Note #12:
The Community Museum and the Disabled Visitor

• Introduction
• Section I - Who are the Disabled?
• Section II - Where Do I Start?
• Section III - The Disabled Individual and What You Can Do
• Section IV - Attitudes
• Conclusion
• Bibliography

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Introduction

As museum workers, we are all aware that our museums hold in trust various heritage artifacts for both present and future generations to cherish and enjoy. Consequently, we are accountable to the public to perform the necessary functions associated with the role of a museum, namely, collecting relevant articles as outlined in individual statements of purpose, preserving, researching collections, and providing meaningful and thought-provoking exhibits. Integral to these areas of responsibility is the provision of facilities and programs which are equally available to the whole community. However, like other public, cultural institutions, many museums often overlook major user groups within their audience. One of these groups includes individuals using a wheelchair or those who otherwise have difficulty in walking, those who lack the ability to see or to hear, those who are mentally retarded or have learning disabilities, and those who by virtue of the aging process, have difficulty in participating in community activities -- in other words disabled persons.

Within the last decade however, museums have been making a greater effort to make their facilities and programs more accessible to disabled persons. This change has also been documented in the museological literature. With the implementation of the 1973 American Rehabilitation Act,¹ a large number of publications dealing with the disabled began to appear in American journals. These articles focus on the approaches used with the disabled. The majority concentrated on the removal of physical barriers, while a significant number addressed themselves to the development of educational programs for use in museums. Canadian journals seem to have followed the American lead with several articles having been published within the last six to eight years. Recurrent themes in this growing body of literature may be identified:

• When planning to make your facility and programs accessible, include the disabled themselves and their representative agencies. Direct contact with these groups can not only save money, time, and energy (you will learn first hand the obstacles within your museum, rather than simply anticipating them), but also open the lines of communication.

• Once your museum has been made accessible, attempts should be made to avoid segregation (for example, 'special exhibits' exclusively for the disabled), with efforts directed instead toward full integration.

• Advertising your accessible programs and facilities is essential.

• Any accommodations made for the disabled will ultimately benefit all visitors.

The primary objective of this publication is to familiarize museum staff with the needs and concerns of the disabled as identified within a museum context. Clearly, the two greatest obstacles to the disabled are physical and attitudinal. These barriers, one a direct result of architectural design, and the other a result of human social behaviour and patterns, combine to prevent full integration of the disabled into the mainstream of society. Each of these problems will be examined.

In addition, specific areas of difficulty which museum personnel may encounter when attempting to deal with the issue of accessibility will be addressed. These topics include:

• insufficient funds and staff
• architectural integrity vs. accessibility
• lack of experience in dealing with the disabled

The simple and constructive suggestions set out below will offer some useful insight and guidelines for museum staff to consider.

This leaflet will consist of four main sections. Section I, "Who are the Disabled?" will provide brief definitions of the various types of disabilities which exist. Also included will be the distinction between being 'disabled' and being 'handicapped' -- two terms which are often used interchangeably. Section II, "Where do I Start?" will outline four basic steps which will assist in formulating a comprehensive plan to make your community museum accessible.

The two major components of accessibility -- physical and program -- will be discussed in relation to the needs and concerns of both museum workers and the disabled. Section III, "The Disabled Individual and What You Can Do" will take a closer look at specific types of disabilities and the various ways of planning and implementing programs in a museum regardless of its size or classification. A common theme which will emerge is that accessible programs and facilities are to everyone's advantage -- both the able-bodied and the disabled. The last section will deal with a variety of issues: public attitude toward the disabled, segregation vs. integration, publicity and 'reaching out', and staff training.²

Section I - Who are the Disabled?

There are many types and degrees of disability. The exact number of disabled persons is at present unknown, but estimates range from I% to 20% of the population, depending on how the term 'disabled' is defined. These figures indicate that disabled persons constitute a minority group of a considerable size. There are several causes of disabilities. Some of them include: birth and genetic defects, debilitating diseases such as muscular dystrophy, polio, arthritis, stroke or heart conditions, old age and accidents. We are all susceptible to becoming disabled at some point in our lifetime. Listed below are different types of disabilities which can occur individually or in combination.

Limited Mobility

a) Non-Ambulatory

This term refers to persons who are temporarily incapacitated or permanently disabled. Impairments of this nature require persons to use wheelchairs.

b) Semi-Ambulatory

This term refers to impairments which cause persons to walk with difficulty. They may be required to use canes, walkers or leg braces. Some, especially older people, may have uncertain balance or shortness of breath, and therefore are unable to walk long distances.

All persons who have limited mobility experience the greatest difficulty with steps, stairs, curbs, uneven walk surfaces, and indoor and outdoor distances. Thus, their problems within the museum relate mainly to ease of circulation.

Limited Vision

This term refers to either blindness or impairments which affect the ability to see. Eighty percent of those registered as blind or visually impaired have some degree of residual sight. This enables them to distinguish light and large objects. Often they have the ability to read large, clearly-written print. Only 5-10% of those who are blind can read Braille. Deprivation of sight, however, makes the remaining senses more acute because of frequent usage, increased effort and enforced concentration. Statistics reveal that 80% of learning is facilitated through the auditory sense (for example, spatial awareness). In addition touching, or the tactile sense, is very highly refined and becomes one of the primary modes of perception. With the aid of a cane, a guide-dog or a sighted companion, a blind person can go almost anywhere a sighted person can go.

