on the job
DINA BASSILE IS AN ACCESS CONSULTANT.
I started my business, Tibi, nearly two years ago, where I work as an access consultant for live music events and venues, promoting a spirit of inclusivity. The aim is to open up gigs and events of all sizes to everyone, removing barriers faced by people with disabilities. I originally studied to become an artist manager, but realised it wasn’t for me. It wasn’t until I went to the Splendour in the Grass festival that I met an accessibility liaison and realised that was an actual job. It was a light-bulb moment for me: I’m in a wheelchair and I go to concerts and gigs where accessibility isn’t the best. I thought, “I need to start a business from this perspective.”
It’s tough, because accessibility is not a high priority for a lot of festivals or venues. It’s like, “Let’s just get a viewing platform in there,” and that’s it. As a wheelchair user, you’re popped in the back somewhere, or to the side, away from the crowd. You may as well be watching the concert on a TV! It's much more enjoyable when you're amongst it all, and that’s possible to do in a safe and practical way. Bigger festivals will usually have an accessibility liaison on board, but a lot of the time, they may just be occupational therapists.
It’s also often coming from an able-bodied person’s perspective, and while they’re following the handbook, they might not know first-hand what will or won’t work with a disability. People within the disabled community can get anxious about going out, because we’re not sure whether the place is suitable or not. Every disability is different, of course, but a few of the things I’d think about before buying tickets are whether I can easily get in or out with a wheelchair, if there are appropriate toilets, and whether the place accepts companion tickets, which mean I can bring a carer for free.
The industry professionals, artists and venue managers I meet in my workshops want things to change, but there’s a bit of panic that they might not have the money to do it. One of the simplest, most cost-effective ways to make a change is putting information online. If you’re a venue, list what you do and don’t have so people can be more comfortable about what to expect. And then in future, build your budget to include more. You might start off small and install a hearing loop in your venue, then build your way up to a lowered bar or viewing platform in five years.
Artists don’t always realise how much power they have, either. They can talk to a venue and say, “Hey, I want my setup to be specifically like this for people who need seating.” Artists can play captioned videos for their songs, so people who are deaf or hard of hearing can understand the lyrics as they’re performing. There are DIY ways of making a concert more accessible. Right now, I’m working on a campaign about accessibility from the artist’s point of view, too. It’s really important for promoters to approach their artists and say, “Do you have any access requirements?” because not all disabilities are visible.
Aside from being able to see heaps of live music in my line of work, my favourite thing is hearing people’s ideas for improving accessibility. One of my workshop groups said they’d print tickets in Braille and I thought that was so creative. Overall, I’ve had great feedback from industry people, as well as from the disabled community. It’s reassuring to hear that people feel represented. I want to get the message out there that we, too, like to go out and have fun.