Batlle’s engagement with music and the Deaf community began in 2013 making the first concert ever to include a Deaf audience. On May 26, at Altos de Chavón, the National Symphony Orchestra performed as Deaf students placed their hands on the instruments, translating vibration into intimacy; afterward, they signed that it “felt like love.” Months later, at Pitbull’s concert in the same venue, Sign Language interpretation was incorporated for the first time in the country as part of Batlle’s initiatives. Batlle opened that concert with a live drawing performance alongside Deaf students.

From these first ruptures to the integration of accessibility in Coldplay’s global tour a decade later, the project unfolded as a sustained inquiry into how concerts—mass choreographies historically designed through exclusion—could be reimagined as sites of collective access. Here, accessibility is not a technical addition but an aesthetic and political claim: music as a field where disability presence inscribes new ways of belonging.