Three days and three Parisian museums: the Musée Rodin, the Panthéon and the Musée national de la Marine. An international training on solutions for enhancing the accessibility of museums for people with special needs and a meeting of partners – both events carried out within the framework of the “REACT – Ressources for European Accessible Cultural Tours” project on December 10-12, 2024.
The goal: to analyse good practices, initiatives and concepts of digital and physical accessibility in the museum sector, to better understand the substantive and formal needs of visitors with special needs and to include their voices in the reflection on inclusive digital mediation, and ultimately to develop – as part of the project – recommendations for the Musée Rodin on accessibility for all visitors.
Access to culture is one of the fundamental human rights. Several million people with various disabilities live in Poland, which is why museums, galleries and exhibitions are increasingly taking steps to ensure full accessibility. When we talk about accessibility, we are not only referring to the removal of architectural barriers, but also to the adaptation of language, content, communication methods and spatial organisation.
It is worth looking at the solutions that are being used to enable people with intellectual disabilities, deaf and hard of hearing people, as well as blind and visually impaired people to fully enjoy what cultural institutions have to offer.
People with intellectual disabilities often encounter language and cognitive barriers. Texts in museums can be too complicated, and the accumulation of information can be overwhelming. The solution is to use language that is easy to read and understand, known as ETR (Easy-To-Read). Such texts are short, written in simple words and avoid difficult terms. Pictograms and graphics, which facilitate orientation in space, are also an important support.
More and more institutions also offer special sensory workshops that engage multiple senses: touch, smell and hearing. When visiting, it is very important that this takes place in small groups and that the guides are prepared to work at a calm pace and in an atmosphere that promotes a sense of security.
Deaf and hard-of-hearing people struggle mainly with the lack of sign language interpretation and subtitles in multimedia materials. In order for exhibitions to be accessible, it is necessary to introduce guided tours and video guides in Polish Sign Language. Equally important are subtitles and transcripts for films and recordings, as well as the installation of induction loops to facilitate the use of hearing aids. It is also good practice to train staff in the basics of Polish Sign Language (PJM), which makes communication at the ticket office or information desk easier.
Blind and visually impaired people, on the other hand, need solutions based on sound and touch. One of the basic tools is audio description, i.e. verbal descriptions of works of art, spaces or exhibits. It is used both during live guided tours and in the form of recordings. More and more often, museums also feature tactile models and typhlographics, i.e. raised images and models that allow visitors to imagine the shape and composition of an object. Braille and electronic catalogues are also very important, as is appropriate signage: guide lines on the floor and contrasting information boards.
There are many examples of good practice in Poland and around the world – all these activities show that access to culture is not a privilege but a right. Institutions that invest in accessibility solutions not only expand their audience but also build an image of open and modern organisations.
These activities also increase social sensitivity, teach empathy and open the way to true participation in culture for everyone. Accessibility in culture is not limited to technical facilities, but includes a change in attitude, communication and thinking about the audience. Culture is for everyone and everyone should have the opportunity to experience it.
Photos: Justyna Matkowska
