On three dates this spring, Aalto Ballett Essen is offering, among other things, a pick-up and chaperone service along with live audio description through earphones. The three audio describers, Jutta Endes, Johanna Krins and Felix Koch, prepared a script for the efficiency beforehand, which explains to the audience what is happening on stage. Jutta Endes will read it out during the performances. She will have a clear view of the stage from a commentary box. Ought to something unfortunate take place or the regular program be interrupted– for example, if a dancer takes a fall– she can react spontaneously and adjust the audio description accordingly. This allows partly spotted or blind individuals to participate in the occasions occurring on stage. Two hours before the performance, they can take part in a touch tour and walk around on the phase. During the trip, they can run their hands over props, parts of the set or outfits such as Carmen’s red gown or ballet shoes. In addition, tactile layout give them an impression of the stage style.
To evaluate how well the inclusive concept is gotten by the target group, Aalto Ballett Essen is collaborating with the research unit “Vision, Visual Disabilities & Loss Of Sight” at TU Dortmund University, where Dr. Regina Moritz is carrying out research within the KUBUS task on cultural participation among blind and partly sighted people: “In the past, we primarily took a look at access to culture in museums,” she reports. Then she checked out in a newsletter about the production at Aalto Ballett Essen and asked herself: “If we’re currently carrying out studies on museums, why not in the carrying out arts as well?”
Expectations were surveyed using a questionnaire
To discover what blind and partially spotted balletgoers want and anticipate, the scientists established a questionnaire. In it, they ask whether and how the touch trip and audio description services made the ballet experienceable for them. At present, there is still little research study on blind and partly spotted visitors in a cultural context that incorporates the perspectives of individuals concerned. “In the future, such standardized surveys could help cultural institutions to methodically review their services in regards to barriers and ease of access and to adjust them in the very best and most efficient method,” describes Dr. Regina Moritz.
The joint job with Aalto Ballett Essen will run until the final efficiency with audio description in June. “Above all, I’m hoping for responses to the concerns: Are these services worthwhile– for everybody involved? And what else can be done to make certain they are rewarding?” discusses Dr. Regina Moritz. In her opinion, there is currently still little awareness of how easy and simple it is for cultural organizations to put inclusive services into practice which these services can also use added worth to other people. “In truth, creating access by means of several sensory channels interest everyone and vastly broadens an institution’s cultural offering,” she says in conclusion.
Further info about the ballet “Carmen” (in German just)