Limited Hearing

This term refers to deafness or impairments which affect the ability to hear. Some consider it to be "the most limiting of all disabilities" because total deafness isolates a person from verbal language and sounds. This holds true especially for those who are born deaf, rather than for those who have become so at a later point in life either through illness, accidents or aging. A large majority of the hearing impaired use hearing aids, while some find expression through lip-reading or manual sign language. All rely to a large extent on written communication. Just as a blind person's ears and hands become his or her eyes, a deaf person's eyes become his or her ears. In both cases, if these alternate avenues for 'seeing' and 'hearing' become cut off, communication is lost.

Mentally Retarded

The term mental retardation is difficult to define as it depends a great deal upon what is considered 'normal' for a given society. In Canadian society intellectual abilities are gauged according to such factors as education, the ability to grasp abstract concepts, and the capacity to deal with complicated social relationships and situations. As a result of inadequately developed intelligence, the mentally retarded individual is significantly impaired in his/her ability to learn and adapt to the demands of everyday society.

The Learning Disabled

This term refers to a specific group of persons who have a range of problems related to learning. This does not include learning problems which are a result of mental retardation, visual, hearing or motor impairments, emotional disturbances or environmental disadvantage. The learning disabled have average to above average intelligence; yet, because of perceptual, conceptual or motor difficulties do not function at that level. Examples of learning disabilities include: dyslexia, hyperactivity and disorders of memory and thinking.

The elderly, as a group, have been included in this leaflet because the majority of disabled persons are over the age of sixty-five. Nevertheless, it should be made clear that age itself is in no way an impairment. It is a physical rather than a chronological phenomenon. The elderly may develop any one of the above disabilities. The natural process of aging may either be the source of the impairment or the reason for its intensification. In general, provision of rest areas, even walk surfaces, and as few steps or stairs as possible benefit the elderly. For those senior citizens who are either homebound or institutionalized, outreach programs are especially useful.³

Many of us who have little or no contact with disabled individuals use the terms 'disabled' and 'handicapped' synonymously. There is, however, a very important distinction. Current literature defines these terms in the following manner:

"An individual who is Disabled: refers to individuals who because of impairments are limited or restricted in executing some skills, performing tasks, or performing certain activities, movements or patterns. The disability may be the result of the impairment of a bodily organ or member. Disability usually refers to the sense organs and/or organs of execution such as arms, legs and tongue but may also be due to mental impairment."

"An individual who is Handicapped: refers to individuals who because of disabilities are adversely affected psychologically, emotionally, or socially; reflects an attitude of self-pity for one's self and despair or perhaps a realistic assessment of the social or physical barriers imposed by society which magnify an existing disability thus turning it into a handicap.⁴

A few examples will help to clarify this distinction still further: a person with limited mobility who is using a wheelchair, is considered disabled. He/she only becomes handicapped when faced with an entrance or interior that has stairs, but no ramp or elevator. Likewise, colour blindness renders a person disabled when certain colours cannot be distinguished. It only becomes a handicap when the need for colour differentiation is essential. It is important to keep in mind that with every existing type of disability, the attitude of society towards the disabled is a key factor in creating a handicap.

Section II - Where Do I Start?

One of the first questions which museum staff will be asking at this moment is, "How can we possibly hope to create programs and facilities which will effectively and efficiently reach persons with varying types and degrees of disability?" Upon first consideration, the problem may appear to be overwhelming. There are staff shortages, 'shoe-string' budgets, inexperience in dealing with disabled persons, and generally, a multitude of daily tasks to consider. Yet with the help and support of a willing staff who are ready to turn this 'problem' into a challenge, one to be met head-on, and approached one step at a time, it can be overcome with relative ease. An important point to bear in mind is that full accessibility to your institution's programs and facilities cannot be expected to happen overnight. Rather, a realistic time frame within which careful consideration and planning can be allowed to develop is needed.

From the outset, it is necessary to develop a clear and comprehensive plan. Such a plan will consist of a series of small steps through which accessibility (both physical and program) can be reached. The following is a list of measures which can be taken to assist you in this task. Other ways of meeting this challenge are, of course, possible.

Step I

The first step is to sit down with your museum staff and briefly identify areas within your institution which could cause problems for disabled visitors. Your checklist may include the following areas:

Exterior

• entrance
• parking areas
• proper signage

Interior

• reception area
• access to upper stories
• display areas/labels/cases
• washroom facilities
• gift and rest areas

Simple evaluation should reveal both obstacles and opportunities. At the same time, it will assist staff and volunteers in developing an awareness towards the disabled.

Step II

After a preliminary evaluation has been completed, it will become increasingly apparent that firsthand information from the disabled is essential. The next step is to establish contact with various advocate agencies within your region. These may include Barrier Free Design Consultants, local chapters of the C.N.I.B., the March of Dimes, the Muscular Dystrophy Association, hearing societies, associations for the mentally retarded and various senior citizen homes. Extend an invitation to both representatives of these advocacy groups and disabled individuals interested in serving on your committee. By working closely together, both the museum staff and the disabled will become aware of, and better equipped to suggest viable solutions for each other's special needs.

Step III

Once your committee has been formed, prepare a clear, concise policy statement. This might include:

1. The reasons you are undertaking this project. (This will be of interest to your board of trustees. Their full backing is needed in any program planning.)

