Access and Inclusion Policy

An Open Call for submissions is issued for each edition of the festival.
An open call ensures a more diverse selection of projects and gives artists from different communities the opportunity to present their work to the festival organisers.

• The wording of the open call is clear and emphasises that all artists are welcome to apply.
• The open call is shared through various channels, in more than one language and beyond mainstream artist communities.
• During the application process, support is provided to applicants should they require. This includes, but is not limited to, guidance via telephone or in-person consultations.
• The application form for the 2025 Open Call will be updated to provide a clearer understanding of applicants’ backgrounds, with the aim of identifying and addressing any underrepresented groups.

Diverse groups are involved in programme creation and curation.
The involvement of a greater number of groups in the planning of the festival's programme, particularly those that are marginalised, serves to broaden horizons and enhance diversity. In addressing issues pertaining to marginalised groups, Reykjavik Arts Festival operates under the guiding principle of "nothing about us without us".

• Diverse groups have a direct hand in shaping the festival's programme, for example through specific initiatives such as takeovers at the Festival Hub.
• The Artistic Director seeks advice from representatives of various groups, including marginalised groups. The festival pays consultants for their contribution.

 A strong family programme at each festival
Children and youth are entitled to high-quality cultural events that are specifically tailored to them.

• Each edition of the festival offers a selection of events that are tailored specifically to children and young people.
• The festival always offers a selection of family events free of charge.

The artists performing at Reykjavik Arts Festival reflect the diversity of human life.
Ensuring the artistic visibility of different groups arts enriches the cultural landscape, challenges stereotypes, and fosters a more equitable society.

• The festival ensures a balanced representation of genders among its artists.
• Special attention is paid to the representation of disabled individuals, LGBTQ+ people, people of colour, immigrant communities and other marginalised groups.
• The Artistic Director actively seeks out international projects that are genuinely inclusive and are likely to invigorate the Icelandic cultural scene.

The Festival reaches out to the community.
Various social groups have limited access to cultural events. Reykjavik Arts Festival implements targeted initiatives to engage these communities.

• The festival organises events beyond the city limits and utilises public spaces to engage with a broader public.
• Every edition of the festival includes events that take place beyond the confines of the capital region.
• Reykjavik Arts Festival strives to host events in residential care homes and similar institutions to ensure access for those who are unable to travel to other venues.

Accessibility in its broadest sense is taken into consideration for all events.
All those who wish should be able to enjoy festival events and the staff is dedicated to accommodating the diverse needs of audiences and artists. 

• When selecting venues, accessibility for guests with disabilities is a priority. For instance, it is imperative that guests with disabilities have access through main entrances rather than being limited to side or rear entries. Similarly, artists with disabilities must be able to utilize backstage amenities and have access to the stage.
• Special consideration is given to the needs of neurodivergent people at selected events, which includes offering relaxed performances and providing essential information beforehand about the content and format of events. This information is prepared in consultation with neurodivergent interest groups.
• A quiet room/sensory space is available at the Festival Hub, where guests and artists can take a break from overstimulation and bustle if needed.
• At larger events and at the Festival Hub, easily identified staff members are on hand to provide assistance and information as needed.

Festival events are interpreted and subtitled whenever possible
Language should not be an obstacle to enjoy the festival.

• Sign language interpretation is always provided at the opening ceremony and for selected events.
• Events in foreign languages are subtitled in Icelandic whenever feasible.Top of FormBottom of Form
• Selected events in Icelandic are subtitled in Polish and/or English to meet the needs of non-Icelandic speakers and international guests.
• Audio description is provided at selected events.

 A significant portion of the Reykjavik Arts Festival programme is free of charge, making it accessible to less affluent groups and ticket prices are kept at a reasonable rate.

Financial status should not be a barrier to enjoying festival events.

• At least a quarter of the main festival events are free of charge.
• At every edition of the festival, a portion of the family programme is without ticketing.
• The festival keeps complimentary tickets at a minimum and does not offer last-minute freebies or discounts to professionals to fill seats.
• All events at the Festival Hub are free of charge.
• Ticket prices for the festival are kept at a reasonable level. In cases when higher rates cannot be avoided, a certain percentage of tickets is made available at a significantly lower price.
• The festival will seek out partnerships with companies in order to subsidise tickets for less affluent guests.

Promotion of the festival programme is guided by diversity.

