Inclusive Policy Toolkit

“Team of Art” is a project that aims to make culture and art accessible. The idea behind the project is to create an online platform that accompanies these audiences to discover works of art through a scripted presentation, in the form of a linear narrative, with a level of language that is easy to read and understand.

This makes it possible to recreate a museum experience, using digital devices and resources adapted to make the artworks accessible to all those disadvantaged audiences such as people with reading difficulties, people with DYS, people with learning disabilities, people with visual, hearing, or intellectual disabilities, who are often not included.

 Team of Art project aims to:

• Encourage innovative forms of cultural mediation and training using digital tools.
• Implement a narrative and visual approach in the presentation of artworks for learners with little or no qualifications and special needs.
• Make European cultural heritage accessible and usable by all by promoting culture and artistic heritage.

Team of Art project achieves these goals through the use of innovative digital approaches and the creation of various pedagogical materials, such as:

• 120 animated and scrolled artworks written in a plain language in order to be comprehensible from all visitors despite their age, culture, background.
• Create different intellectual materials, such as practical sheets, pedagogical dossier and pedagogical guides created around transversal artistic themes for a cross-sectional approach and knowledge.
• Create the first multilingual, easy-to-read/understand, iconic and sign language glossary dedicated to artistic vocabulary for audiences with little or no qualifications and/or learning disabilities and difficulties.

Adoption of accessibility webinars and exchange of best practices generate improvements and positive changes in various cultural activities. First, webinars on accessibility provide a valuable opportunity for internal training within the organization. This enrichment of internal expertise allows for a more informed approach to accessibility challenges and the implementation of innovative solutions.

In addition, the accessibility project leads to tangible improvements in the cultural activities offered by the association. By adopting best practices shared during webinars and exchanging experiences with other organizations, we are able to develop more inclusive workshops and educational programs. In addition, we have updated our guidelines for staff, volunteers and outside vendors, incorporating accessibility principles into all aspects of the organization. This includes the design of physical spaces, the use of accessible media, and inclusive communication.

Finally, the accessibility project offers a unique opportunity to collaborate and network with other cultural organizations that share the same goals. Exchanging best practices and learning from each other can stimulate innovation and foster the adoption of new strategies for accessibility in museums and the cultural world. This collaboration can lead to positive results in the long run, promoting a broader cultural change toward a greater focus on accessibility.

In summary, the adoption of accessibility webinars and the exchange of best practices help develop internal expertise, improve the inclusiveness of cultural activities, integrate accessibility into policies and procedures, and promote collaboration with other organizations. This joint effort aims to make museums and the cultural world accessible to all, promoting inclusion and equality of opportunity for all people.

As an association involved in the project, we have encountered both benefits and challenges in the process of implementing the products of Results 1, 2 and 3 in our organization. Here are some of the aspects we have addressed:

Benefits:

• Awareness and training: This training helped us better understand the needs of people with disabilities and develop appropriate strategies and solutions.
• Expanded staff skills: We trained our staff on issues of accessible design, inclusive communication, creating tactile materials, and more.
• Sharing best practices: Exchanging best practices with other organizations has provided us with inspiration and innovative solutions.

In general, our organization already specializes in aspects related to inclusion and accessibility: this meant that our staff and community were already close to the issue and we started from a common base of knowledge.

Challenges:

• Reach out to the community: The biggest challenge has been reaching a significant number of people. So, the goal is to increase the audience and make the most of social media and all kinds of communication.
• Long-term sustainability: Maintaining accessibility initiatives over time can be a challenge. Ongoing efforts are needed to ensure that the solutions adopted are maintained, updated and improved over time.

Every challenge requires a strategic approach and an ongoing commitment from the organization. However, the benefits of making museums and the cultural world more accessible outweigh the difficulties, as inclusion is promoted and an environment is created that welcomes and values people’s diverse abilities.

The products of Results 1,2 & 3 have been received by other cultural organizations, institutions, or stakeholders in our country positively.