2. Proposed changes which will integrate the disabled into programs, rather than segregate them into 'special ones'.

3. How you propose to implement these changes (for example, a number of simple, well-planned adjustments to existing programs, training staff in techniques for assisting the disabled, etc.).

This document will be extremely useful for your committee to refer to at various points throughout the duration of your project.

Step IV

An in-depth evaluation of your museum's facilities should be undertaken now by the committee. This will reveal the most important area of concern to both groups -- accessibility.⁵

Note: Small museums in one county or regional municipality may wish to consider sharing advisory committees

ACCESSIBILITY

The issue of accessibility may be broken down into two main components -- physical accessibility and program accessibility.

Physical Accessibility

The majority of museums throughout Ontario are small, community-based institutions They function on a limited budget, receiving funds from sources such as provincial and federal government grants, local community support, admission fees, and donations. Many curators/ directors equate accommodations for the disabled with the installation of expensive ramps or elevators which would cost more than their entire annual budget. Curators of historic houses point out that there is a conflict between their responsibility to provide access for disabled persons, and that of preserving the integrity of historic structures. Added to this is the argument that accessibility may seem to demand a great deal of work to reach a relatively small number of people in any one given area.

In spite of these very real concerns, if the issue of full and open accessibility is viewed as a means of making your museum more available to all members of the community, the overall improvement will be well worth the extra effort. Some basic suggestions on how to accomplish this, and which take into account the concerns expressed above, include:

External

First and foremost -- an accessible entrance or an alternate route that is well-marked. Steps should be provided with sturdy handrails, and their edges painted in a bright, contrasting colour, or lined with textured strips. Ramps should be provided if the only entrance is by a flight of stairs. In order to preserve the architectural integrity, the staff of historic sites may wish to consider the following options:

• the use of a temporary ramp located at the side or rear of the building (a compromise on the part of both the staff and disabled persons);

• if the difference in height between the bottom step and the threshold is not great (for example, two or three steps), you may want to regrade the earth or landscape so as to provide a gently sloping walkway;

• the installation of an electric or hydraulic lift. The electric lift can be installed on the steps at a front, side or rear entrance, while the hydraulic lift is placed beside the stairs. This device lies flush with the ground when not in use. It can be easily concealed by an imaginative use of landscaping.

Ramp slopes must not exceed 2.54 cm. (1 in.) in 30.48 cm. (12 ins.). They should have an 81.28 cm. (32 in.) handrail on at least one side and preferably on two. Ramps must be wide enough to accommodate a wheelchair. Cost of construction will vary according to individual buildings and circumstances. In most cases, they can be built fairly easily of wood, metal, or other strong, light-weight material. Non-skid surfaces are essential (for example, textured strips). All ramp locations should be indicated by well-placed signage, especially those located at the rear or side of a building. Maintenance costs will vary according to winter and summer conditions and must also be taken into consideration.

In order to reduce costs, you might wish to consider making this a project for the local Boy Scouts, a senior citizens centre, a rehabilitation centre, a technical class of a local high school, or any other organization with willing volunteers. Prior to any construction, a building permit must be obtained. It is very important to consult with your local Buildings Department or a local expert in order to review specifications and plans. By using volunteer labour in the construction of ramps, you will not only be making this a combined community effort, but also promoting your image as an institution interested in serving the whole community.

External lighting is very important, especially at night. Light can be directed at steps or ramps from positions located within the landscape. This measure has the added advantage of acting as a security precaution.

Reserved parking spaces are extremely helpful. These areas should be well marked with the international accessibility symbol and of proper width.

InternalCirculation

If your museum has more than one storey, elevators are of course the best solution, but by no means the only one. A viable answer is 'alternative interpretation' of your inaccessible areas. This could take the form of an audio-visual presentation, mock-ups, a series of large colour prints or a presentation, possibly supplemented with artifacts, given by an interpreter.

Display or exhibit areas must provide ample room to turn or easily manoeuver a wheelchair. The average space required for turning through 180 degrees in a wheelchair is 1.64 m. (5 ft. 5 ins.).

Floors should have non-skid surfaces (i.e. a carpet of close weave) to allow wheelchairs to move without slipping, and to prevent people using canes or crutches from falling.

Washroom facilities should have at least one stall wide and deep enough for a person using a wheelchair to enter and be able to turn around in. This stall should be equipped with grab bars, as should urinals. The proper positioning of the grab bars is essential. Attention should also be paid to door swings, and cubicles should be provided with locks. A sink should be conveniently placed for use from a wheelchair. Make sure that restrooms are clearly marked with the international accessibility symbol. There should also be at least one drinking fountain which a person using a wheelchair can use.

Resource areas can be adapted fairly easily for use by the disabled. Possibly a volunteer could be made available, if advance notice is given, to help with catalogue drawers, heavy books, etc.

Proper signage, both internal and external, is necessary. It is not enough to simply put up the international accessibility symbols. All signage should indicate what is accessible and where it is located.

Program Accessibility

Once your museum has been made physically accessible, the most difficult part of the challenge has been met. Making your programs accessible is another aspect of the issue, but one which calls upon your creative talents. The variety of methods and programs which your museum can plan and implement are endless.