A varied programme should ensure that most people can find something to enjoy at the festival. It is vital that events are promoted to relevant groups of audiences.

• The complete festival programme is accessible in Icelandic, simplified Icelandic, English, Polish and sign language on the festival's website.
• Ensuring easy access is a key focus in the festival's website design, from the visual presentation to the dissemination of information.
• All promotional material uses inclusive language and is as gender-neutral as possible.
• Clear information about access to venues is communicated in the festival's printed brochure and on its website.
• Information about public transport to venues is clearly conveyed in printed materials as well as online.
• The family programme is highlighted in the festival's promotional material and through channels likely to reach its target audience.
• Information about free events at the festival is distributed in public spaces, libraries and at other locations where it is likely to reach a wide audience.
• New approaches will be developed to promote festival events to immigrant groups and other marginalised communities. The festival will establish a network of contacts who will collaborate with festival organisers in getting the information out there.

Reykjavík Arts Festival puts accessibility and inclusion on the agenda.

By engaging in active dialogue on access and inclusion, both at the festival itself and in collaboration with other cultural institutions, artists and relevant groups, Reykjavík Arts Festival can have a positive impact that extends far beyond the festival itself.

• The festival puts access and inclusion on the agenda during the festival, for instance by programming special events at the Festival Hub and through media coverage.
• In all discussions with partner institutions and artists, the festival prioritises accessibility and inclusion from the outset, encouraging partners to commit to these values and supporting them to achieve the objectives.

Documentation of the Reykjavík Arts Festival is in the hands of a diverse group.
Photographs, written texts and other forms of documentation necessarily reflect a specific perspective. It is therefore important to ensure that those who document the festival are not a homogeneous group and that diverse methods are used to chronicle its history.

• A diverse group of people is involved in taking photographs and documenting the festival to represent multiple viewpoints.
• Efforts are made to document the festival in as many different forms as possible, utilising various media: photography, filmmaking, various forms of writing, audio recordings, interviews, etc.
• The festival archive, established in 2020, will be reviewed to determine if the classification of information and its presentation are inclusive, with improvements made whenever necessary.

When recruiting staff, the emphasis is on assembling a team that reflects the diversity of society as much as possible.
A diverse team offers broader perspectives and is more likely to be successful.

• All job vacancies at the festival are advertised publicly whenever appropriate.
• The language used in job advertisements is inclusive and designed to appeal to a broad group. Diversity is also considered when establishing assessment criteria.
• Positions are advertised across appropriate channels to cast the widest net possible and reach beyond mainstream arts and culture circles.

Staff are supported to adhere to the access and inclusion policy.
To meet the expectations and needs of guests, it's crucial that festival staff possess the relevant knowledge and skills.

• Prior to each edition of the festival, staff are offered one or two short courses or lectures by experts that will enhance their ability to follow this policy. (Examples: Presentations from the local LGTBQ+ alliance Samtökin 78, courses on accessibility and the needs of neurodivergent people, etc.)

Before each edition of the festival, an accessibility representative is appointed.
The team member best equipped for this role takes on the responsibilities of an accessibility representative.

• The representative reviews the accessibility of each event venue, including the Festival Hub, identifies potential challenges and seeks solutions.
• In collaboration with other project managers, the representative gathers information about the needs of artists and finds ways to meet them.
• The accessibility representative oversees the development and review of checklists that project managers use to assess projects and the needs of artists and guests from an accessibility standpoint. A specific checklist will be developed in cooperation with the head of PR for how and what accessibility information is conveyed on the website and in promotional material.
• Staff can seek guidance from the accessibility representative as needed.

The Reykjavík Arts Festival's anti-bullying and harassment policy will be reviewed before each edition of the festival with the principles of accessibility and inclusion in mind.
The policy will be introduced to all new members of staff. The Reykjavik Arts Festival is a healthy workplace with a zero-tolerance policy towards bullying, sexual/gender-based harassment, violence and any other inappropriate behaviour.

Finding new and accessible office space for the festival is a priority.
The current office space on Lækjargata is not accessible and it is therefore important to relocate as soon as suitable premises have been found.

An advisory group on accessibility and inclusion will be formed for each edition of the festival.
Advisory group members are chosen from among advocacy organisations and groups fighting for the rights of disabled people and other marginalised groups.

• The advisory group participates in a review of policy and action plans before each edition of the festival and will be consulted on possible improvements. The participants are paid for their consultancy.