By Mimozë Musliu
The feminist discussion panel, part of the 12th edition of the FemArt Festival, titled “Beyond Barriers: Inclusivity in Culture and Art,” drew inspiration from the development of the “Manual for the Access of Blind and Visually Impaired People to Cultural Events” This initiative envisions a more inclusive cultural landscape.
Based on my personal experiences and those of many others in the community of persons with disabilities, of which I am a part, life often confronts us with significant, sometimes insurmountable barriers. However, what was discussed by the panelists—Jehona Shyti, Kushtrim Sheremeti, Elvana Shala, and myself—offered a momentary triumph over those barriers. It was a promising, hopeful, and time-stopping experience, a call to consciousness to view the world through the lens of the other.
One key highlight of the discussion was Jehona Shyti, Director of the Department of Culture at the Ministry of Culture, Youth, and Sports, pledging: “I commit, not only officially but personally, to initiate actions starting today for integrating tactile maps for cultural institution repertoires. By 2025, we aim to implement the manual, beginning with tactile maps in cultural institutions.”
This panel was organized at an opportune time, within a festival that amplifies the voices of marginalized members of our society, offering a fresh and profound perspective on accessibility for persons with disabilities in the arts and culture.
Until now, accessibility for persons with disabilities has often been seen solely through the lens of physical barriers, sidelining, sometimes intentionally and other times unintentionally, the importance of access to the arts—a field vital to emotional well-being and the human spirit. While some might argue that advanced access to art is unnecessary if basic physical access is lacking, the reality is quite the opposite. Striving for comprehensive access to cultural and artistic spaces naturally leads to the improvement of basic physical accessibility.
This effort is not merely a goal but a journey that promises benefits for the entire community and society at large. The significance of the manual is heightened by the fact that many cultural institutions in Kosovo are undergoing renovations. This represents a critical opportunity to integrate necessary measures outlined in the manual, creating spaces that are both physically and emotionally accessible for all.
Kushtrim Sheremeti, Director of the National Theatre of Kosovo, emphasized the importance of this initiative in his opening remarks, expressing deep appreciation for the manual: “First, congratulations on the manual; I believe it will be invaluable for all cultural institutions and enterprises in Kosovo as we plan our projects, whether large or small. Thank you for the excellent work you have done, and congratulations to FemArt.”
Sheremeti’s commitment not only underscored the importance of inclusive efforts in culture and art but also paved the way for the manual’s distribution across seven municipalities in Kosovo. It will reach 40 institutions, including cultural departments, festivals, and organizations advocating for the rights of persons with disabilities and beyond.
With the hope that this manual will bring much-needed change to our society, we have also promoted it at the Faculty of Architecture at the University of Prishtina, a key institution shaping the architects of today and tomorrow. While we began this initiative alone, we are committed to continuing it together with others until we achieve a truly inclusive culture.
