H ow can we shift the way we think about accessibility in the arts, from merely accom- modating dif- ferences to celebrating and integrating them into the very fabric of the cre- ative process? At the heart of AXIS Dance Company’s mission lies the powerful belief that dance is a vehicle for change. It has the capacity to chal- lenge perceptions, ignite conversations, and ultimately redefine what is possi- ble for disabled artists in the broader arts community. Through our perfor- mances and educational programs, AXIS extends this belief into the lives of others, creating a ripple effect that reaches far beyond the stage. Since its founding in 1987, AXIS Dance Company has become a trail- blazer in the world of inclusive dance, proving that the transformative power of movement knows no boundar- ies. Currently led by Artistic Director Nadia Adame and Managing Direc- tor Danae Rees, AXIS has grown into one of the nation’s most celebrated ensembles, showcasing a dynamic mix
AXIS Choreo-Lab Fellow DJ Robinson, who is blind, shares a tactile map of a dance studio with dancer Zara Anwar
of disabled, non-disabled, d/Deaf, and neurodiverse professional perform- ers. Based in the Bay Area, California, AXIS has not only been a force in redefining what dance can be but also in changing the very perception of disability within the arts. One of the most recent contribu- tions from AXIS is our Access Guide to Presenting and Touring the Per- forming Arts, a groundbreaking resource designed to make perfor- mance spaces truly accessible to all. The idea for the guide emerged out of a simple but urgent need: to have performance spaces be accessible not only to our audiences but to the admin, tech, and artists themselves. We’ve often found that when we work with venues to address accessi- bility, we see positive changes in the short term. When our team collabo- rates with venue staff—administra- tors, artists, and technical teams— everyone gets involved and learns about how they can make the space more inclusive. But here’s the prob- lem: many venues only apply these changes when we’re there performing. Once we leave, the lessons learned seem to fade. If we return to those
continually advocate for change. And once changes are made, they require ongoing attention and care. 9. ACCESSIBILITY IS EVOLVING: Just as art evolves, so too does accessibil- ity. New innovations, technolo- gies, and strategies are constantly emerging, and staying up to date requires an ongoing, dynamic approach to ensuring access. At AXIS, accessibility is not an afterthought. It is woven into the fabric of our mission, our work, and our community. The creation of the Access Guide represents a critical move toward ensuring that disabled artists are empow-
same venues after a few years, we often find ourselves repeating the same work to make the space acces- sible again. Our Access Guide is designed to break this cycle, ensuring that the work we’ve done has lasting impact. This resource, available as a fully accessible website, is the result of years of collaboration with dis- abled artists, architects, present- ers, researchers, and activists from across the country. It’s not just about removing physical barriers; it’s about rethinking what accessibility truly means in the performing arts. We want to spark a shift—toward a more inclusive, thoughtful under- standing of access that goes beyond the basics and embraces the full spec- trum of needs and experiences. Rather than simply offering a checklist of accommodations, the Access Guide takes a comprehen- sive approach to accessibility, consid- ering physical, emotional, cultural, and social elements that foster a truly inclusive environment. It’s a roadmap for creating spaces where disabled art- ists can not only exist but thrive—an act that goes beyond accommodation
ered to lead and innovate. As we continue to collaborate with artists, venues, and educational institutions, AXIS is paving the way for a future where dance and performing arts are accessible, inclusive, and equitable for all. In a world that often overlooks the tal- ents of disabled individuals, AXIS Dance Company remains a powerful force in showing that true inclusivity benefits everyone—and that artistic excellence is at its best when it embraces the diversity of all bodies and experiences. —For more information about the Access Guide, visit https://accessguide. axisdance.org/ For over 37 years, AXIS DANCE COMPANY has pushed the boundaries of movement, creating per- formances that challenge stereotypes of disability. Touring to over 100 cities worldwide, including the US, UK, Israel, Palestine, and Russia, AXIS has earned nine Isadora Duncan Dance Awards. In addition to its performances, AXIS is dedicated to accessible dance education, offering programs for both disabled and non-disabled individuals. The company believes in building pathways for people to discover dance as a tool for self-expres- sion, collaboration, and personal empowerment. The collaborative ethos of AXIS is reflected in its partnerships with internationally renowned choreographers, including Bill T. Jones, Amy Sei- wert, Arthur Pita, Victoria Marks, Robin Dekkers, Asun Noales, and Jennifer Archibald. Each piece they create is a testament to the innovation that occurs when diverse bodies, backgrounds, and experiences come together to share a story. axisdance.org
Understanding the individual prefer- ences of disabled artists and respecting the nuances of their communication styles—often influenced by concepts like Crip time—is essential to creating accessible spaces. 6. ACCESSIBILITY IS BELONGING: The feeling that you are expected—that your presence is not only allowed but celebrated—is the hallmark of a well-designed accessible experience. Inclusivity requires consistent prac- tice, responsibility, and a long-term commitment to creating spaces where everyone belongs. 7. ACCESSIBILITY IS ENGAGING: Accessibil- ity must be integrated at every stage of a project—during the planning, the performance, and beyond. When access is thoughtfully designed, it enhances the experience for everyone, leaving lasting impressions on both the artists and the audience. 8. ACCESSIBILITY IS ACTION: Accessibility is not something that happens automat- ically. It requires active champions of inclusivity—those willing to break old habits, challenge norms, and
basic needs; it’s about mutual care and support. Disabled people have often been the ones leading efforts to care for each other, and that spirit of community mutual aid is at the heart of creating access that is genuinely meaningful. 3. ACCESSIBILITY IS DEAF-CENTRIC: Good access design must center Deaf artists and their communities. Information and resources need to be delivered in ways that meet the linguistic and cultural needs of Deaf people, ensuring they are not left out of the conversation. 4. ACCESSIBILITY IS SAFETY: Ensuring the safety of disabled artists— especially in emergency situations— is a cornerstone of inclusive arts prac- tices. Disabled artists are not inher- ently more fragile, but safety proto- cols must be robust, thorough, and reflective of the unique needs of dis- abled individuals. 5. ACCESSIBILITY IS RELATIONSHIP- BUILDING: Authentic accessibility comes from building real relationships.
into the realm of equity, rep- resentation, and belonging. Based on this approach, the Access Guide is rooted in a set of principles that reflect the values that AXIS holds dear: 1. ACCESSIBILITY IS ARTFUL: For many disabled artists, access features such as cap- tions, ASL interpretation, or visual descriptions are not just additional elements— they are integral parts of the creative process, woven into the fabric of the work itself. Accessibility can and should be part of the artistic vision. 2. ACCESSIBILITY IS COMMU- NITY CARE: True accessibil- ity isn’t just about meeting
JanpiStar leads a salsa class with Summer Intensive participants
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WINTER 2025 in dance 45
In Dance | May 2014 | dancersgroup.org
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