Te Ahurei Toi o Tāmaki Auckland Arts Festival, which runs this year from 6 to 23 March,  has long been a cornerstone of New Zealand’s cultural scene and in recent years, its focus on accessibility has been at the forefront. 

With initiatives designed to break down barriers and make the festival a space for everyone, its Access and Inclusion Programme is setting new standards for accessibility in the arts, says Katie Querin Arts For All Activator | Whakahohe a Toi Ōritetanga, Arts Access Aotearoa.

“Auckland Arts Festival has an opportunity to be a leader in festival accessibility,” she says. “It can show others that a focus on inclusion from the start can open doors not only to increased audience sizes but also to creativity and innovation. They’re taking this opportunity and running with it.”

The Festival is tackling the cost barrier with initiatives such as discounted tickets and free companion tickets for attendees who require assistance.

It’s also working hard to improve communication channels so it can reach different communities. For example, outreach efforts involve face-to-face meetings using language interpreters and collaboration with community leaders to spread information through word-of-mouth rather than relying on digital platforms.

The Festival also runs three focus groups every year, engaging with blind and low-vision attendees, the Deaf and hard of hearing community, and neurodivergent individuals to improve its accessibility initiatives, says Hannah Slade, Coordinator of its Access and Inclusion Programme.

“We’re always asking, ‘Who aren’t we connecting with and how do we reach them?’ That question guides our programme for the year,” Hannah says.

This year, there’s been additional focus on supporting the rainbow community. SMASHED - The Nightcap, a show featuring performers from the rainbow community, will be audio described and NZSL interpreted, and also have a relaxed performance.

The festival has a relaxed performances programme, designed to accommodate neurodivergent audiences and those who benefit from a more flexible theatre environment.

“We realised that it’s not always possible for companies performing for just one or two weeks to modify their shows significantly,” Hannah says. “So instead of thinking we have to alter productions, we try and provide our audiences with as much information as possible in advance.”

Last year, the Festival introduced detailed pre-show information, covering everything from potential sensory triggers to story context and venue accessibility. This year, it’s consolidating these efforts to ensure consistency across all relaxed performances, raising awareness and expectations around what a relaxed show entails.

A key accessibility improvement this year is a new festival map, both in print and available on the festival’s website, highlighting accessible venues.

This is Bernie Haldane’s first year as the festival’s Kaitohu Toi Artistic Director and her leadership is bringing a fresh perspective to accessibility. With decades of experience in the arts industry, she says she is committed to embedding accessibility into every stage of the festival’s planning. 

“My personal and professional experiences have shaped my approach to accessibility initiatives in profound ways,” she says.

“As a young stage manager and technician in Australia, I worked with venues and companies focused on disability arts practice and participation. I had the rare opportunity to engage with a kaupapa that challenges the assumptions of what’s possible in the arts. It also challenged how we view ourselves and others.”

Subsequent experiences with her own mobility limitations revealed the extent of barriers in the arts. “Navigating a large arts centre showed me just how many obstacles exist for people both working in and attending arts events.

“This personal shift sparked a curiosity about invisible disabilities as I realised that what I might need isn’t always visible to others.”

Working in heritage venues and large, complex spaces has strengthened her commitment to accessibility. “Physical mobility presents additional challenges in these environments, reinforcing my dedication to fostering a more inclusive and accessible arts environment for all.”

A festival highlight for Bernie is film director and performer Jodee Mundy’s show called Personal, which explores her experiences growing up as the only hearing person in a Deaf family. The show incorporates bilingual storytelling and multimedia elements, ensuring full accessibility for both Deaf and hearing audiences.

It will also include an audio-described performance for blind and low-vision attendees who want to learn about and connect with the Deaf community, thus encouraging cross-community exchange.

Hannah says that its recent rebranding is a signal that the Festival is shifting away from an image associated with “high art” and exclusivity. The new branding features bold colours, high-contrast visuals, and a more inclusive, friendly tone, all designed to make the festival feel more welcoming and inclusive.

The Festival recognises that real accessibility is a collective effort and welcomes feedback through its website, Hannah says. “We want everyone to feel included. If there’s something preventing you from participating, we want to know so we can work on it.”

Volunteer opportunities provide an avenue for engagement, offering participants free tickets to festival events in exchange for their time.

And artists interested in bringing their work to the Festival are encouraged to engage with the Access and Inclusion Programme from the outset to ensure their performances are as inclusive as possible.