One of the most common thoughts when working in an outdoor context is the idea that, by placing a performance in a shared, public space, it automatically becomes an experience that is universally accessible.

The show is right there, free of charge, with no apparent physical or financial barrier to access in comparison to building-based cultural offers. It is widely recognised that presenting work outdoors democratises access to art whilst creating a multi-layered and long-lasting impact for the inhabitants of that place. What is more, audience data and analysis demonstrates that, overall, Outdoor Arts audiences mirror local demographics in a way that their indoor counterparts do not. And yet, access to performance in the public space is not guaranteed.

Examining and addressing the intangible obstacles which are preventing outdoor events from being fully accessible and inclusive is a key priority for many of us working in this sector. It certainly is for Without Walls, our ally organisations across the United Kingdom as well as for several of our international partners in Europe and further afield.

Historically, highly populated cities and those that hold economic power have tended to attract the highest investments in arts and culture, therefore contributing to a dichotomy of culturally ‘served’ or ‘underserved’ areas.

Although we witness de-centralisation of cultural provision not only across the UK (particularly with initiatives such as the Levelling Up policy) but through mainland Europe, it is crucial that this development is maintained and nurtured over time to ensure more people can access outdoor arts regardless of their postcode. Organisations involved in programmes such as Creative People and Places and the Without Walls Touring and Creative Development networks are key to ensuring that audiences across England are accessing outdoor arts of the highest quality. This, in turn, contributes to creating a greater sense of place and belonging, as well as reducing wellbeing inequalities.

We are fortunate to have a wide range of artists working outdoors whose contributions and quality of work is of the highest standard and who also identify as being from the Global Majority, queer, LGBTQI+, Deaf, disabled or neurodivergent. Representation is key when it comes to showing the breadth of work that exists in the public space. It is needed to break down obsolete misconceptions of who can and cannot be an artist and which narratives take up that space. It can also help break down barriers for those who value seeing themselves represented, perhaps receiving this as an invitation, or a symbol of reassurance. Having said this, it is crucial to highlight that diverse artists should never have to carry the responsibility of representing diverse communities, stories or, as Vicki Dela Amedume states in the Big Village’s Manifesto for Action, have the onus of bringing in new audiences.

Diversity is a nuanced and complex topic that must be examined first within each organisation to foster meaningful engagement and changes in leadership as well as to enable creative collaboration.

One example of meaningful engagement is shared programming, with examples such as My Leeds 2023 as part of Leeds Year of Culture, which invited 33 local residents to curate outdoor programmes for each ward of the city, creating cultural experiences for audiences in their own neighbourhood.

What does this approach do to one’s sense of community and ownership of the outdoor art that is presented and therefore, to how they access these experiences?

What makes audiences feel invited and actively participate in events in the public space?

How inclusive are the different layers that make our festivals happen? From the performances we see in our squares, parks and high streets to the work that happens behind the scenes, who is allowed in?

How are the people, processes and mechanisms in place defining who can take up that space and how they can engage with it?

The UK is seen as a pioneer when it comes to provision for Deaf, disabled and neurodivergent audiences, but accessibility is a journey and we are still learning. Constantly questioning, trying, failing, re-learning and trying some more. Artists with lived experience of disability must have their needs understood and met in order to create the brilliant work they want to make. Disabled audiences have to be prioritised when considering the barriers that exist in outdoor arts, and this means doing better and working in partnership to understand ableist approaches and assumptions. It also means sharing learning for artists and organisations, creating resources and Guides to provide a roadmap to better access in outdoor events, as well as creating initiatives to share responsibility around this journey across all players.

Opportunity, right, liberty, ability: these are all words related to the definition of ‘access’.

Let's use them to anchor our strategies and actions, continually questioning what we are doing to dismantle existing barriers and create positive change.

Photo: Patois, Brighton Festival 2024 © Claire Leach Photography

Irene Segura

Irene Segura is a quadrilingual creative producer and Head of Artists and International for Without Walls, the UK’s largest outdoor arts network. She leads on international relations, artist development as well as equity, diversity and inclusion.