Accessibility Is Not an Add-On: Designing Tourism Experiences That Include Everyone

Despina Karatzias
Jul 19, 2024
6 min read

Updated: Jul 4

Working in tourism and the broader visitor economy for over two decades, developing and delivering inclusive and accessible visitor experiences has been a key topic of interest in the Australian tourism industry. Participating in the Curtin University Accessible Challenge was of particular interest because of my work and exposure in Accessible Tourism. Participating in the six-day challenge broadened and challenged my thinking beyond the scope of the visitor economy to consider more deeply people living with a disability across many industries.

Reflecting on my recent learning during the Accessibility Challenge unit at Curtin University, I am prompted to explore 'How can I participate in creating a more inclusive future?'. The challenge emphasised the significance of viewing disability not as a limitation but as a catalyst for innovation and creativity. This reflection integrates insights from the suggested readings, particularly focusing on art and museums, and incorporates the principles of inclusive design from essential texts and the WA State Disability Strategy 2020-2030, the project my ‘Art and Museum’ team and I delivered which had me constantly reflecting on the wider federal government, Austrade THRIVE 2030 and WELCOME Framework tourism strategies.

Additionally, masterclasses and insights from Disability Studies leaders like, Professor Katie Ellis's presentation on disability models and the impactful messages from the videos "Stella Young: I'm Not Your Inspiration, Thank You Very Much" and "Assume That I Can, Maybe I Will" left a lasting impression and much to consider in our solution.

Understanding Disability Models

Katie Ellis's presentation on disability models provided an essential framework for understanding different perspectives on disability. The social model of disability, which views disability as a result of societal barriers rather than individual impairments, is particularly relevant. This model emphasises the importance of removing environmental and attitudinal barriers to create an inclusive society (Ellis, 2023)The presentation also discussed the concept of "inspiration porn," a term popularised by Stella Young to describe the portrayal of disabled individuals as inspirational solely for living their lives. This perspective is patronising and undermines the efforts of people with disabilities to be seen as equal members of society (Young, 2014).

Challenging Assumptions

The video "Assume That I Can, Maybe I Will" particularly highlighted the detrimental impact of low expectations and assumptions about the capabilities of people with disabilities. By challenging these assumptions and believing in the potential of individuals with disabilities, society can unlock their full potential and foster a more inclusive environment (Assume That I Can, Maybe I Will, 2023).

Insights from the WA State Disability Strategy 2020-2030

The WA State Disability Strategy 2020-2030 outlines a comprehensive plan to create a more inclusive community. It emphasises that inclusion is a shared responsibility and highlights the importance of making services, systems, workplaces, and environments accessible and welcoming for everyone. This strategy provides a roadmap for significant shifts in community attitudes, accessibility, and equity for people with disabilities.

The Strategy’s vision is for a community where people with disabilities are engaged and empowered to live as they choose. The need for universal design in public infrastructure promotes inclusive education, employment, and community participation. Although these principles align with the goals of the Accessibility Challenge and reinforce the idea that inclusive design benefits all members of society, there was little mention of efforts to enhance visitor experiences, as highlighted in the THRIVE 2030 (2023) aiming to also make experiences more inclusive for all visitors to the state.

Lessons from Art and Museums

Museums and art galleries are prime spaces where inclusive design can significantly impact the visitor experience. According to the report on making existing buildings accessible, museums must accommodate diverse visitors, including those with disabilities, without compromising the historical integrity of the buildings (Museums & Art Galleries, 2006). Balancing accessibility with preservation is critical in ensuring that cultural institutions welcome everyone.

Muscat (2021) emphasises that accessibility in the arts is often inadequate and tokenistic. Muscat argues that disabled people should be free to enjoy cultural experiences without being limited by access barriers. The inadequacy resonated and aligned with our groups thoughts and proposal, reinforcing that inclusive design should be seamlessly integrated from the outset rather than being a retrospective addition.

