Glossary

Ableism means: 
Someone is hostile to disabled people. 
Someone rejects people with disabilities. 
Someone is discriminating against people with disabilities. 
Someone is treating people with disabilities badly. 
Someone has no respect for people with disabilities. 
Someone insults people with disabilities. 
Or someone is always making jokes about people with disabilities. 

 It is pronounced like this: 
Ey·be·lis·m.

Ableism is forbidden. 
The law states: 
All people have the same rights. 
People with and without disabilities. 

Ableism can take many different forms

An assistance relationship can trigger many different feelings.  
Many of us people with disabilities can only be ourselves with assistance. 
This also means: 
We often hardly know the people providing assistance. 
And yet, we have to trust them. 
Or we have known them for a very long time. 
Can we still be independent? 

Mia Mingus calls this special connection between two people “access intimacy”. Das spricht man so aus: Äxes In·ti·mi·si. 
We can think of “access” in this way: 
It is an opportunity to overcome barriers. 
And intimacy is another word for closeness and familiarity. 
 
Mia Mingus is disabled and queer and an activist of colour. 
This means: 
She was born in Korea. 
Her skin is not white.

In this context, the word ‘access’ is not literally understood in the sense of ‘accessing’ a physical location. It can also mean being able to understand the language of a production or being able to afford a ticket. Accessibility, on the other hand, refers specifically to physical access for people who are hindered by barriers. 

The majority of cultural institutions and artists currently assume that accessibility for disabled audiences should be as unobtrusive a service as possible. They are looking for a checklist with which accessibility features can be added to any work of art in an uncomplicated, less cumbersome way. 

For example, standardisation can be helpful when it comes to the inclination of ramps in the stage area or suitable visual contrasts on information material. However, accessibility in art must be allowed to take as many forms as the artworks themselves. 

The British Graeae Theatre Company, which has significantly shaped the concept of the ‘aesthetics of access’, is creating an alternative concept to the purely service-based idea of retrofitting accessibility. Graeae is run by disabled artists and has been dealing with the ‘aesthetics of access’ for years. They develop various forms of creative accessibility. For them, it is fundamental that disabled audiences are considered in the creative process from the outset. 

The example of a dance performance clearly demonstrates the difference it makes when we include disabled audiences – or do not. Most dance performances are constructed to create images, utilise exciting music and possibly use complex or English language, and the audience space is space-saving and dark. Afterwards, an audio description of the visual performance for blind audiences is offered via headphones, or a sign language interpreter is placed in a corner of the stage area. There may also be subtitles or a narration in simple language via headphones. A single beanbag is placed in front of the first row on the far left or right next to the only wheelchair space. 

 These accessibility measures ensure that a disabled person will not be excluded from attending the theatre. However, they do not mean that the person will be able to participate fully in the aesthetic experience or that they themselves will develop artistically. Rather, they reproduce the concept of integration of disabled people. A space that was created for the non-disabled majority society can now also be visited by disabled people, but during their visit, they must adapt to the given conditions. 

The dramaturgy that is devised for a non-disabled audience is rarely compatible with subsequently added accessibility features. To explain what retrofitting can mean for disabled audiences in the aforementioned dance performance, here are a few pointers: externally produced audio descriptions usually follow a rhythm that runs counter to the performance. This is also the case, for example, when moments of intended silence are filled with the description of the visual presentation. A deaf visitor has to look back and forth between the performers and the interpretation, whereby part of the content is always lost. In addition, a visitor with a learning disability who uses headphones for the translation into easy language misses the original voices of the performers. The front row is often exposed to audience interaction. In the case described above, a person using a wheelchair or beanbag cannot choose a seat independently. The unwritten rules of behaviour in the theatre space, which can represent insurmountable barriers for disabled audiences, are also not addressed or reinterpreted. 

When a dramaturgy is devised, it is important to create a coherent arc and not lose the desired rhythm. The disabled audience experiences art predominantly through the filter of a service offer. In most retrofitting processes, it undergoes a compromise instead of a work of art. 

