Cultural Inclusion in the age of COVID

26th February 2021 - Virtual conference - Save the date

The Cultural Inclusion Manifesto is a campaign to ensure that disabled people have access to all aspects of culture and heritage. As creators and consumers; as employees and volunteers; as the subjects and the critics.

COVID has presented both threats and opportunities for cultural inclusion.  The campaign’s second conference explores this with presentations on what we know both of the additional access challenges created by COVID and real life examples of some of the positive developments that we can take forward into the future.

One of the particular areas for exploration is the school/home/community relationship:

  • Has COVID provided opportunities for new partnerships with home to develop cultural capital and experiences or has it widened the gap?
  • Have new community partnerships formed with all schools or are some super-served while others go without?
  • Is digital levelling the playing field or just creating second class experiences for those who cannot access the physical?

Speakers announced in January.

To hear more sign up to the Cultural Inclusion Newsletter here

Arts Council England Strategy 2020-2030

Arts Council England has released its strategy ‘Let’s Create’ for the next 10 years and puts inclusion high on the agenda. “The support that we give to creative practitioners, particularly D/deaf and disabled people, those from Black and minority ethnic backgrounds, women, and those from lower socio-economic backgrounds, either at the beginning of their careers or at moments when they are seeking to test different paths, can provide essential time, space, and affirmation precisely when those things are needed most. For individuals, the significance of such support may not become clear until years later, but collectively, its impact across the cultural sphere is profound. “See more…

Why the Cultural Inclusion Manifesto?

See Paul Morrow’s slides and notes from his presentation to the New Voices Conference, with HM Chief Inspector of Education in the audience. The presentation outlines the need for The Cultural Inclusion Manifesto, how it came about, what has been achieved so far and the next steps for Cultural Inclusion. Click here

Cultural Inclusion Progress Update

It has been very busy here at the Cultural Inclusion Manifesto and I have thoroughly enjoyed working with Anita, Rachael and Matt in pushing the conversation further and ensuring that inclusion is very much part of the agenda. We are all working on the manifesto voluntarily, but we are very much making head way.

I still teach four days at Westminster Special Schools, and I am very pleased to announce that we have secured a further three years of funding from the John Lyon’s charity to support the West London Inclusive Arts Festival. The festival was pivotal in the formation of manifesto, and now has six special schools and five cultural partners as it moves into its fourth year. We have ambitious plans, with the view of a pan-London festival going forward…watch this space!​

We have been very active and have met a number of organisations interested in the Manifesto. Earlier in the year we met at Miranda Wayland, Head of Diversity and Inclusion at the BBC and had an interesting conversation as they place inclusion centrally within their strategy. ​

As a consequence of last year’s conference we have developed the Inclusive Access Plan and have promoted this with a number of our partners. We have promoted the Cultural Inclusion manifesto at the Musically Inclusive Forum lead by the Royal College of Music and have attended a similar forum comprising of the National Gallery, The Camden Arts Centre, The Museum of London a New Direction and The Royal Academy of Art. I have also presented and made the case for the Cultural Inclusion Manifesto at the New Voices Conference where Amanda Spielman, HM Chief Inspector of Education was in the audience and avidly taking notes! ​ ​​

Going forward I will be presenting alongside the Tri-borough Music Hub at the Music Mark conference exploring cross sector relationships and the notion that everyone is an inclusionist. ​

I am also part of a panel at CPD event organised by A New Direction Advocate Tom Underwood discussing  SEND Pupil Voice in the Arts at Battersea Arts Centre on Wednesday the 13th November. ​

No access, no public funding?

Five years after first highlighting discriminatory attitudes in ArtsProfessional, the Government’s Disability Champion for Arts and Culture Andrew Miller reflects on progress towards inclusion. See more

The Inclusive Access Plan


The Cultural Inclusion manifesto not only seeks to be a space where best inclusive practice can be shared across a number of fields, it also seeks to be a platform for activism for positive change with a focus on solutions that have real impact on the lives of people with disabilities. We will achieve this by supporting them in telling their stories and effecting change; by promoting inclusion structurally, attitudinally and on a policy level

Inclusion is part of the whole experience; an inclusive approach means the anticipation of barriers and the subsequent mitigation or removal of these.

If a venue has a rich inclusive offer but the physical access to these is problematic then whether it is real inclusion is to be challenged.