The Accessibility Challenge Experience

Participating in the Accessibility Challenge was transformative. The unit, which brought together individuals with disabilities, WA disability organisations, Curtin staff and students from different faculties, aimed to foster innovation by addressing various accessibility challenges. The hands-on experience to provide a solution for people living with a disability in the Art and Museums spaces, through challenge-based learning, highlighted the importance of understanding the unique needs of people with disabilities and the potential for inclusive solutions to benefit all members of society.

Our team, recognising the barriers people with vision impairments and cognitive disabilities would face visiting Arts and Museum focused on solutions to navigate complex text, lack of tactile experiences, stereotypical art guides implying certain cognitive abilities and limited social interactions. Our solution involved consultation, in all aspects of the design process to propose and present a three-part series to enhance the Art and Museum experience for people living with vison and cognitive impairments. The collection of Access Art Guide products included Art Guide Audio, Art Guide Program and Art Guide Wearables.

Personal Commitment to Inclusivity

As a tourism professional, participating in the accessible challenge has given me invaluable insights into how I can participate in creating a more inclusive future within tourism and small business communities I work in. Integrating what I have learned into relevant THRIVE 2030 (2023) and WELCOME Framework (2024) strategies is crucial to my commitment to inclusivity. Furthermore, my commitments to creating a more inclusive future include the following:

Advocacy and Awareness: Continuously raising awareness about the importance of accessibility in various sectors, including tourism, education, and the arts. This involves educating peers, clients, and stakeholders about the benefits of inclusive design. The THRIVE 2030 strategy highlights the importance of improving data and insights to support decision-making and promoting inclusive practices within the industry (THRIVE 2030, 2023)
Inclusive Design Implementation: Ensuring all projects and initiatives I undertake incorporate inclusive design principles. This means consulting individuals with disabilities during the planning and design stages to understand their needs and preferences, like we did with our project. The WELCOME Framework provides practical advice for tourism businesses to make their services more accessible and inclusive, emphasising the need for clear communication, improved operations, and enhanced visitor experiences (WELCOME Framework, 2024).
Empowering Voices: Amplifying the voices of people with disabilities by involving them in decision-making processes and providing platforms for them to share their experiences and insights. This aligns with the concept that inclusive design must always place people at the heart of the design process (Cave, A. 2007).
Continuous Learning and Improvement: Staying informed about the latest developments in accessibility standards and inclusive design practices. This involves engaging with ongoing professional development opportunities and learning from successful case studies.
Collaborative Efforts: In the same way that my student colleagues and I engaged with key stakeholders, I will participate in a more inclusive future by engaging with industry partners, government bodies, and local communities to promote and implement inclusive practices. The THRIVE 2030 strategy further emphasises comprehensive collaboration and enhancing visitor infrastructure to support a resilient and inclusive visitor economy (THRIVE 2030, 2023).

Conclusion

Reflecting on the Accessibility Challenge and the insights from the readings, I am more committed than ever to contributing to a more inclusive future. By advocating for, implementing, and continuously improving inclusive design practices, I can help create environments where everyone can participate fully and equally, regardless of their abilities. This journey towards inclusivity is about meeting standards and fundamentally changing how we think about and design our world. I am grateful for the opportunity and transformative experience over the six-day Accessible Challenge.

References

Assume That I Can, Maybe I Will. (2023). YouTube. Retrieved from https://www.youtube.com/watch?v=4fHGsLuA76w

Ellis, K. (2023). Understanding Attitudes towards Disability. Curtin University.

Muscat, O. (2021). Arts accessibility shouldn’t be an afterthought. Kill Your Darlings. Retrieved from https://www.killyourdarlings.com.au/2020/12/announcing-kyds-2021-new-critic-may-ngo/Cave, A. (2007). Museums and art galleries: Making existing buildings accessible. Centre for Accessible Environments, Royal Institute of British Architects. London: RIBA Publishing.TED. (2014). Stella Young: I’m Not Your Inspiration, Thank You Very Much [Video]. YouTube. Retrieved from https://www.youtube.com/watch?v=8K9Gg164Bsw