Perhaps the best place to start is with your own interpreters -- they can be one of your greatest sources of input. For example, most likely they will already be accustomed to adapting their presentations for different age groups. A large number of community museums have indicated that this was being done for tours with mentally retarded and learning disabled visitors. With additional training (possibly from the disabled persons serving on your advisory committee), they can provide meaningful and stimulating tours for the blind and deaf. Smaller museums may wish to train one or possibly two interpreters to work with tours for groups with special needs. It is not unreasonable, however, for the museum to ask that advance notice be given for such tours.

One of the keys to success for this project is communication:

• communication between museum staff members to develop an awareness of the issues involved

• communication between the museum and the disabled community regarding each other's special needs

• communication within the community itself regarding its responsibility to offer both moral and financial support to the museum.⁶

Section III - The Disabled Individual and What You Can Do

The following are some practical considerations which should prove useful when you plan programs and exhibits for the disabled.

Limited Mobility

Most of the needs of those persons with limited mobility have been discussed in relation to physical accessibility (for example, reserved parking areas; an accessible entrance; washroom facilities; unobstructed pathways).

However, when designing exhibits and displays, it is important to remember that the reach and eye level of a person in a wheelchair are considerably different from those of a standing person. Thought should be given, therefore, to the height and position of display units, cases and labels. The glare from some glass can make labels virtually impossible to read -- the angle at which you place them will help to correct this situation. Perhaps a realistic manner of resolving the differing requirements of those standing and those using wheelchairs is to place artifacts on different levels. In this way, neither group will have to strain, or alternately, to stoop in order to view your displays comfortably. Attention to this detail will also benefit the elderly, partially sighted, and children.

Interpreters should speak in a loud, clear voice as often it is difficult to hear while sitting several inches below a speaker. At least one public phone should be made available -- your local telephone company will lower telephones for a minimal fee. Alternatively, if the only telephone is located at the reception desk, you could attach an extension cord.

Finally, it would be extremely helpful if staff were familiar with how a wheelchair works. Both staff and volunteers should also be advised about the institution's policies on offering assistance to the disabled.

The Blind and Visually Impaired

As mentioned previously, only a small percentage of people registered as blind lack total sight. In view of this, you will be working, for the most part, with persons who have residual sight. Consideration should be given to maintaining adequate light levels, especially in areas such as lobbies, hallways and stairwells. Compliance with conservation standards will require specific light levels in display areas. However, there are certain aids which can be developed to alleviate this problem. For example, a switch could be installed at the side of an exhibit which temporarily increases illumination. Small floor lights, like the ones used in theatres, could be effectively used to light floor areas, while at the same time avoiding unwanted light on exhibit material.⁷

In general, artifacts should be exhibited against a clearly contrasting background. It may be very helpful to purchase one or two magnifying glasses, which are especially useful for examining fine details. Labels are the next items to be considered. They should be clearly and boldly printed on a non-reflective surface. Black lettering on a white background or white on a black background is recommended; white on beige or different shades of brown is very difficult to read. Letters should be approximately 5/8" high. Some local schools or libraries own large-type typewriters which may be available for your occasional use. Labels should be positioned so as to be read easily.

As only a small number of blind people are fluent in Braille, your museum will wish to assess whether or not there is a demand for this service. Again, contact with your local C.N.I.B. will help you to determine this. They will also have the equipment to produce material in Braille and will do so either free of charge or for a small fee, depending on the amount of work to be done.

Another area for consideration includes the positioning of protruding objects, glass doors and abrupt changes in floor levels -- all are potentially dangerous. Floor coverings of varying textures can serve as warning strips in open circulation areas, and around exhibits and hazardous objects. Proper handrails and brightly coloured strips should be provided on all staircases.

When conducting a tour, an interpreter can help to orient the visually impaired visitor by describing the room's function and lay-out, and some of the artifacts contained within it. Perhaps a few artifacts could be made available for tactile exploration. If an interpreter is not available, a series of large colour photographs of room interiors could be set up, with close-ups of selected objects and details. This alternative means of interpretation could then be supplemented by cassette recordings or possibly by posters with bold, black lettering. If the latter are used, they should not be cluttered with too much information. Rather, short concise sentences and paragraphs are recommended. They should be hung at or slightly above eye level and in a good light.

Touch Exhibits or 'Hands on' Experience

'Touch' exhibits or 'hands on' displays are a necessary component of museum education for the blind/visually impaired. They are also a valuable learning experience for all visitors, of all ages. An enormous amount can be learned through touch, for example, shape, size, weight and texture.

The curator is ultimately responsible for deciding which artifacts are suitable for tactile exhibits. He or she will base selection upon such factors as conservation standards, security regulations, and ability to convey a specific theme. Objects which might be used include certain types of stone sculptures, ceramics and some furniture items. You may wish to consult a conservator regarding other items within your collection that may be protected so as to be appropriate for handling. Duplicates can be used here, or possibly reproductions, the latter, provided that they do not comprise the whole exhibit. Artifacts should be safely mounted, with care taken to avoid sharp edges or points. Again, if interpreters are used, an attempt should be made to use concrete words and phrases that convey accurate perceptions. Colours and fine details will be of particular importance to those who have been blind since birth. Visitors should be asked to remove rings, dangling bracelets, and watches when handling artifacts.

