelchair seating in assembly areas; ∙ wheelchair-accessible box office, stage/backstage, meeting, and dressing rooms; ∙ wheelchair-accessible display cases, exhibit areas, and counters; ∙ accessible studio, classroom, and work spaces; ∙ accessible artist residency studios and living spaces; ∙ wheelchair-accessible restrooms and water fountains; and ∙ directional signage for accessible entrances, restrooms, and other facilities.

Explain how your project will meet this requirement: 2. The programmatic aspects of the project are required to be accessible as either part of the planned activity or upon request, where relevant. This can include, but is not limited to: ∙ public contact information for requesting accommodations; ∙ accessible electronic materials and websites; ∙ print materials in alternative formats, such as large-print brochures/labels/programs, Braille, and electronic/digital formats; ∙ accommodations for performances, tours, and lectures, such as audio description, tactile opportunities, sign language interpretation, and real-time captioning; ∙ closed/open captioning of video and film; and ∙ Assistive listening devices Explain how your project will meet this requirement:

Resources

• NEA Office of Accessibility

www.arts.gov/accessibility/accessibility-resources/nea-office-accessibility

• Kennedy Center for the Performing Arts Leadership Exchange in Arts

and Disability https://education.kennedy-center.org/education/accessibility/lead/resou rces.html

• Regional ADA Centers https://adata.org

Resources

• Chicago Access Cultural Consortium

http://chicagoculturalaccess.org/resources (resources, networks & listserv)

• National Arts & Disability Center (NADC) www.semel.ucla.edu/nadc
• Job Accommodation Network (JAN) https://askjan.org/
• WebAIM Website Accessibility https://webaim.org/
• Webaim WAVE Accessibility Tool https://wave.webaim.org/
• NEA Grants Search https://apps.nea.gov/GrantSearch/

Craig Dunn

Arts Accessibility Consultant

Putting together an Access Plan

Putting together an Access Plan (1)

Where to start:

• Assign a 504/ADA/Access Coordinator
• Become familiar with law
• Gather your team – involve community

Putting together an Access Plan (2)

Assess & Survey your current access! Things to consider:

• Website
• Physical site
• Programming

Resources: https://mnaccess.org/resources/

Putting together an Access Plan (3)

Website Access Issues to Consider:

• Color & contrast
• Use of Alt-tags for description of images
• Movement through page using “non-visual” means – Tab Keys
• vs. Mouse

Putting together an Access Plan (3)

Create your ADA plan! Start an Access Binder Address easily achievable items first

Putting together an Access Plan (3)

Now that you’ve created your plan… Publicize plan internally and externally Share access info on website Plan and budget for larger items Evaluate and document changes - Celebrate

Natalie Kennedy

MN State Arts Board, MN Access Alliance

Partnering and utilizing resources

Examples of partnership in action

MN Access Alliance

• Founded by individuals who were

chatting at a conference

• Shared vision
• Formed board
• Programming/resources
• 3 years and growing

VSA MN & Program Stewards

• VSA MN sought ought likely

partners

• Collaborative meetings
• Discussions led to program

stewards

• VSA MN Closed official Sep 2019
• Much of VSA MN programming

lives on

Why partner?

• You’re not alone
• Everyone brings something to the table
• Power of the pack vs. loan wolf
• Sector advances

Partner with whom?

• Start with other individuals with shared

interest/concerns:

• Conference attendees
• Trainings
• Colleagues/comrades/competitors
• Shared lists
• Org’s website staff lists
• Etc.

How to partner?

• Get it on the calendar
• Set the date/time/place
• Make and keep the commitment
• Set a goal
• Start small! Examples:
• Another meeting on the calendar
• Two additional people to invite to the conversation
• List of issues- shared and not
• List of achievements

Who is bringing what to the “table”?

• Experience in x, y, z
• Diversity in language, community, communication

methods

• Physical space or online hosting platform
• Flexible budget in a certain area
• Website or social media skills
• Time/capacity
• Relationships

Maximize resources

• Targeted professional development
• Shared guests/consultants/professionals
• Ex: Roger Ideishi, MN Orchestra, MN Access

Alliance

• Shared benefits (credits, marketing, etc.)
• Tap into existing networks

Leverage your power as a “we”.

• In advocacy or lobbying
• In organizational budget or planning meetings
• In grant applications or funder meetings

Q & A

Contact

Beth Bienvenu bienvenub@arts.gov Accessibility@arts.gov 202.682.5567 Natalie Kennedy Natalie.kennedy@arts.state.mn.us info@mnaccess.org 651 539 2666 (MN State Arts Board) 651 539 2689 (MN Access Alliance) Craig J. Dunn Arts Accessibility Consultant craigjdunn19@gmail.com 612-321-6600 Cell