As a cultural association engaged in the project on accessibility in museums there are some considerations, recommendations and challenges that have emerged for further exploitation of the project results:

• Comments and feedback: It is essential to collect detailed feedback from visitors, including those with different abilities, on the accessibility initiatives implemented. Visitor comments can help evaluate the effectiveness of the solutions implemented and identify any necessary improvements.
• Community involvement: it is important to actively involve the community in the decision-making process. Organizing meetings, workshops, or discussion forums with representatives of different abilities and interest groups can enable them to gain different perspectives and co-create accessible solutions. This involvement can also help raise awareness and increase awareness of the importance of accessibility in museums and the cultural world.
• Continuous updating: Accessibility standards and best practices are constantly evolving. The association will need to stay current on new technologies, guidelines, and regulations to ensure that accessibility initiatives remain on the cutting edge. This may require ongoing staff training and participation in conferences and workshops on the topic of accessibility in museums and the cultural world.

Addressing these recommendations, comments, and difficulties can enable further exploitation of the project’s accessibility outcomes, ensuring a lasting and positive impact for people with different abilities who wish to participate in cultural experiences in an inclusive manner.

Museums Art & Alzheimer’s supported by the European Union’s Erasmus+ program, seeks to enhance art and museum access for individuals with dementia, their families, and professional caregivers. By examining both European and non-European approaches, the project aims to establish connections between the realms of museums and art and the social and health sectors.

Through this holistic approach, museum activities are envisioned to contribute to the establishment of a society that is supportive and inclusive of individuals with dementia. The ultimate goal is to foster a dementia-friendly environment where art and cultural experiences play a vital role in enhancing the lives of those affected by this condition.

The direct target groups of the project are art museum educators, people with dementia, their caregivers (social workers working with people with dementia), and family members.

The main objectives of Museums Art & Alzheimer’s are:

1. To provide knowledge and practical skills-building information for museum educators on the development of programs for people with dementia and their caregivers.
2. To empower people with dementia, caregivers, and family members with knowledge about various communication methods, both verbal and non-verbal, and how to apply them effectively within a museum setting.

Main results of the project:

• Guide for museum educators on developing museum programs for people with dementia, their caregivers, and family members.
• Guide for caregivers and family members of people with dementia on the use of art to promote verbal and non-verbal communication.

Despite encountering challenges, we successfully engaged individuals who actively participated in both national and international webinars. The feedback we received from these participants was positive, showing the project’s impact and significance. Many expressed their appreciation for the webinars, noting that they gained valuable insights into improving their interactions with people with disabilities in museums. Participants acknowledged learning new approaches and strategies to enhance the overall experience for clients with diverse disabilities. We are glad that we managed to get the attention of organizations working in similar fields.

During the webinars, some participants willingly shared their own successful practices already implemented in their respective workplaces. This collective exchange of best practices enriched the learning experience, facilitating a dynamic environment for mutual growth and knowledge-sharing.

Furthermore, our project caught the attention of other organization operating in a similar field, and as a result, we received an invitation to participate in associations’ discussion on the accessibility of culture for people with disabilities. It showed that this topic is very important and that our project is visible for other people.

Project title: MOVE & ACT: Empower Youth through Entrepreneurial and Digital Skills

This very special project supports the development of specific digital, creative and entrepreneurial skills for young people. The main purpose of this skills development is to help young people to form a European identity, increase their employability, raise their voices and interact with the local, National and European.

MOVE & ACT project focuses on the engagement of young people with disabilities, migrants or NEETs as we consider that those are the most vulnerable groups which have been affected the most by the pandemic and the economic crisis that hit the last decade the most of the European countries.

There are 3 main objectives of the project:

1. Developing artistic and digital skills for marginalized young people. The artistic skills will focus on the Visual Arts field and the digital skills will focus on innovative new technologies that can be used in combination with the artistic activity such as 3D design, printing and scanning.
2. Creation of a network of youth at risk of social exclusion providing entrepreneurial tools, developing the sense of belonging and self-esteem, the common interest for visual arts, and finally empowering their inclusive and entrepreneurial perspective.
3. Gives the opportunity to young marginalized people to raise their voice about their personal or their communities challenges. This will be achieved with the organization of an Online PhotoVoice Contest and Exhibition which will allow the sharing of those challenges to public audience and the increase of the creativity, cultural expression and employability of young people.

The adoption of accessibility and 3D printing webinars, LTTA training content, and the exchange of best practices have significantly enriched our expertise in the areas of inclusiveness, 3D printing, and cultural heritage. The database of initiatives and recommendations, case studies, policy documents, and digital tools has empowered our educators and experts to offer new topics and activities to our target groups. International and national webinars and shared experiences have facilitated the development of more inclusive workshops, and training programs focused on accessible culture.