Some themes which could be used for 'hands-on' experience include grandmother's kitchen, toys of yesterday, or musical instruments of a particular ethnic group or country. Other interesting ideas for exhibits include compartmentalized table-tops, each compartment holding an object related to a central theme, or similarly, a 'Discovery' wall-unit. Both employ the same basic principle since two or three-dimensional objects with interesting textural features can be used. Furthermore, this type of exhibit allows the visitor a greater sense of independence by experiencing it on his or her own.

Finally, tactile exhibits are one step closer to 'multi-sensory' exhibits. This term refers to a relatively new concept in exhibit design which offers the opportunity to use other senses (for example, tactile, olfactory, and auditory). In this way, it no longer restricts the museum visit primarily to a visual experience, but succeeds in stimulating other modes of perception. This results in a satisfying and beneficial experience for all visitors.

Limited Hearing

Persons who have limited hearing or who are deaf can communicate effectively through finger-spelling, manual sign language, lip-reading and often through speech. Those who have been deaf since birth tend to form their ideas by means of pictures rather than by a series of words. Deaf people who have learned how to speak often develop the ability to lip-read, or may require the help of written material. It is important to remember that an inability to hear requires a greater dependence on the visual sense.

Consequently, when conducting tours for persons with limited hearing, interpreters should:

• stand in full view of the group they are addressing and in a good light;
• speak slowly and clearly, at a normal speed and in a normal tone of voice;
• use simple sentences without a great deal of unnecessary detail;
• finish the verbal description before directing attention to objects.

These basic suggestions will assist those who are lip-reading and those who are using hearing aids.

Sign interpreters are the best solution for giving tours to the deaf. If one is available to accompany a tour, or if you can make arrangements for one to be present, it is recommended that the museum interpreter and sign interpreter practice their material beforehand. When presenting the lecture, they should stand side-by-side and close to the display area. Again, the museum guide should speak slowly and try to concentrate on relevant details. Abstract ideas are difficult to sign but can be explained in terms of concrete objects and actions or finger-spelt. The presentation should last no more than half an hour.

As with all tours, questions should be encouraged. Persons who have learned to speak without ever having heard their own voice may be difficult to understand. Have patience! Questions should be repeated for the benefit of the whole group and answers directed to the whole group. A pencil and paper or flip-chart are useful items to have available for difficult words and phrases. It also may be helpful to distribute written material outlining the key points of the lecture.

Audio-visual presentations with sub-titles are another effective means of describing your collection. Separate descriptive text slides are an even better alternative. They can be inserted either directly before each picture or the description may relate to a series of two or three slides. Text slides can be prepared very easily and inexpensively. For example, texts may be lettered on a pegboard or similar type of background, using plastic letters of contrasting colours and then photographed, or you could print up your own posters using a felt-tip marker and Bristol board. The best way to show these slides is by using two projectors, showing text and picture side by side. Be sure to allow sufficient time for both to be read and enjoyed.

Finally, volume-control telephones should be made available at the reception desk or at a rest area.

Mentally Retarded and Learning Disabled

When designing programs for the mentally retarded or learning disabled, it is a good idea to contact the advocate agencies in your area. They can offer valuable suggestions regarding the type, length and subject matter of a suitable program. Once you have decided upon the format, a visit to the group by a staff member or volunteer is advised. This visit can serve a two-fold purpose:

• It allows both parties the opportunity to get to know one another; and
• key concepts and words around which the museum visit will be centred can be reviewed.

Since the mentally retarded have a limited attention span and are easily distracted, it is best to keep presentations relatively brief (for example 15-20 minutes). It has also been suggested that larger groups should be divided into smaller ones of approximately six to ten individuals. This allows for more personal interaction and attention.

Some persons with learning disabilities also experience difficulty in concentrating for any length of time, while others have trouble joining ideas together to form a coherent whole. Presentations for both the mentally retarded and learning disabled should be constructed around a few objects. Key words and phrases should be repeated frequently. The artifacts and topics selected for discussion should relate as closely as possible to their own realm of experience. This can be done through story-like presentations related to their everyday activities. Attempts should be made to avoid using abstract terms (for example units of time), as the mentally retarded have a rather limited ability to conceptualize.

Demonstrations are an excellent way of teaching a lesson or skill, especially if visitors are allowed to participate. The mentally retarded/learning disabled can learn particularly well in situations which require them to use as many senses as possible. For example, an activity centred around musical instruments is ideal for it involves the visual, tactile and auditory senses. When objects are provided for 'hands-on' experience, they should be durable and free of any sharp points or edges. Praise and encouragement are always needed.

Finally, you should keep in mind that these individuals are adjusting to a new environment. In view of this, you will achieve much better results if you offer a series of visits rather than simply a single one.

The Elderly

In general, any accommodations which you make for the types of disabilities previously discussed will benefit the elderly. These include the following measures:

• entrances with as few steps as possible
• ample opportunity to sit down (i.e. rest areas)
• well-lit lobbies, hallways and stairwells
• non-skid surfaces
• large, bold-type labels

Specific programming, other than regular visits to your museum, could take the form of 'outreach' or extension programs, for example, travelling exhibits or lectures given by a member of your staff. Artifacts from your collection could be used as valuable teaching aids to illustrate your lecture. This particular type of service would be especially useful for those persons who are unable to travel. You should keep in mind that long-time residents of your community can often 'fill in the gaps' by providing key information about the history or folk traditions of the area. Once given the opportunity and encouragement, they may wish to participate actively by leading a discussion. Those persons who are mobile may be prepared to present lectures at your institution or at another senior citizen centre. The elderly may also wish to contribute by serving as volunteers.⁸

Section IV - Attitudes

It has been pointed out earlier that attitudes can, to a large extent, determine whether a person is 'disabled' or 'handicapped'. Perhaps by examining the source of the term 'handicap' and some of the factors which contribute to the stereotyped image of the disabled, we can gain valuable insight into this issue.