Transport – and particularly drop off - was a common theme identified at the inaugural Cultural Inclusion Manifesto conference, and here we aim to address that.



Every cultural institution to create an Inclusive Action Plan that supports inclusive travel to and from setting. This should be considered by funders, planning departments and all others involved in supporting the institution’s business plans. Over time no funding should be awarded – nor planning permission given – to an arts or cultural setting that does not have an Inclusive Action Plan.

Where guidance and support with transport is not embedded into a cultural institution’s offer from the earliest point of contact this can at best frustrate and at worst end engagement.

As an example during the West London Inclusive Arts Festival of 2018 the Festival team had to pay a significant amount of money to the local council (Hammersmith and Fulham) to suspend parking bays close to the Lyric theatre in order for young disabled people to access the venue safely. In 2019 the team successfully lobbied the council and had five parking bays suspended for free for the duration of the festival.

This consistent feedback on travel and transport – from parents, young people with disabilities and schools (particularly special schools) poses a number of questions:

  1. Why should a young person with additional needs, their family or their school have to pay additional money to access a cultural space when their neuro-typical and able bodied peers do not?
  2. Why – after so many years funding settings on inclusion - is this not included within a strategic offer of all cultural institutions?


Beginning thinking on an Inclusive Access plan

We are at an early stage of consulting on what an Inclusive Action Plan should like and are drawing down examples of cultural settings that do this well.

From feedback from teachers, young people and families so far we have identified the follow key criteria.

  1. The document should be written in accessible English (reading age 8) and be accessible in a number of formats. It should be clearly sign-posted on the setting's website. Ideally it should summarised in video format with sub-titles.
  2. It should include guidance on public transport, walking routes, routes suitable for wheelchair users & those with limited mobility and for private cars. This should include indicative prices where possible.
  3. Where possible settings should try and negotiate discounts for transport and travel to their venues. This might include special deals with train companies or exemptions from car parking fees.
  4. Where transport and travel costs may be a barrier to access settings should consider subsidies to ensure those with disabilities are not paying more than non-disabled peers.
  5. Cultural organisations should have designated parking for minibuses/cars that are either on-site, or working in collaboration with the local council/local business, have spaces designated that have easy access to the venue, i.e. reasonable walking distance when pushing a wheelchair with only a minimum of road crossings.
  6. There should be a map that clearly highlights the closest tube/train/bus stops with a map of how you can then access the venue.
  7. Public facing staff should receive disability awareness training.

This is a work in progress but is already being considered by some venues and funders as a potential 'kitemark'.

Views on the potential of an Inclusive Action Plan are welcome. As are examples of both where transport has been a challenge and examples of those venues that have got it right.

In some ways this should be one of the simplest aspects of Cultural Inclusion. Practical access issues.  But – like physical venue design – it is an area that many years into ‘disabled access’ is still too often neglected.

Prom 24: Relaxed Prom at the Royal Albert Hall

The BBC Philharmonic performs Russian classics by Rachmaninov and Tchaikovsky in a more relaxed environment – suitable for children and adults with autism, sensory and communication impairments and learning disabilities, as well as individuals who are deaf, hard-of-hearing, blind and partially sighted.. There is a relaxed attitude to movement and noise in the auditorium, plus ‘chill-out … See more

Cultural Inclusion House of Commons Event

Sharon Hodgson MP hosted the Cultural Inclusion Manifesto reception at the House of Commons on the 22nd January 2019. The event was a celebration of the growing commitment to the Cultural Inclusion Manifesto and for arts and culture being open and accessible to all.

The speakers were:

  • Sharon Hodgson MP, Labour MP for Washington and Sunderland West, Shadow Minister for Public Health, Chair of the APPGs on Art, Craft and Design in Education, Dyslexia and SpLD. (see the speech)
  • Dr Adam Boddison, Chief Executive for nasen - National Association of Special Educational Needs (see the speech)
  • Anita Kerwin-Nye, Founder Of Every Child Should (see the blog the speech was based on)
  • Paul Morrow, Author of the Cultural Inclusion Manifesto (see the speech)
  • Moshtaba, a young person who provided their account of what cultural inclusion means to them (see the speech)

See the pre-event briefing notes

The event was supported by nasen working with Every Child Should and the manifesto’s authors Paul Morrow and Rachel Christophides and sponsored by 31 Dover.