There are now several examples of such ‘aesthetics of access’ in which artists imagine a diverse audience. In the production ‘Fux’ by Ursina Tossi, the entire audience is playfully guided through the stage set, allowing them to experience it through touch. The performance ‘SCORES THAT SHAPED OUR FRIENDSHIP’ by Lucy Wilke and Pawel Dudús offers an audience space with various seating and reclining options throughout the stage area. In the production ‘Soiled’ by Michael Turinsky, the audio description can be experienced by the entire listening audience and creates a text level between narration and description. Jess Thom, known as Touretteshero, developed the bilingual performance ‘Not I’, in which both the translation of her monologue and her tics became part of the game between the two performers on stage. In addition, their performance is conceived as a ‘relaxed performance’, thus calling into question the normative rules of behaviour mentioned above. In the production ‘Criptonite #3 BE INSPIRED!!!’ by Nina Mühlemann and Edwin Ramirez, creative surtitles in the style of the ‘Star Wars’ intro fly through the picture. In ‘Criptonite #4 PLEASURE’, the performer introduces her wheelchair to a person from the audience, including an explanation of where and how it should be cleaned, thereby simultaneously providing a stage description for a blind audience. 

Many other productions enrich the art scene. What all have in common is that disabled artists were involved in the artistic direction or at least in the artistic process. This is another basic principle practised by Graeae with the ‘aesthetics of access’. It is wrong for non-disabled people to start from their assumptions about disability and adopt the aesthetics of accessibility. The film ‘Feel the Beat’ (2020), for example, uses the aesthetics of sign language from a hearing perspective, whereby this does not even create accessibility for deaf people. 

Without the lived experience of disability, non-disabled artists lack the expertise of the respective community. In most cases, disabled theatre-goers can tell whether lived or projected knowledge was present in the artistic team. They can also tell whether or not they are part of the invited target audience. This is the difference between an accessible theatre evening and a theatre evening with the practice of ‘aesthetics of access’.  
Because this is inspiring, inclusive and art. 

This text is a guest article by Sophia Neises at Diversity Arts Culture in Berlin. 

Sophia Neises is a disabled performer and choreographer. She researches and develops concepts of access dramaturgy, especially for blind and visually impaired audiences. 

Audism is discrimination against deaf people. It is based on a perceived superiority of hearing and speech and a devaluation of deaf people as ‘defective’. Many hearing people believe that life without hearing is inferior. One consequence of this is discrimination against deaf culture and sign language(s), which are still regarded as less valuable and marginalised today.  

This text was written in collaboration with Silvia Gegenfurtner on behalf of Diversity Arts Culture in Berlin.

Chronic illness means: 
A person has had an illness for a long time. 
Perhaps forever. 
The illness is part of the person’s life.

Crip comes from “cripple”. 
In the past, the word “crip” or “cripple” was used as an insult for people with disabilities. 
But today, people with disabilities have reclaimed the word for themselves. 
They now proudly use it for themselves. 
You could also say: 
The word crip is a self-designation. 
Many people with disabilities are connected with each other through this. 

Crip art is art by artists with disabilities. 
Their art is often also about their disabilities. 
And about everyday life as a disabled person. 
It is also about making the topic of disability more visible in art.

The term crip-bodymind (from crip, an empowering reinterpretation of the word "cripple", and bodymind for the inseparable unity of body and mind) describes an inclusive perspective on disability. 

‘Crip time’ describes the complex experiences that disabled or chronically ill people have with time. It questions rigid schedules. 

The Federal Office for Civic Education Germany has developed a chart to illustrate this.  

With reference to the author Andrea Schöne from fluter Magazin Deutschland. 

Deaf is a positive self-designation of non-hearing people, regardless of whether they are deaf, partially deaf or hard of hearing. This also shows that deafness is not seen as a deficit. This constitutes the reappropriation of a term that has long been used as a pejorative description (‘reclaiming’). Some members of the deaf community are now using the word ‘deaf’ for themselves again because, unlike the term ‘hearing-impaired’, it does not inherently denote a deficiency (‘impaired’).. 

For many people, the term ‘deaf' still carries negative connotations, as they associate it with colloquial pejoratives for the non-hearing. Derogatory and discriminatory attitudes towards deaf people and the marginalisation of sign language are called audism.

Many non-hearing people also describe themselves as ‘hearing-impaired’ or use both terms. In order to enable respectful communication, you should always ask what deaf people want to be called and which means of communication they prefer. 

This text was written in collaboration with Silvia Gegenfurtner on behalf of Diversity Arts Culture in Berlin. 

Diversity means: 
Variety or difference. 
It means this: 
All people are different. 