Historically, the term 'handicap' referred to a person who begged in the streets for money, his/her cap in hand -- hence the word 'handicap'. It is due to the negative connotations which are attached to this term that several attitudes and misconceptions originated. Furthermore, it can be considered one of the underlying, contributing factors to many of the existing negative attitudes and prejudices against the disabled.

Certain other factors which prove to be important causes of 'handicapped' lives combine to reinforce and perpetuate the stereotyped picture of the disabled individual. One factor is the lack of accurate information about a disability (whether mental or physical), for example its causes, consequences, and treatment. In the face of ignorance, we are helpless in any attempts to change these attitudes. The second factor, a direct result of the first, is misinformation. Misinformation leads to feelings of prejudice and fear. Prejudice, in that we are forced to deal with 'abnormal' people, and fear, in that we may not know how to handle relationships with the disabled. Consequently, in the absence of correct information and understanding, distorted concepts of a disability become reinforced. The traditional view of a disabled person -- someone to be neglected, avoided, treated with indifference, or worse still, pitied and patronized -- becomes our common perception.

Accordingly, it is necessary to raise public awareness about the needs and capabilities of the disabled. One way of accomplishing this is through the generation of more accurate information. An attempt to address the misconceptions that surround disabled persons will also help to change public attitude. The museum, whose role as an educator is constantly expanding, can play a large part in this process. For instance, a display or series of films could be used to distribute information about the causes and consequences of the various disabilities which exist.⁹

More research and careful consideration about all disabilities must be undertaken. Only then will this segment of society be fully understood and accepted by the so-called 'normal' portion of society.

The attitude of museum staff is extremely important if programs for the disabled are to be successful. Above all, they must learn to recognize disabilities and avoid creating situations which 'handicap' their disabled visitors.

Some personnel, regrettably, are unable to see beyond mental or physical disabilities, or resent the demands which programs for the disabled may place on their time. Such persons should never be involved in programming, as the disabled are very much aware that these attitudes exist. Similarly, others tend to become self-conscious, embarrassed or overly eager to help but are unaware of the appropriate ways of doing so. The staff of organizations which work for and with the disabled can provide useful information on these issues and should be consulted.

Integration vs. Segregation

One of the major issues with which museums must come to terms is the assumption that special exhibits must be developed for the disabled. By designing such displays solely for their use, we are in fact helping to reinforce and maintain the stereotype of the disabled, namely that they are 'different' and as such, should have separate facilities. This attitude is by no means restricted to the museum environment, but is

"... the legacy of society's desire to segregate, to treat 'differently' and 'specially' all who are not 'normal'; yet, it is an attitude that is now under attack as being morally debatable, costly in financial terms, and wasteful of many people's intellectual and productive capacities."¹⁰

Perhaps the best and most viable solution for museum educators and designers, when faced with the problem of segregation, is to:

• adjust normal, existing programs whenever possible, and
• when creating something 'special', plan it with a view to effectiveness for both the able-bodied and disabled.

In this way, the needs of the disabled will be integrated within the framework of all people's needs. These actions would correspond with the contemporary approach towards the disabled -- one that discourages as much as possible specialized facilities and demands open access to institutions and programs.

Reaching Out/Publicity

Once you have made your facilities and programs accessible, the next major step is to encourage participation. You must keep in mind that the disabled may have been prevented from using your facilities earlier because of their inaccessibility, or perhaps they simply did not know that the museum was accessible due to a lack of advertising. As Dr. Kenney points out, it could account for the small number of disabled that have visited your site in the past. Publicity is vital. It cannot be assumed that disabled patrons will come as a matter of course. They have learned by long experience that public places are, for the most part, inaccessible unless otherwise specifically designated.

A successful publicity campaign can take several forms. For example, if your museum provides printed brochures, make sure that the international accessibility symbol is included. Indicate the types of services which either are or can be made available, such as tactile exhibits, cassette recordings, and washrooms. All printed information or advertisements for your museum should make it clear that your facility is accessible.

Another way of publicizing your museum is through personal contact with the advocate agencies and organizations. Many such agencies have newsletters, regular meetings, and information services. They could assist you in the distribution of information. Take advantage of the free coverage of public services and events which local public television and radio stations offer. Newspapers and newsletters are other possible alternatives which could be explored.

Consideration may also be given to developing an extension program as a means of reaching out to this community. In terms of cost, it may be more feasible to send one person from the museum to a centre, rather than moving an entire group to the museum. This has several added advantages.

• It makes the initial contact with unfamiliar objects and possibly concepts within the security of a familiar environment.

• The transition of visiting the museum itself could be made much easier once personal contact has been made. (This holds especially true for blind or mentally retarded groups.)

• Group transportation problems could be avoided.