The reception celebrated the 100th signatory to the Cultural Inclusion Manifesto, considered the findings of the work so far and made a call for the Arts Council to place true disability access at the core of their 2020-2030 Strategy.

Too often children and young people with disabilities, particularly learning disabilities, are excluded from full access to culture and arts. The general demise in access to the arts – both in school and in school visits to arts settings - compounds this exclusion.

The Cultural Inclusion Manifesto is a set of shared beliefs which aim to both drive and guide inclusive practice in the fields of education, art and culture. Signatories affirm their commitment to these beliefs as well as to collaborative working across sectors to encourage and inform the inclusion of disabled children and young people in artistic and cultural experiences.

The manifesto now has over 100 signatories from a range of stakeholders including arts and culture organisations, schools, disability charities, disabled artists, MPs, Peers, London Assembly Members, disabled children and their families. Sign up now, if you haven't already!

Click here to see an article about the event in Arts Professional

Thanks to Oliver James for these 4 photos and event video

Some highlights from Twitter:

Sharon Hodgson MP
Delighted to host this evenings celebration of the Cultural Inclusion Manifesto event in Parliament. Every child should have access to a broad & balanced curriculum, regardless of any disability or learning difficulties. Thanks to all the brilliant speakers and everyone who came.

Joe McCann
"Fantastic evening at #CulturalInclusion listening to excellent speakers put forward the need for #CulturalInclusion now. @anitakntweets @AdamBoddison @nasen_org"

Alix Robertson
Great to be at the launch of the #culturalinclusion manifesto in parliament tonight, with @AdamBoddison @nasen_org @anitakntweets @paul_a_morrow @SharonHodgsonMP

Sophie Leach
Thank you to each and every speaker and to @nasen_org #Culturalinclusion is two way and you explained why #EVERYchildshould
#manifesto @anitakntweets @paul_anderson_morrow @AdamBoddison #mustapher @SharonHodgsonMP

June Stevenson
So pleased to be at the excellent manifesto launch for #culturalinclusion this evening with @anitakntweets and so many others, representing @ArtisFdn and all the inclusive performing arts sessions our specialists deliver

Sian Alexander
Important recognition for an important issue. Proud to represent @LyricHammer at last night's #culturalinclusion manifesto event at House of Commons with @marilynjrice @anitakntweets @paul_a_morrow @nasen_org @SharonHodgsonMP

@anitakntweets talks more about why cultural and arts is the solution and has a key role in making children and young people with SEND feel valued. #culturalinclusion @AdamBoddison @paul_a_morrow

Corali Dance Company
Brilliant to be part of the Cultural Inclusion Manifesto launch at the House of Commons last night. Great speakers, positivity and energy in the room. @SharonHodgsonMP @AdamBoddison @anitakntweets @paul_a_morrow #culturalinclusion

Honoured and delighted to be at The Cultural Inclusion Manifesto parliamentary briefing this evening at the House of Commons. Exciting things happening...

Cultural Inclusion Manifesto House of Commons Event

Cultural Inclusion Manifesto

Equal access to the arts for children and young people with disabilities

A briefing to support press, speakers and policy teams

(click here to download this page as a pdf)

Sharon Hodgson MP hosts the Cultural Inclusion Manifesto reception at the House of Commons on the 22nd of January 2019.

The event is supported by nasen working with Every Child Should and the manifesto’s authors Paul Morrow and Rachel Christophides.

The reception celebrates the 100th signatory to the Cultural Inclusion Manifesto, considers findings of the work so far and makes a call for the Arts Council to place true disability access at the core of their 2020-2030 Strategy.

Too often children and young people with disabilities, particularly learning disabilities, are excluded from full access to culture and arts. The general demise in access to the arts – both in school and in school visits to arts settings – compounds this exclusion.

The Cultural Inclusion Manifesto is a set of shared beliefs which aim to both drive and guide inclusive practice in the fields of education, art and culture. Signatories affirm their commitment to these beliefs as well as to collaborative working across sectors to encourage and inform the inclusion of disabled children and young people in artistic and cultural experiences.

The manifesto now has over 100 signatories from a range of stakeholders including arts and culture organisations, schools, disability charities, disabled artists, MPs, Peers, London Assembly Members, disabled children and their families.


What are we asking for?