For example: 

• There are young people and old people. 
• There are people from different countries. 
• There are men and women. 
  And people who say: 
  I am not a man. 
  And not a woman. 
• There are people with different religions. 
• There are slim people and fat people. 
• There are people with and without disabilities. 
• There are rich and poor people. 
• There are people with light skin colour and people with dark skin colour. 

And people can differ in many other ways. 

Diversity is a good thing. 
People live their lives in different ways. 
They think in different ways. 
That is why they also find different answers to questions. 
And they find different solutions to problems.

Drag kings and drag queens perform on stage. 
Many of them sing or dance. 
Some tell jokes on stage. 
Most drag kings are women in men’s clothing. 
But: women, men and non-binary people can be drag kings. 

Some people are non-binary. 
This means: 
A person does not feel like a man or a woman. 

Many people believe: There are only men and women. 
That’s not true. 
There are more than 2 genders: 
some people are woman and man at the same time. 
Or they have a different gender. 
Or they have no gender. 
These people call themselves non-binary. 

Participation means: 
Everyone can take part in something. 
Everyone is part of society. 
People with and without disabilities. 
Young and old people. 
Men and women. 
People from different countries. 

All people can decide for themselves: 
How and where do I want to live? 
Or: 
Which cinema film do I want to see? 

Actually, the law says: 
All people have the right to participate in all areas of life. 
In culture, too. 

However: 
This often doesn’t work yet. 
Because offers are not barrier-free. 
For example: 
There are only a few plays in plain language. 
Or: 
There are only a few inclusive sports clubs. 

A performance is the art of doing. 
You could also say: 
It is a show. 
By individual artists or a group of artists. 
Something is shown. 
On a stage. 
In a museum. 
Outdoors. 
There are performances in many different places. 
A performance is about a relationship between space, time, the artist and the audience.

The word “queer” actually means strange or funny. 

In the past, gay men were often called queer. 
People wanted to say: 
Gay men are strange. 
It was not a good word. 

But that has changed. 
Today, many people use the word for themselves. 
People say of themselves: 
I am queer. 

You could also say: 
The word queer is a self-designation. 

What people use the word queer for themselves? 
For example: 

• Gay men 
• Lesbian women 
• Bi-sexual people 
• Trans* people 
• Inter* people 

With the word queer, they want to show: 
We are a community. 
We feel connected. 

Some people feel more comfortable in a relaxed environment. 
What does that mean in theatre? 
What is different about these ‘relaxed’ performances? 

• The auditorium is not completely dark.  
• There are no strobe lights. 
  [Strobe lights go on and off very quickly. 
  They are very bright.]  
• There are no rapid light changes.  
• There are no loud, sudden sounds.  
• The audience doesn’t have to be quiet. 
  Everyone is allowed to move and make noises.  
• Sometimes, visitors need a break. 
  Then they can leave the room. 
  They can then return to the performance. 
• Individual visitors can enter the theatre space earlier. 
  So there will be no crowds. 
  And you have time to settle in the room in peace. 
• There are various types of seating furniture. 
  For example, chairs, beanbags and sofas. 

This means that everyone can enjoy the theatre play in a more relaxed way. 
You have less stress. 

Sometimes there are also relaxed performances at concerts or film screenings. 

It has its own speech system with hand signals, facial expressions and body posture, which is completely different from spoken language. Sign languages have existed since time immemorial and were first described by Plato. 

People who were born deaf or who became deaf at an early age are normally users of sign language(s). Many hearing-impaired people who did not have immediate access to it, as well as people with late deafness, learn and begin to use sign language later. Regardless of whether deaf people use assistive devices (hearing aids, cochlear implants) or not, sign language is a good communication option for everyone, as deaf-blind and hearing people can also learn it. For deaf children, in particular, learning an accessible first language is immensely important, as this is the best prerequisite for learning other languages. 

Sign language is not international: people communicate in different sign languages depending on where they are, for example: British Sign Language (BSL) in the United Kingdom, American Sign Language (ASL) in the USA/Canada and many others around the world. 

This text was written in collaboration with Silvia Gegenfurtner on behalf of Diversity Arts Culture.

Stand-up comedy means: 
Someone stands on stage and tells jokes and funny stories. 
The audience decides: 
Are the stories funny or not? 
They decide by applause or booing.