As some await the construction of a new $1.2-billion event centre in Calgary, Taylor McKnight has been closely pondering early renditions of what the new arena might look like.
After attending 24 concerts in a wheelchair, Taylor McKnight envisioned a more accessible stadium that improved the overall experience for people with disabilities.
An ideal venue for Taylor would have accessible seating located throughout the arena at various price points, with sections designated for people with physical disabilities.
Jack Singer Concert Hall in Calgary has a total of 1,810 seats and seven standard accessible seats that are used for every show. In a statement, the concert venue said it can remove orchestra rows to create an additional 10 accessible seats.
It also places additional wheelchair and companion seating in the box seats if needed. In total, it has potentially 20 to 22 accessible seats for most shows.
“I have a lot of able-bodied friends who are allowed to sit anywhere in an arena, and a lot of the time they don’t want to sit at the very back in accessible seating,” McKnight said.
McKnight was born with spina bifida and has been in a wheelchair all her life. In between the multitude of surgeries that she has undergone, she said attending concerts has always been her saving grace.
In addition to the layout being more inclusive, McKnight also wants venues to enforce strict guidelines on who can buy accessible seating tickets, and would like venues to provide additional training for staff on the venue’s accessibility, and on how to go through a disabled individual’s bags and belongings.
“A lot of the time, staff can’t answer questions we have about accessibility, whether it’s on the phone or in person,” McKnight said. “Normally, I get redirected to at least 10 different people before getting somewhat of an answer.”
Accessibility is not a “one size fits all” approach and barriers for people with disabilities can vastly contrast.
Similar accessibility issues at concerts are happening across the pond in the U.K.
Holly Tuke of Yorkshire is legally blind due to a condition called retinopathy of prematurity (ROP). Despite her vision impairment Tuke loves to attend concerts.
“As a blind fan, my long cane will always come with me to a concert — my mobility aid is my freedom and independence,” Tuke said.
“Going to a concert always gives me a buzz. It’s a feeling of excitement and happiness I can’t quite put into words. I’m always at my happiest when I’m at a concert, singing my heart out and in the moment.”
When planning to attend a concert, before booking tickets, Tuke will always check the accessibility information online to find out how to book accessible tickets and locate information on accessible parking. If there’s no access information, she will not attend.
“Having dedicated accessibility information tells me that disabled people have been thought of, and it shows the venue cares,” Tuke said.
“Accessibility should be the default; it should be embedded into everything, from the design stage, through to purchasing concert tickets, and the experience for disabled fans at the show itself.”
In her experience, accessible seating is typically at the back of the arena, or it has restricted views. For the new Saddledome, Tuke suggests braille and large print signage around the arena, accessible counters for food, drink and merchandise, more disabled restrooms, as well as accessible parking, and an induction loop system for those who use hearing devices.
More than anything, Tuke said it’s extremely important for people with disabilities to be considered, and consulted and to ensure the venue and staff have disability awareness training to support visitors with disabilities.
Zachary Weeks, an accessibility consultant with Voice of Albertans with Disabilities (VAD), said people with disabilities are often an afterthought. VAD was created in 1973 to encourage people with disabilities to overcome social and physical barriers so they can fully participate in society.
“The last thing you want to do is build a state-of-the-art facility and not have it be enjoyed by everyone,” Weeks said. “It’s estimated that one in four Canadians are living with a disability so it’s essential that these supports and considerations are taken seriously and put in place with equity in mind.”
He said accessibility for concert venues goes beyond the installation of a ramp and elevator; it requires looking at accessibility from an intersectional lens to cater to many forms of disabilities. This includes making sure that there is closed captioning on any screens or Jumbotrons for those who are deaf or hard of hearing, having contrasting colours to make it easier for those with blindness or low vision, and tactile indicators to identify where a step or stairs may be for safety.
“It just doesn’t make sound business sense from a financial standpoint as you’re missing out on a huge sector of the population that wants to pay to see their favourite artist or sports team,” Weeks said.
VAD believes municipal policies should be put in place to ensure accessibility is factored into the design of newly built arenas and during city-regulated events — especially if public money is being injected into the project.
“Nothing is perfect of course, but we will make every effort to ensure that accessibility is at the forefront of people’s minds at every stage of development,” Weeks said.
The city of Calgary said in a statement it has not reached the design phase in planning the new Saddledome.
Meanwhile, McKnight, Tuke and VAD hope their concerns and suggestions influence the city to consult with accessibility experts to enhance the experience for people with disabilities.
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