Through this process, we have become more aware of the challenges faced by people with disabilities, leading to a transformation of our workshops to be more inclusive and accessible. Our staff’s knowledge related to accessibility has improved, and they have successfully incorporated best practices into their daily work, benefiting individuals from diverse backgrounds, abilities, and experiences.

Furthermore, the project has provided an opportunity to collaborate and network with other cultural organizations, stimulating innovation and promoting a broader cultural change towards greater accessibility. These joint efforts aim to make museums and cultural experiences accessible to all, promoting inclusion and equality of opportunity for everyone, both within our organization and across collaborations with partners locally and abroad.

To effectively communicate the project activities and results, our organization utilized diverse channels and methods. Information was disseminated through regular posts on our social media page and on various FB groups, ensuring a wide reach to our audience. We engaged in informal communication with our partners and networks to share updates on the developments and outcomes.

Feedback from participants in the national webinars, a crucial part of R2, revealed that the presented works and content significantly enriched their understanding of accessibility and the various opportunities for adapting artworks for people with disabilities, including through 3D printing replicas and accessible exhibitions.

In addition to online dissemination, we actively shared the project outcomes during various meetings, discussions, training sessions, and workshops. This multi-faceted approach allowed us to reach both local and international audiences, fostering knowledge exchange and collaboration.

The process of putting the outcomes from Results 1, 2, and 3 into practice in our organization presented both advantages and challenges.

The advantages we experienced include:

• Increased awareness: The webinars, databases and LTTA training provided valuable insight to our and stakeholders’ awareness and understanding of the importance of cultural accessibility, promoting accessible cultural venues, museum content, and enhancing cultural experts’ competences. It helped us better understand the needs of people with disabilities.
• Increased knowledge, and enhanced competences and skills: The produced webinars and training materials enabled us to improve skills and knowledge regarding 3D printing, inclusive communication, creating inclusive materials, and workshops tailored to the specific needs and learning styles of people with disabilities. Through the project, our educators acquired knowledge of accessible design and digital tools, enriching their ability to create educational materials that are more inclusive.

The challenges we faced include:

• Reaching more stakeholders and the general community: The biggest challenge was to reach higher number of cultural workers and local/national community in general.
• Sustainability: Conducting fully accessible and inclusive workshops and trainings is quite challenging. In some cases, it might even not be possible to ensure accessibility for all participants.
• Financial aspects/Staff availability: We don’t always have finances or staff to provide accessible solutions in our activates.

To overcome these challenges, we remain committed to changing attitudes in society and among cultural specialists. The project has broadened our perspective on museums and cultural heritage, and we aim to continue working in this field in the future, promoting inclusivity and accessibility for all.

The project results have been warmly welcomed and well-received by stakeholders and target groups. Results and materials provided valuable insights and practical guidance on how to make culture more accessible for people with disabilities. Participants appreciated the comprehensive training content and webinars offered by the project. The materials helped to raise awareness and understanding of the challenges faced by individuals with disabilities, enabling them to develop effective strategies for accommodating diverse audiences.

Additionally, the exchange of best practices during the LTTA fostered a collaborative environment where cultural workers and educators could learn from each other and share successful approaches they had already implemented in their respective workplaces. This collective learning experience enriched the overall impact of the project, inspiring stakeholders to continuously improve their accessibility initiatives.

In our opinion, to maximize impact of the project, several considerations should be taken into account. Firstly, involvement of cultural workers and cultural organizations must be strengthened. Also, we should encourage individuals with disabilities to play an active role in advocating for cultural accessibility with decision-makers and cultural authorities.

Secondly, organizing more meetings, workshops, and forums for cultural workers and educators could raise awareness on welcoming and supporting visitors with disabilities, and promote our project.

Lastly, to ensure sustained impact, collecting detailed feedback from workshops participants and museum visitors, especially those with different abilities, can help evaluate the effectiveness of accessibility initiatives and identify areas for improvement.

The Curability project has made necessary a major change in the information on the MESTRAL’s website “accescat.cat”, which provides information on the accessibility of cultural facilities in towns and cities and analyses and evaluates the accessibility of publicly owned buildings and facilities, privately owned buildings and facilities, public utility or service buildings and facilities, and privately owned and used buildings and facilities.

Until now, the information on the website was largely based on the physical accessibility of the space (accessible, practicable, inaccessible), as well as on information about the resources for accessing cultural information (signs, descriptive audio guides, Braille panels, reproductive models (for people with hearing difficulties), ramps, tracks, etc.).