  1. For individuals and organisations to sign the Manifesto

The manifesto is a pledge of support, but it is also an emerging community of practice committed to improving access to the arts. From the start of the manifesto just over a year ago, through to the launch at the Lyric Hammersmith in July and the first conference in October 2018, the manifesto has been a catalyst for new partnerships, conversations and approaches. The volume of signatories demonstrates the traction that this cross-sector initiative has gained, acknowledging the need for greater collaboration that can lead to significant and meaningful shifts in both policy and practice.

The pledge can be signed here and individuals and organisations are supported to share their experiences, come to events and set up their own #culturalinclusion manifesto projects.

  1. For the Arts Council to develop a specific cultural inclusion strategy around disability

The Arts Council is the key conduit for government funding for the arts. Over 2018-2022 the Arts Council have c£2billion of funding from across government to support great art and culture for everyone. They are currently developing their 2020-2030 strategy. Where Arts Council fund others tend to follow, and the research policies and positions of the Arts Council set the tone for the whole arts and cultural sector.

There are many areas of good inclusive practice across the arts, cultural and heritage sectors and we are capturing these through the website. But this needs to be the common experience for everyone.

We have heard – consistently – that disability inclusion is sporadic and over reliant on both individuals and the efforts of organisations with disability at their core.  In many arts and cultural strategies disability is often the least developed in terms of approaches to access and inclusion. For example, the (London) Mayor’s Cultural Strategy has many strengths but only mentions disability a handful of times and 3 of these are in the glossary. Reports on art cuts in schools rarely focus on the impact in special schools. Programmes on careers in the art and cultural sectors rarely focus on career pathways for young adults with significant learning difficulties.

A holistic Arts Council Strategy on disability should:

  • Be developed with disabled children and young people and their families: with a particular focus on those with severe and complex learning disabilities or physical impairments.
  • Consider the access of children and young people to arts, culture and heritage as:
  • students of arts and culture: with access to high quality teaching and learning delivered by qualified staff and experts in both the arts and education,
  • consumers and audience: both through physical settings but also through digital and other mediums,
  • makers of arts and culture: not just programmes for emerging talent but a true entitlement for all children and young people with disabilities to have the chance to create and perform,
  • the subjects of arts and culture: their stories and lives told truly – and in the round,
  • members of the arts workforce: exploring routes for volunteering, work placements and qualifications that reflect a broad range of ability and the inclusion of people with disabilities, particularly learning disabilities, in governance at every level.
  • Develop pathways that support children and young people with significant disabilities from early years to 25 (and into adult provision) providing a progressive range of experiences.
  • Develop the sector leadership to deliver the strategy with a particular focus on helping settings review their own practice in inclusion and developing plans to address.
  • Consider both the investment plan to implement the strategy but also whether grant making could be linked to an organisation’s disability inclusion review and action.

Such a strategy could usefully draw on existing proposals and work, including:

It should be clear that there is some remarkable work happening to include children and young people in culture and the arts. And there are great role models of disabled artists and of young people who are moving beyond inclusion into disrupting and redefining the arts and culture context.

But there are still too many children and young people, particularly with severe and complex needs, whose access is limited.

We have a rare opportunity to build on the Arts Council’s vision of arts for everyone to make a step change in #culturalinclusion.




Email (general enquiries):

Twitter: #culturalinclusion

Press enquiries: Tel 07732 158569 or email

For more on nasen see
For more on Every Child Should see

The event has been funded with support from James Bagley CEO of 31 Dover.


Speakers on the evening will be:

Sharon Hodgson MP. Sharon is the Labour MP for Washington and Sunderland West, having first been elected as an MP in 2005. Sharon is currently the Shadow Minister for Public Health and the Chair of the All-Party Parliamentary Groups on Art, Craft and Design in Education, Dyslexia and SpLD. Sharon has been a champion of #culturalinclusion from its beginning and was the first person to sign up to the Manifesto.

Dr Adam Boddison. Adam is the Chief Executive for nasen (National Association of Special Educational Needs) which is a charity supporting thousands of practitioners by providing relevant information, training and resources to enable school staff to meet all pupils’ needs. Prior to this, Adam held a number of senior education roles including Director of the Centre for Professional Education at the University of Warwick, Academic Principal for IGGY (an educational social network for gifted teenagers) and West Midlands Area Coordinator for the Further Mathematics Support Programme.  In addition to a range of teaching and leadership posts in both primary and secondary schools, Adam has a portfolio of education research and international education projects.

