'You just have to be intentional' : Arts venues work toward sensory inclusivity

As large performance venues in North Carolina become certified as sensory inclusive, smaller venues are struggling to catch up. 

According to a press release from KultureCity, a nonprofit organization, “Sensory sensitivities or challenges with sensory regulation are often experienced by individuals with autism, dementia, PTSD and other similar conditions." 

The organization dedicated to creating positive change for those with sensory needs announced the certification of the Duke Energy Center for the Performing Arts in Raleigh as sensory inclusive Oct. 25.

Through the partnership, Duke Energy Center staff members were trained to recognize patrons with sensory needs and how to respond to potentially overloading situations. The Duke Energy Center will also provide “sensory bags” including items like noise cancelling headphones and fidget tools, available upon request to all guests.

“One of the major barriers for these individuals is sensitivity to over stimulation and noise, which is an enormous part of the environment in a venue like the Duke Energy Center," according to the organization's press release. "With its new certification, the center is now better prepared to assist guests with sensory sensitivities in having the most comfortable and accommodating experience possible when attending any event.”

While performance monoliths such as the Duke Energy Center, Durham Performing Arts Center and PlayMakers Repertory Company all provide accessibility options such as assisted listening devices, captioning and American Sign Language interpretation, smaller venues with less resources are trying to catch up.

Rebecca Black, audience services manager at Carolina Performing Arts, said CPA has similar goals but is currently in the brainstorming stage of implementation.

“It definitely isn’t a quick fix,” Black said, “particularly for things that require more financial investment — regularly providing closed captioning or open captioning or creating sensory friendly kits for families, people or children who need sensory friendly experiences, even if the performance itself isn’t sensory friendly, etc. Our organization is trying to think about how we are going to implement that over time and cumulatively.”

Black said the process of implementing sensory inclusive systems involves a holistic self-assessment of what resources an organization has, physically and financially, and the kind of audience it wants to reach in order to achieve a more personalized environment.

“Sometimes it’s a matter of experimenting," Black said. "So, we’re gonna spend a year experimenting with three or four different ideas and see which ones stick, which ones resonate with our patrons and how we’re going to move forward with one of those or two of those or maybe all of them. We want to build from the ground up rather than just plug in some cookie cutter idea from some other organization. Just making sure it’s authentic to our organization and our community.”

While professional companies are taking time to develop their systems, students are taking matters into their own hands.

Aeris Carter, a UNC sophomore with postural orthostatic tachycardia syndrome (POTS), recently founded Carter Plays for POTS, a student theater organization aimed at sensory inclusive experiences for both performers and audiences. As someone with POTS, an invisible disability, she explained why this expansion of accessibility is so important to her.

“A sensory disorder is something that is impossible to perceive unless you are the individual that has it,” Carter said. “A lot of individuals who have them go undiagnosed. I think it’s important to make accommodations for them, because there are not many environments that do. Everyday activities can include stressors or triggers that make life difficult for them, and they too need an environment in which they feel safe and are able to participate.”

Carter explained how the organization lets the individual performers decide the accommodations they need, and it does as much as it can to cater to each person’s needs, whether that be limiting movement, providing specific costume fabrics, or eliminating repetitive noises.

When it comes to audience accessibility, Carter described how, with limited resources, many of these programs that larger companies and venues provide are not feasible. However, this does not limit the organizations aspiration at inclusivity.

“Due to our budget, we are not able to provide noise cancelling headphones for people who will be triggered by loud noises. But, for those who are able to obtain those themselves, we do plan to have a system of live cue cards or subtitles in place. That way, they can still remain engaged with the performance and read what’s happening,” Carter said. “Basically, what we can provide changes. We’re willing to work on an individual basis with everyone involved.”

Carter then offered words of advice for other low-budget theater organizations on how to make their spaces more accessible.

“Start with the cheapest solutions you can come up with in your budget,” she said. “Subtitles are something you can do very inexpensively, especially compared to the overall cost of the performance. So, to people who have conditions who are prepared to come to your performances, you’re at least acknowledging that you’re trying to help them participate within your economic means.”

Black shared similar insight on how low-budget companies could instill sensory inclusive values in their spaces.

“You have to decide the thing you want to provide, and you can provide it," Black said. "Take out some flashing lights for one of your shows. Offer a secondary space with a video feed, if it’s possible, that way, people have a place to go to enjoy the performance, but it’s a quieter space with not as many people. These are pretty low-cost initiatives. Theater can be accessible, you just have to be intentional about it.”

arts@dailytarheel.com