Thanks to the Curability program, the concept of UNIVERSAL ACCESSIBILITY has been expanded through the ACCESSIBILITY CHAIN, making it possible to broaden the base of the information offered, as well as to make a step forward and improve the language used in the descriptions and explanations to make it more accessible and understandable for a greater number of people with different abilities.

This improvement in the accessibility chain provides users with information and support from the moment they start planning the visit to the cultural facility, up to the visit itself and the use of the resources available on it.

Therefore, the website provides more complete and clear information about the space and its accessibility, in order to avoid the frustration of going to a cultural facility and not finding all the resources available to enjoy the visit.

The Erasmus+ project “A.A.C.cessible Culture” is a collective project dedicated to the improvement of Augmentative and Alternative Communication (AAC) strategies, with the main aim of enabling children and young people with communication deficits to immerse themselves in the world of cultural and artistic heritage. Among the wealth of valuable findings produced by this initiative, the document “IO3 – Guidelines for the cultural sector” stands out.

These guidelines represent an innovative and indispensable skills profile to facilitate the participation of people with special educational needs (SEN) in cultural settings. These guidelines serve as a reference tool, introduce the AAC system and provide a template for the implementation of standard visit routes. Their importance lies in bridging communication gaps, making cultural experiences universally accessible and promoting inclusion in the cultural sector.

The lessons learned from this initiative are profound. It highlights the important role of culture and education in promoting accessibility and inclusion. By focusing on strategies for inclusion of children with SEN and communication difficulties, “A.A.C.cessible Culture” has shown that educational field trips and cultural visits can usefully complement traditional classroom learning. It is in line with ICOM’s 2022 definition of museums, which emphasises their role as public, accessible and inclusive spaces that promote diversity and sustainability.

In summary, culture, with its diverse values, serves as a powerful catalyst for learning and enriches lives emotionally, relationally, socially and in terms of civic awareness. By integrating AAC tools and principles, cultural institutions can increase their impact and create more accessible and inclusive spaces for all.

• Project Number: 2020-1-IT02–KA227–SCH–095549
• Project topic(s): Cultural Heritage & Art, Social Inclusion
• Project website: aacc project – A.A.C.cessible Culture

The implementation of this project has been beneficial for the organisation in several aspects, both human and technical. 

At human level, it has meant an improvement in the awareness, skills and learning of workers and volunteers, mainly in the understanding of the needs, weaknesses and strengths of the different target groups. 

This has permitted us to understand that people in the same target group may have different needs depending on their environmental, social and cultural situation. 

This awareness has made it possible to plan and organise activities from a more open point of view, preparing information (courses, trainings, …) with a simpler and more understandable, more visual and interactive language. Also, planning activities from a more accessible point of view, not only thinking about the place where the activity takes place, but also in previous steps, for example, considering the possibilities offered by public transport.  

At a technical level, it has allowed us to review and update the training of technicians and volunteers on the possibilities of ICTs applied to the field of inclusive culture. Therefore all our technicians and volunteers have improved the knowledge and use of ICT resources in cultural facilities, both in social entities and in public and private institutions, administrations and facilities.

The impact of the Curability project “on our organisation, Open Europe, has been transformative in several ways.

Firstly, we have gained invaluable insights into the state of accessible culture in Spain through the research conducted as part of PR1. This newfound understanding has not only influenced our cultural activities, but has also generated a wealth of new ideas for projects and initiatives. In response, we have formulated an innovative project proposal that, if accepted, will support our mission to improve the accessibility of Spain’s cultural heritage for people with disabilities.

Secondly, “Curability” has significantly enriched our team’s knowledge of accessibility and accessible tools. We have used tools like the Hemingway app to make our texts more accessible. This newly acquired knowledge of accessibility principles has enabled us to create content that is more inclusive, reaches a wider audience and promotes a more inclusive environment.

In summary, the impact of “Curability” on Open Europe has been profound. It has shaped our strategic direction, inspired our creativity and opened up new ways of working together. It has also equipped us with the knowledge and tools we need to improve accessibility in our communication and projects.

The entity has used its communication office and the websites it manages:

• the corporate website mestralonline.org
• the website on accessibility accescat.cat
• the international website created for the Curability program https://www.curability.eu
• as well as the entity’s social networks (Facebook, Twitter, Instagram), for the dissemination of the Curability program and all the information generated by the entity as a result of its implementation.