Thus far, the responsibility of the museum to provide accessible programs and facilities has been discussed. However, the success of any program depends not only on the positive attitude of museum staff, but also on the cooperation of the disabled. They too must be willing to reach out to you and participate. In view of this, it would be very constructive if the staff of the community museum asked what the disabled might do for them, and then made the necessary opportunities available. The museum, due to the nature of its work, is in an excellent position to employ the disabled, as most of the tasks are not physically demanding or tiring. Some paid or voluntary task areas which may be considered include:

• reception
• security
• exhibit design/programming
• publicity
• gift shop
• interpretation
• curatorial/administration
• registration

Furthermore, a significant number of community museum curators/directors have indicated that staff shortages were one of the main reasons for not providing facilities/programs for the disabled.¹¹ By employing the disabled, the museum may meet its own needs while providing a creative outlet for them.

Staff Training

A requirement for the efficient operation of any institution, regardless of its size, is good staff training. It is as important as any physical or programmatic alterations which you will make.

It would be very worthwhile if staff and volunteers were familiar with the various types of disabilities that exist, and the ways in which impairments may affect their visitors. This information may be acquired through meetings or lectures sponsored by advocate agencies in your area. Representatives or disabled persons could be asked to lead seminar discussions, or perhaps there is someone within your organization who has a friend or a relative who would be willing to address your group. Films are another valuable form of instruction. It may be useful to arrange a series of lectures, with individual sessions devoted to a particular type of disability. At that time, your staff may also be instructed in some basic communication skills or techniques used with groups such as the blind, deaf or mentally retarded.

Conclusion

The intention of this leaflet has been to sensitize museum workers to the needs and concerns of the disabled as they relate to a museum environment. Clearly, the two greatest barriers to the disabled are physical (i.e. architectural design) and attitudinal. The different approaches suggested here to make your institution accessible can prove to be an important and rewarding challenge to all concerned. Staff of community museums will want to consider carefully what they can do within their own circumstances. Once this has been done, it is necessary to articulate and implement a plan of action. Various steps can be undertaken to assist you in your goal:

Step I - preliminary evaluation of your institution's obstacles and opportunities

Step II - direct contact with advocate agencies and disabled persons to identify key areas of concern

Step III - preparation of a clear, concise policy statement

Step IV - in-depth evaluation and implementation of programs

The main areas which you will be considering in an attempt to become accessible can be briefly summarized as follows:

• easy access for the physically disabled
• access to upper storeys wherever possible,
• alternative interpretation of inaccessible areas,
• efforts made to consider wheelchair patrons and the visually disabled when designing exhibits and labels,
• provision of washroom facilities and parking areas,
• programs which will integrate rather than segregate the disabled visitor, and
• an active, on-going publicity campaign.

The issue of full and open accessibility should be viewed as an opportunity to add exciting new dimensions for all visitors. Take up the challenge!

Bibliography (General)

Harney, Andy Leon, ed. Trends for the Handicapped. Washington, DC: National Park Service (July, August and September 1974).

Inglis, Robin. "Editorial -- Museums and the Handicapped." Gazette, Vol. 11, No. 3 (Summer 1978); pp. 2-5.

James, Marriana S. "One Step at a Time." History News, Vol. 36, No. 7 (July 1981); pp. 10-15.

Kenney, Alice, P. Access to the Past. Nashville: American Association for State and Local History, 1980. *

Molloy, Larry. "The Case for Accessibility." Museum News, Vol. 55, No. 3 (1977); pp. 15-17.

Museum. Vol. 33, No. 3 (1981). (entire issue) *

Museums and the Handicapped. Leicester: Leicester Museums, Art Galleries, and Record Services, 1976. *

Snider, Harold. "The Inviting Air of an Accessible Space," Museum News, Vol. 55, No. 3 (1977): pp. 19-20.

Willard, Doris. Becoming Aware -- A Handbook for Leaders Working With Disabled Children. Burlington: Department of Recreational Services (1978). *

* These books are particularly valuable to have as resource materials in your reference library.

Bibliography (Specific Topics)

Limited Mobility

Bardt-Pellerin, Elisabeth. "An Experiment: Guiding Handicapped Children in the Museum." Gazette, Vol. 14, No. 1-2 (1981); pp. 18-30.

Callow, Kathy. "Museums and the Disabled." Museums Journal, Vol. 74, No. 2, (September 1974): pp. 70-72.

Kenney, Alice. "A Test of Barrier-Free Design." Museum News, Vol. 55, No. 3 (January-February 1977); pp. 27-29.

"Museums from a Wheelchair." Museum News, Vol. 53, No. 4 (December 1974); pp. 14-17.

Limited Vision/Blind

Calhoun, Sallie. "On the Edge of Vision." Museum News, Vol. 52, No. 7 (1974); pp. 36-41.

Cronk, Michael Sam. "Blindness and the Museum Experience." Museum Quarterly. Vol. 12, No. 3 (September 1983): pp. 13-15.

Rowan, M.B. and Rogow, S. "Making Museums Meaningful for the Blind." Gazette, Vol. 11 (1978); pp. 36-41.

Smith, James Ford. "A Sense of Touch." Museums Journal, Vol. 83, No. 2-3 (September/December 1983): p. 143.

Smith, Patricia Scherf. "Commentary Against Segregating the Blind." Museum News, Vol. 55, No. 3 (1977): pp. 10-11.

Watkins, Malcolm J. "A Small Handling Table for the Blind." Museums Journal, Vol. 75, No. 1 (1975); pp. 29-30.