Anita Kerwin-Nye. Anita if the Founder of Every Child Should and a social entrepreneur who has built new entities from scratch and supported many other organisations – particularly those working in or between schools and the charity sector to improve outcomes for children and young people. Anita has particular interest and expertise in bringing together new collaborations, breaking down traditional barriers and increasing impact for all involved. Anita has worked with young people with special needs throughout her career, from outdoor education, teaching and youth work to founding The Communication Trust and creating and leading the consortium which delivered the Government’s workforce development programme.

Paul Morrow. Paul is the author of the Cultural Inclusion Manifesto. He has spent 12 years working in SEND education, teaching art at Westminster Special schools. He has a MA in Art and Design in Education and a Diploma in Special and Inclusive Education from the Institute of Education. Paul has also worked as a consultant to the Royal Academy of Art and delivered workshops for the Arts and special Educational Needs and Disabilities Conference at the Museum of London. Paul is a practicing artist.

Attendees will also hear from a young person with disabilities on what cultural inclusion means to them.

Background statistics on #culturalinclusion and why the Manifesto is Needed

The people and organisations behind #culturalinclusion passionately believe in the power of arts and culture to transform lives and make a unique and invaluable contribution to the education, health and wellbeing of disabled children and young people. We want disabled children and young people to have equal access to a broad range of artistic and cultural experiences and opportunities. Sadly, this is currently not the case.

Statistics from the Department for Culture, Media and Sport (DCMS) demonstrate that:

  • There is a significant difference between the proportion of children with and without a limiting disability who had visited a heritage site in the 5-10 age bracket (53.1% and 71.5% respectively).
  • Nondisabled children and young people aged 11-15 are twice as likely to visit a museum with their school than their disabled peers.

Similarly, research by the Arts Council identified the barriers that exist for disabled children and young people:

  • Physical access – 42% of venues in one study reporting that visually impaired people could access little of their collections (Shape Arts 2013).
  • Accessible informationnearly half of learning disabled young people rely on parents, carers or schools for information about events and activities (Mencap 2009).
  • Poor accessibility on arts websites – including buying tickets for cultural events (Consilium 2014).
  • Transport – availability, accessibility, practicality and cost.
  • Support to attend arts – especially outside of school hours (Mencap 2009).
  • Concerns from disabled people – most learning disabled young people prefer inclusive sessions but have concerns about harassment, and whether they would “fit in” or be welcome. Making clear the level and pace of activity so people can judge whether it would be right for them is also important (Mencap 2009)

The report also identifies the challenges faced by artistic and cultural organisations and venues in making their offer accessible for disabled children and young people:

  • A lack of understanding of how best to adapt or make accessible their venues and programme to include disabled people.
  • A need for training in “customer care” and disability awareness to increase service levels and confidence in working with disabled children and young people.
  • An inability to invest time and money into improving the accessibility of websites.
  • A lack of budgeting for access provision.

The scope of the challenge is confirmed in the recently released London Mayor’s Cultural Strategy which points out that almost a third of UK museums provide no access information on their websites for disabled people planning a visit, and many theatres fail to reach audiences with disabilities.

The inequalities in access to artistic and cultural activities between disabled and non-disabled children and young people has been compounded by recent cuts in government funding and the increased emphasis on core academic subjects. A BBC survey of 1,200 secondary schools found that nine out of every 10 had cut back on lesson time, staff or facilities in at least one creative arts subject.

Research conducted by Warwick University reveals that there has been a significant decline in the number of state schools offering arts subjects taught by specialist teachers. The report, the Warwick Commission on the Future of Cultural Values, found that between 2003 and 2013 there was a 50% drop in GCSE entries for design and technology, 23% for drama and 25% for other craft-related subjects. Additionally, research from the Education Policy Institute has shown a decline in the proportion of pupils taking at least one arts subject at GCSE level. In 2016 it reached 53.5%, the lowest level for a decade.

We believe inclusion and participation in artistic and cultural experiences are a human right. However, the Warwick Commission concluded that it is also essential to ensuring that we are focusing on the current and future needs of the cultural and creative industries as well as the broader need for innovation and growth in the UK. John Kampfner, from the Creative Industries Federation, said it was worrying that some schools were reporting that art subjects were now seen as softer options:

Arts provision should also be seen as a core subject. There’s nothing soft about subjects that create the talent that creates the fastest growing sector of our economy.”

