Photo copyright: Kirsten McTernan.
Last week saw the launch of a new online document aiming to help companies and venues make their work and premises more accessible for d/Deaf, deafened and HoH audiences.
Commissioned by the Arts Council of Wales, the ‘toolkit’ was created by Jonny Cotsen, Rachel Kinchin and Disability Arts Cymru. Presented in a simple, downloadable PDF format, it hopes to offer a wealth of “advice on how to make work more inclusive for deaf, deafened and hard of hearing visitors and/or participants ranging from welcoming audiences to a space, through to marketing and the work itself”.
With headings such as “Getting the Language Right”, “Planning and Budgeting” and “Engaging Your Local Area”, the toolkit covers a wide variety of subjects, from notes on Deaf culture to practical advice on access options and their suitability.
As the driving force behind the scheme, Jonny Cotsen is pleased that it shows a leap forward in conversations and attitudes around d/Deaf participants and audiences in the Welsh arts. As an experienced deaf performer, workshop leader and Deaf Awareness trainer, he already had the experience and knowledge required.
He said: “I wanted to create this toolkit as a response to the lack of deaf awareness in the Arts in Wales. It is great that theatre organisations want to make their work more accessible, but to contact me the day before a show asking for an interpreter is an impossible task! I was becoming frustrated by seeing incredible marketing of shows online, but then no mention of anywhere the performance is accessible.
“Currently, ACW ask companies to make at least one show accessible, but this isn’t enough and isn’t always enforced. It also means that people end up ‘box-ticking’ in a hurry, instead of considering access from the start, educating themselves and integrating it. I feel fortunate to be given the opportunity to develop this toolkit, to help address this.”
He added: “I am hoping in the future that we will see more exciting accessible performances that deaf people will enjoy as much as hearing people. We deserve that. I also hope organisations/individuals will become more deaf aware. I feel Wales needs a change and to step up, as it feels like currently we are so far behind others when it comes to access.”
A link to the guide can be found here: Developing deaf, deafened and hard of hearing audiences in Wales
Based in South Wales, Jonny Cotsen is a deaf performer, workshop leader and Deaf Awareness trainer, offering bespoke services to companies and indivudals. His one man show ‘Louder is Not Always Clearer’ is currently touring. More information can be found here http://www.mrandmrsclark.co.uk/portfolio/louder-is-not-always-clearer/
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Aled Owen
February 22, 2018
This is a big step forward and those involved are to be congratulated. However there appears to be one missing link. If theatres equipped actors with radio microphones connected to a loop system it would make such a difference. That WOULD cut out the ambient noises that bother those of us who rely on the various aids that are now available. Having just one microphone near the stage that feeds into the loop is an inadequate substitute in my experience.
Kim Mills
February 22, 2018
I agree, it’s a comprehensive document and hopefully will prove very useful. I would like to raise a couple of points, from an Interpreter’s perspective. The document recommends sourcing Interpreters who are member of the Association of Sign Language Interpreters (ASLI) which is one of the professional membership bodies but omits to mention Visual Language Professionals (VLP) which actually has a larger membership. ‘ However even more noticeable, there is no mention of the NRCPD which is the registration and regulatory body for Interpreters and surely this is crucial, that qualified, registered, insured Interpreters are engaged.
Secondly there is a recommendation that Interpreters ‘meet’ deaf audience members in the bar after the show – it isn’t clear why? If it’s a case of interpreting to make the bar services accessible then fine, although after working for around 2 hours and standing on a stage this demands considerable stamina! I personally, wouldn’t want to do this after show ‘meet’ if it’s on a social level, the role is to interpret – not to socialise. Are all the cast expected to socialise with the audience post show?