Limited Hearing/Deaf

Sutherland, Mimi. "Total Education." Museum News, Vol. 55, No. 3 (January/February 1997); pp. 24-26.

Tennenbaum, Paula. "Soundtracks -- Intern Develops New Audiences." The Museologist, Vol. 46, No. 167 (Spring 1984); pp. 8-10.

Mentally Retarded/Learning Disabled

Thomas, Marion Gill and Fontain, John H. "Art and the Mental Retardate." Museum News, Vol. 41, No. 3 (November 1962); pp. 15-24.

Ouertani, Mayla. "A New Source of Hope: A Scheme for Mentally Handicapped Children in Tunisia." Museum. Vol., 33, No. 3 (1981); pp. 172-174.

Steiner, Charles. "Reading the Mentally Handicapped." Museum News, Vol. 56, No. 6 (July/August 1978); pp. 19-23.

Elderly

Carter, John. "Senior Citizens Can Visit and Participate as Volunteers." Especially for Seniors, (Winter 1984); p. 6.

Sunderland, Jacqueline. "Museums and Older Americans." Museum News, Vol. 55, No. 3 (January/February 1977); pp. 21-23.

Tepper, Leslie. "Museums and Senior Citizens: An Example of Special Needs Programming." Gazette, (Spring 1982); pp. 19-27.

Films/Audio Visual Aids

TV Ontario. Disabilities and Special Education -- A Select List of Video Resources.

Willard, Doris. Becoming Aware -- A Handbook for Leaders Working With Disabled Children, Burlington: Department of Recreation Services (1978). Included in the bibliography is a list of films available from the various advocate agencies. Most of the films are free of charge.

National and Provincial Agencies

Canadian Hearing Society
271 Spadina Road
Toronto, Ontario
M5R 2V3
Tel.: (416) 964-9595

Canadian National Institute for the Blind
Public Education and Advocacy Department
1929 Bayview Avenue
Toronto, Ontario
M4G 3E8
Tel.: (416) 486-2656

Ontario Association for Community Living
240 Duncan Mill Road, Ste. 403
North York, Ontario
M3B 1Z4
Tel.: (416) 447-4348

Acknowledgements

Researched and written by Colleen B.E. Rolland.

The Ministry gratefully acknowledges the assistance of the following individuals and organizations in the preparation of this Museum Note:

Dr. Alice P. Kenney; Mrs. Beryl Potter; Miss Halya Kluchko; The Bob Rumball Centre for the Deaf; Barrier-Free Design Centre, a service of the Canadian Muscular Dystrophy Association; The National Office of the Canadian National Institute for the Blind; The Ontario Association for the Mentally Retarded; The Canadian Hearing Society; The Secretariat for Disabled Persons; The Ontario Ministry of Tourism and Recreation.

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1. Federal action on the part of the American government accelerated lagging action on the part of museums and other cultural institutions to make themselves more accessible to the disabled. Sections 503 and 504 of this Act are especially noteworthy. For a comprehensive discussion of its ramifications for museums, see Larry Molloy, "The Case for Accessibility," Museum News, Vol. 56 no. 3 (1977), pp. 15-17 and Harold Snider, "The Inviting Air of an Accessible Space," Museum News, Vol. 55 no. 3 (1977), pp. 19-20.

2. In order to prepare this leaflet, a portion of the information was collected through a questionnaire. It was fashioned after a previous survey conducted in the United States by Dr. Alice P. Kenney (Access to the Past. Nashville: American Association for State and Local History, 1980.), one of the foremost authorities on museum accessibility. Her book has been used extensively in preparing this publication, especially sections I and II.
    
   Questionnaires were mailed to one hundred community museums throughout the province. The response was extremely positive, with over 70% returned. This reply indicates that Ontario community museums are aware that the needs and issues related to this topic should be addressed. While the survey cannot claim to be comprehensive, it was sufficiently random for certain trends to be identified.

3. Dr. Alice P. Kenney, Access to the Past, cited above (pp. 4-7).

4. The definitions found in this section are discussed more thoroughly in Doris Willard's Becoming Aware -- A Handbook for Leaders Working with Disabled Children. Burlington: Department of Recreational Services, 1978.

5. See Marriana S. James, "One Step at a Time", History News, Vol. 36 no. 7 (July 1981), pp. 11-13. The steps outlined in this leaflet have generally been adopted here

6. Information on physical and program accessibility was obtained from: Kathy Callow, "Museums and the Disabled," Museums Journal, Vol. 74, no. 2 (September 1974), pp. 70-72; Andy Leon Harney, ed. Trends for the Handicapped. Washington: Park Practice Program (July, August, September, 1974), pp. 7-9; Alice P. Kenney, Access to the Past. Nashville: AASLH, 1980. passim.

7. Maureen Gee, "The Power to Act", Museum, Vol. 33, no. 3 (1981), p. 137.

8. Alice P. Kenney, Access to the Past, chapters 2 and 3.

9. Norman Acton, "Disability and the Developing World", Museum, Vol. 33, no. 39 (198I), p.156.

10. Robin Inglis, "Editorial -- Museums and the Handicapped", Gazette, Vol. 11, no. 3 (1978), p. 2.

11. The questionnaire results used in the preparation of this work indicated that there were three main reasons why community museum curators/directors felt that they were unable to offer programs/facilities to the disabled.
    
    They were: insufficient funds 51%
    insufficient staff 47%
    inaccessible facilities 39%