It has also created a mailing of cultural facilities in the country to send information and has connected with local administrations to offer its information and advice service, as well as training of cultural workers of these facilities.

At the same time, it has produced information “capsules” on accessibility in general, on technological resources, and on the adaptation of communicative language according to the characteristics of the type of disability, casuistry and various difficulties of the target group visiting the cultural facility in question.

Our organisation has actively communicated the changes resulting from our participation in the “Curability” project to ensure transparency and encourage further progress in accessibility. We have used various communication channels and have received both qualitative and quantitative feedback highlighting the importance of these changes.

Social media engagement: Our organisation’s social media presence on platforms such as Facebook and Instagram has been instrumental in raising awareness of the “Curability” project and its outcomes. We regularly post updates and insights on accessibility, promoting engagement and awareness among our online community.

Feedback from webinars: Participants in our local webinars on accessibility and 3D printing have given us qualitative feedback expressing their appreciation for the project outcomes and their practical benefits. This feedback is a testament to the tangible impact “Curability” has had on professionals in the field.

In summary, Open Europe has made it a priority to communicate the changes and improvements that have resulted from “Curability. To do this, we have used our online presence, spoken directly to stakeholders and sought qualitative feedback from direct participants. These efforts have not only raised awareness of the impact of the project, but also fostered a sense of collaboration and shared commitment to promoting accessibility in cultural and educational contexts.

From the point of view of Knowledge and Human Resources, the development of the various phases of the project has allowed us to take stock of our knowledge, human and technical capabilities with respect to the promotion and full implementation of the concept of Universal Accessibility to the culture and the use of ICTs.

In this sense, the continuous internal training that the entity carries out periodically has been very useful, although it has also allowed us to detect a lack of knowledge and update in some new concepts and technical progress, in order to face challenges in this regard.

It has also helped us to know the degree of unawareness of trainers, managers and cultural workers of most cultural facilities, based -preferably and anachronistically- on the concept of physical accessibility through the elimination of architectural barriers, but ignoring, in many cases, the needs of the target groups once they arrive at the facility.

In this sense, we cannot forget the economic costs (many times huge cost)  involved for a cultural facility to comply with all the requirements for full accessibility: training of professionals, accessibility, technical equipment, spaces, materials, documentation….

Therefore, we believe it is very important to involve the local and national administrations in the community’s commitment to provide more funding for public cultural facilities and support for private cultural ones.

From the point of view of Knowledge and Human Resources, the development of the various phases of the project has allowed us to take stock of our knowledge, human and technical capabilities with respect to the promotion and full implementation of the concept of Universal Accessibility to the culture and the use of ICTs.

In this sense, the continuous internal training that the entity carries out periodically has been very useful, although it has also allowed us to detect a lack of knowledge and update in some new concepts and technical progress, in order to face challenges in this regard.

It has also helped us to know the degree of unawareness of trainers, managers and cultural workers of most cultural facilities, based -preferably and anachronistically- on the concept of physical accessibility through the elimination of architectural barriers, but ignoring, in many cases, the needs of the target groups once they arrive at the facility.

In this sense, we cannot forget the economic costs (many times huge cost)  involved for a cultural facility to comply with all the requirements for full accessibility: training of professionals, accessibility, technical equipment, spaces, materials, documentation….

Therefore, we believe it is very important to involve the local and national administrations in the community’s commitment to provide more funding for public cultural facilities and support for private cultural ones.

The project results of Curability have been positively received by stakeholders and target groups in our country. However, in order to maximise their impact and facilitate their further use, some reflections and recommendations have emerged:

Greater stakeholder engagement: It is important to strengthen the engagement of cultural professionals and cultural organisations. Working with these key stakeholders can improve the sustainability of project outcomes and the usability of project results.

Promote wider uptake: Extending the reach and adoption of the products from Results 1, 2 and 3 in other cultural organisations and institutions remains a priority. Recommendations include conducting awareness-raising campaigns, organising information events (besides Multiplier Events) and supporting organisations to integrate these accessible solutions into their practise.

In summary, while the results of the “Curability” project results were initially well received, realising their full potential requires a strategic approach. Strengthening stakeholder engagement and fostering wider acceptance are important steps to further utilise the results and ensure that accessibility remains a central issue in our country’s cultural organisations and institutions.