Despite advancements in accessibility, disabled artists in Bristol face ongoing challenges in securing opportunities and consistent support, according to advocates and artists themselves. While many cultural institutions are committed to inclusion, campaigners argue that a distinction exists between providing access and actively showcasing the work of disabled creators.
Deaf artist Cathy Mager, who founded Spectroscope in 2022 to facilitate public installations by deaf and disabled individuals, noted that while Bristol has a reputation for inclusivity, true representation in the arts remains a hurdle. "Most arts organisations are committed to accessibility but there's a difference between access and showing work by deaf and disabled people," Mager stated. She highlighted institutions like the Watershed and Arnolfini for their efforts in creating welcoming spaces.
Mager's own work, which began with projecting British Sign Language (BSL) onto buildings during the pandemic, has led to commissions at notable venues. Spectroscope has provided a platform for her and other disabled artists, organizing gatherings and residencies. "There are venues across the south west who are really interested in what we can do, but there's more that can be done definitely," she commented.
Raquel Meseguer Zafe, a dancer who developed chronic pain, shared her experience of feeling excluded due to societal expectations about constant physical ability. She has been advocating for resting spaces in arts venues since 2018, creating projects like "A Crash Course in Cloudspotting" that explore the experiences of disabled people through audio narratives while audiences lie down. "The work being made by Bristol-based disabled artists is going all around the world," she said, attributing this to supportive cultural institutions, but warned that funding cuts, particularly to government Access to Work grants, threaten this progress.
Jess Douek, a singer living with fibromyalgia and chronic pain, is working to establish Bristol's first fully accessible grassroots music venue. Recognizing that the traditional touring musician lifestyle was not feasible for her, Douek and her band, Mallavora, have developed alternative touring methods and advocated for accessible venues. "I'm conscious that emerging disabled artists are locked out of that rite of passage," Douek said, referring to the lack of opportunities for early-career disabled musicians. Her project aims to provide a platform for emerging disabled artists, with quarterly gigs and networking events planned.
These artists emphasize that the work created by disabled artists has broad appeal and should not be viewed as niche. They call for greater disabled leadership within arts organizations and improved infrastructure, such as better public transport in rural areas, to combat isolation. The potential for disabled artists to sustain their careers is seen as under threat, with funding challenges being a primary concern.