In addition to the educational value of inclusion and participation in the arts, and the contribution it makes to preparing our children and young people to meet the future needs of the UK economy, it also has an enormous impact of health and wellbeing. The London Mayor’s Cultural Strategy notes:

There is mounting evidence, commissioned by both arts and health bodies, that creativity and the arts make a significant difference to people’s physical and mental health and wellbeing. Culture can play a role within clinical settings and in the wider community. It can help people maintain good health and wellbeing or recover from illness.

The strategy refers to an arts-on-prescription project which led to a 37% drop in GP consultation rates and a 27% reduction in hospital admissions. This was estimated to save the NHS £216 per patient.

The link between participation in the arts and improved health outcomes has long been recognised. Over a decade ago research conducted by the Department of Health found that:

  • Arts and health are, and should be firmly recognised as being, integral to health, healthcare provision and healthcare environments, including supporting staff.
  • Arts and health initiatives are delivering real and measurable benefits across a wide range of priority areas for health and can enable the Department and NHS to contribute to key wider Government initiatives.
  • There is a wealth of good practice and a substantial evidence base.

More recently a review of the impact of arts on society, commissioned by the Arts Council, found:

  • Those who attended a cultural place or event in the previous 12 months were almost 60% more likely to report good health compared to those that had not.
  • Theatre goers were almost 25% more likely to report good health.
  • There is clear evidence that a higher frequency of engagement with arts and culture is generally associated with a higher level of subjective wellbeing.
  • Engagement in structured arts and culture improves the cognitive abilities of children and young people.
  • The use of arts, when delivered effectively, has the power to facilitate social interaction as well as ensuring that those in receipt of social care can pursue creative interests.
  • Participation in dance has significant benefits for reducing loneliness and alleviating depression and anxiety for people in social care environments.

Last year the All Party Parliamentary Group on Arts, Health and Wellbeing conducted a review of the available evidence that arts and culture make an enormous contribution to improving health outcomes. They concluded:

It is time to recognise the powerful contribution the arts can make to health and wellbeing. There are now many examples and much evidence of the beneficial impact they can have.”

Their report outlined three key messages:

  • The arts can help keep us well, aid our recovery and support longer lives better lived.
  • The arts can help meet major challenges facing health and social care: ageing, long-term conditions, loneliness and mental health.
  • The arts can help save money in the health service and social care.

The Manifesto Supporters

The manifesto has (at 15th January 2019) 116 signatories from arts, culture and heritage organisations, politicians, disability organisations and people with disabilities and their families.

Supporters of the Manifesto include:

Long-standing members of parliament;

Sharon Hodgson MP. Chair of the All-Party Parliamentary Groups on Art, Craft and Design in Education, Dyslexia and SpLD. “I am passionate about the rights of disabled children and young people as well as a great believer in the power of arts and culture to make a real difference to their education, health and wellbeing. The Cultural Manifesto is an excellent initiative which offers strategic leadership across the sector by supporting and promoting the excellent inclusive practice that exists and encouraging others to put the needs of young people at the heart of their work.”

High profile arts, culture and heritage venues:

Royal Albert Hall. “We, the Royal Albert Hall, commit to the Cultural Inclusion Manifesto because we fundamentally believe that all children and young people should have the right to access high quality arts and culture. Currently there is not equal access for children and young people with disabilities, and we are committed to working with partner organisations to address this across the arts sector. We recognise the power of arts and culture in supporting education, health and wellbeing for all young people. We believe that cultural organisations have the duty to reflect all of society, and we feel that the Cultural Inclusion Manifesto offers the opportunity to work strategically amongst a number of partners to ensure that we can do this to best effect.”

The Royal Philharmonic Orchestra; The Royal College of Music, and The National Gallery have also signed up to the manifesto.

And people who would benefit greatly from greater inclusive access to arts and culture for all:

Elly Chapple Mother to an exceptional child who is Deafblind and would love to be included. “I support the manifesto because life is bigger than a classroom and shorter than you think. Because our time here should be broad, engaging, fun and full of life. And because every person has an equal right to this, every single person.”

View statements from all Manifesto supporters at: