How to make your

arts activities deaf friendly

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Foreword “Young people are at the heart of creativity in Northern Ireland today. The Arts Council works to foster and develop a greater understanding and acceptance of the important value the arts have in the lives of young people. The arts have the capacity to develop social equity, interdependence and empowerment. It is therefore important that the arts are available to as many young people as possible. The Arts Council endorses the Me2 arts resources as they provide the necessary advice and practical guidance to create artistic activities that are accessible to and inclusive of deaf young people”

“There is no magic formula, just people who care enough to listen and consider” Parent of a deaf child

Gavin O’Connor,  Arts Development Officer for Youth Arts Arts Council Northern Ireland

Contents

Foreword Introduction Deaf children and young people in Northern Ireland Wider context Thank you How to make your arts activities deaf friendly General deaf awareness Giving information and instructions Using appropriate touch Language Understanding a deaf persons needs Technology to enhance hearing Don’t forget I’m deaf Raising awareness Just treat me like I’m the same Managing behaviour Impact of negative experiences How do I know if an organisation is deaf friendly? Deaf friendly performing arts Deaf friendly visual arts Working together

“It’s all about being inclusive and making sure that children with hearing difficulties get information they need” Parent of a deaf child

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Introduction The benefits for young people of engaging in the arts are well documented. Our research confirms that deaf children and young people are interested in participating in drama, dance, music, visual arts and so on, but can feel isolated from mainstream provision. Many deaf children are educated through mainstream schools, so there is greater demand for access to mainstream activities and events where deaf children are able to take part as participants, audience members or visitors alongside their hearing friends and siblings. The purpose of this resource is to provide ideas, guidance and support to mainstream arts providers* on how to ensure that deaf children and young people can get involved.

Other resources available: • guidance on how to be a deaf-friendly arts venue

It is important to be aware that every individual is different, and degree of deafness, communication methods and equipment used varies widely. This means that deaf children and young people’s experience of, and engagement in, the arts will also vary widely. NDCS uses the word ‘deaf’ to refer to all levels of hearing loss. *This term is used to include venues such as theatres, arts centres and galleries, as well as practitioners who lead participatory activities, such as drama, dance, music and visual arts, with children and young people. The guidance in this resource results from consultation with arts providers, parents, and deaf children and young people, and is meant to act as a supplement to the Making Leisure Activities Deaf Friendly publication, which covers the following areas in much more detail: • understanding deafness • hearing aids and cochlear implants • communication options and approaches • British Sign Language (BSL) • visual signs and demonstrating • health and safety considerations. Where you see this symbol you will be able to find out more information by referring to this publication.

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This document has been designed primarily for those who may work with deaf young people; however, many of the points and advice given are equally applicable for use with all ages. By the end of the guidance the reader should: • feel more confident to welcome and include deaf children and young people as participants and audience members



• have improved awareness of deafness, particularly the diversity amongst deaf children, and have a better understanding of how to meet the needs of deaf participants and audiences.

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Deaf children and young people in Northern Ireland The primary communication method used in the home by deaf children and young people in Northern Ireland is speech. There are some children who use a mix of sign language and English, and a small number who only use sign language. Both British Sign Language (BSL) and Irish Sign Language (ISL) are used in Northern Ireland. A huge majority of deaf children in Northern Ireland (over 70% according to the school census) are educated in mainstream schools. Jordanstown is the only specialist school for deaf children and there are six Hearing Impaired Units (HIUs) within mainstream schools (primary and secondary). Some deaf young people are educated in special schools.

Wider context UN Convention on the Rights of Persons with Disabilities and Convention on the Rights of the Child Access to the arts is a fundamental right for all children and young people. Both Conventions : • recognise the right of the child to participate freely in cultural life an the arts • respect and promote the right of the child to participate fully in cultural and artistic life and encourage the provision of appropriate and equal opportunities for cultural, artistic, recreational and leisure activity. Disability Discrimination Act 1995 and Disability Discrimination Order 2006 As arts providers you have a positive duty to ensure that ‘reasonable adjustments’ are provided to ensure that deaf children and young people (along with other groups covered by the act) can access your activities. These are set out in Disability discrimination legislation and may include making adjustments to your: • building or venue where you deliver activities • staff behaviour – this could include providing training to ensure staff understand their responsibilities under the Act and understand how to adapt • written information, such as advertisements and marketing material • standard procedures, such as forms people need to complete • provision of additional services, such as sign language interpreters or materials in alternative formats. 4 JR0031

You should not wait until a deaf or disabled person wants to use your services, but must think in advance about what people with a range of impairments might reasonably need. Through considering this guidance and attending the Me2 arts training you are making positive steps towards becoming deaf friendly and complying with this legislation. Further information about the Disability legislation is available from www.equalityni.org

Thank you NDCS would like to thank the following individuals and organisations for contributing their expertise to these resources: Arts & Disability Forum, Kylie Barker, Graeae Theatre Company, Brenda Kent, Ruth Montgomery, Gavin O’Connor, Damien Robinson, SPIT, Stagetext, Alison Stephenson, Unicorn Theatre, Rebecca Withey. We would also like to thank the arts providers, deaf children and young people and parents we consulted when developing these resources.

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How to make your arts activities deaf friendly The purpose of these guidelines is to provide ideas and support to mainstream arts providers in dance, drama, music and visual arts on how to ensure that deaf children and young people can be welcomed and included. Many of the tips will be helpful to make sure that all children and young people are included. It is supported with specific tip sheets for: • music (coming soon) • performing arts • visual arts • working together We talked to deaf children, young people and their parents about their experiences (good and bad) of accessing arts and creative activities in order to understand the key challenges they face. Using their feedback, we have sought to illustrate these challenges and we have suggested ideas of how you can make your activities more deaf friendly. With the right awareness and adaptation techniques, activity leaders should be able to help all participants, regardless of their hearing ability, to fulfil their own potential and individual aspirations in a safe, supportive environment. The skills and qualities needed to be a good leader will be the same no matter who the participants are. By the end of this document, leaders should: • have increased awareness, ensuring that deaf children and young people have the same access to information and instructions as their hearing peers • have developed a greater understanding of the access and communication needs of any deaf children or young people who are participating • ensure that deaf children and young people are included by their hearing peers during activities and in social time • have high expectations of what deaf children and young people can achieve and, as far as possible, treat them the same as their hearing peers.

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General deaf awareness tips Do: 4Speak clearly and naturally. Try to use an expressive face. 4 Get a deaf child’s attention before you start speaking. Try waving, knocking a table or tapping their shoulder lightly. 4 Face a deaf child when you’re talking. Always make sure the deaf child can see your face clearly. If necessary, sit down or crouch so that your face is level with theirs. 4 Use visual cues, where possible. Point to what you’re talking about. 4 Make it clear what the topic of conversation is – and let the deaf child know if it’s changed. 4 Stand with your face to the light. 4 Use whole sentences to help a deaf child pick up clues to what’s being said 4 Group conversations can be difficult for deaf children. Try to keep a deaf child involved, and avoid all speaking at once. 4 Ask a deaf child to repeat what you’ve said if you’re not sure if they’ve understood.

Don’t: 6 Speak too slowly or shout – this will distort your lip patterns. 6 Move your head or walk around while you’re talking. Speech movements can easily be missed. 6 Have lots of noise on in the background like a TV or washing machine. Hearing aids amplify all noises, not just your voice. 6 Take forever to get to the point. Avoid rambling. 6 Cover or put anything in your mouth while talking. Eating or smoking while talking is a definite no-no. 6 Stand with your back to a window – this can turn your face into a shadow and make it harder to lipread. 6 Make a deaf child lipread for too long without a break. Lipreading involves a lot of concentration and can leave deaf children feeling tired. 6 Give up. If stuck, try explaining in a different way or writing it down. Or if you have a mobile to hand, text it on your screen. 7 JR0031

Giving information and instructions One of the main challenges faced by the deaf young people was that they often missed instructions or information. “When playing games, the leaders tend to move about and in some cases turn their backs when explaining the object of the game. My daughter doesn’t always hear the instructions very well and this means she is unsure what to do. This can be very frustrating as other children can blame her if they do not win” Parent of a deaf child “I didn’t hear the instructions in the noisy, echoey hall so didn’t go back after a while” Deaf young person “In a large hall she couldn’t hear the instructions and often missed her turn to dance” Parent of a deaf child “She often didn’t hear instructions and due to this she would tend to stand back and could be left out very easily” Parent of a deaf child Here are some suggestions to prevent deaf young people from missing out on instructions: Limit distractions • Move to a quieter part of the room to explain things. • Turn off any music that is playing before you speak. • Make sure the group stop what they are doing to listen to instructions. If a deaf child or young person is continuing to participate in an activity while you are giving instructions they probably won’t have understood them. Think about the room set up • Ideally you should have your participants in a circle or U shape so that everyone can see you. Make sure you have everyone’s attention before speaking • Before speaking, try waving to get a deaf child’s attention, turn the lights on and off or stamp on the floor. Make sure everyone can see you • Position yourself centrally. • Ensure the room is well lit and you don’t have a light behind you that puts your face in shadow. Stand in one place • It is difficult to lipread if you move around and the deaf child cannot see your face. Speak clearly • Speaking too slowly or shouting will distort your lip patterns • If you cover your mouth or talk with a pen or chewing gum in your mouth it will be difficult to lipread. Use gestures and demonstrations • Using visual demonstrations can be very effective. However, if you speak and demonstrate at the same time it will be difficult to lipread. Make sure you give spoken and demonstrated information separately. 8 JR0031

Make the topic really clear • Try to stick to the point – talking for a long time to deaf children (either speech or signing) without any animation or illustration is tiring for them. Break up activities into smaller chunks rather than explaining everything from the start. Keep eye contact when talking one to one • This may mean that you need to kneel or sit down. Check that everyone has understood • Repeat if necessary. • Rather than just asking if the children understand, ask them to repeat back what you have said so you know they have understood. • Think about assigning a buddy or mentor to the deaf young person. • Allow time for questions and clarification. • If a communicator or interpreter is supporting a deaf child or young person, they can help check for understanding. • Allow time for the communicator to finish signing what you have said before you move on. Use any hearing technology that is needed • Wear radio aids or mics without being reminded by the deaf child – they might be embarrassed to ask.

Gaining deaf children and young people’s attention – appropriate touch It is the policy of many organisations for adults not to touch children or young people under any circumstances. This can be a problem if you are trying to get attention of a deaf young person, particularly in an emergency. It is quite acceptable to get the attention of a deaf child or young person by tapping them on the shoulder. If you have a deaf child or young person in your group it would be a good idea to discuss this with them and their parents and amend your safeguarding or child protection policy if necessary to include ‘appropriate touch’ for gaining attention.

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Language If a child uses sign language to communicate, you will need to identify ways to support them. It’s great if you know some sign language – check out the Me2 Arts BSL clips on www.ndcs.org.uk/ me2 to help you. It may be that the child will need a higher level of communication support. Discuss the child or young person’s communication needs with them and their parents. Find out what support they have at school – this might help you understand how you can support them. If you have funding for a BSL interpreter, try to make sure it is someone who also has experience of working with children and young people. At NDCS youth events we use volunteer communicators who, as well as providing communication support, play a role in pastoral care. BSL interpreters are often in demand and their costs may reflect this. You will need to book an interpreter in plenty of time. We recommend that wherever possible, such as on a booking form, you confirm whether a BSL interpreter is needed. This is to avoid booking an interpreter that isn’t accessed by anyone. Regular contact with any deaf young people involved in the event or activity and their parents will also help to avoid this. Where possible, NDCS will try to help Me2 organisations to identify local volunteers – but that isn’t always possible. Try approaching a local BSL Level 3 course to see if anyone would be interested (you will obviously need to consider the safeguarding implications of doing this). Contact the Me2 team for the Me2 Recruiting Volunteers Factsheet You might want to talk to the deaf child’s parents about whether they could use their Disability Living Allowance or PIP (Personal Independence Payments) to pay for communication support to attend your activities. There are also trusts that you could approach to provide funding for communication support. Contact the Me2 team for further information about funding. Remember that if a child’s preferred language is BSL they might have difficulty reading English because the grammatical structure of BSL is different to English. In any written communication (including instructions, evaluations, etc.), use plain English, symbols and pictures. More information about communication is available in the NDCS Making Leisure Activities Deaf Friendly publication.

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Understanding the deaf young person’s needs “I asked the instructor to wear her radio aid but she said she wouldn’t need it because she had a loud voice. She made me feel embarrassed. Eventually my daughter lost interest and gave up. I feel the instructor didn’t take her needs seriously or understand deafness” Parent of a deaf child Deaf children and young people we spoke to had more positive experiences when their communication needs had been discussed with the activity providers. However, we discovered that sometimes parents and young people find it hard to be clear about their needs. It is important therefore that you take the lead in talking to young people and their parents about how you can best support them. Remember to check in with them to make sure you’re getting it right – it takes confidence for a young person to let you know they don’t understand. When discussing access with a deaf young person or the parent of a deaf child or young person you need to use the social model of disability (see below). Social model of disability versus the medical model of disability There are two models (or theories) of disability and it is important as service providers that you are aware of both.

“My child takes part in several mainstream activities successfully. I believe a good part of this success is due to the fact that I go and see the organisers and give a detailed breakdown of his needs, paying particular attention to basic communication skills. I encourage the organiser to ensure that my child has heard and understood instructions” Parent of a deaf child

Medical model – reflects the World Health Organisation’s definition of disability. Under this model disabled people are defined by their illness or medical condition, and must adapt themselves to their environment if possible. Social model – the Union of Physically Impaired Against Segregation (UPIAS) defines disability as something which is caused by the barriers that exist within our society and our environments, including the way society is organised, which discriminates against people with impairments and excludes them from involvement and participation. The barriers can be physical, attitudinal and organisational. By making adjustments service providers are removing the barriers that disable, enabling deaf and disabled people to enjoy the same activities and rights as everyone else. NDCS advocates the use of the social model of disability. It is important that service providers make reasonable adjustments to ensure everyone is included.

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Technology to enhance hearing Hearing aids and cochlear implants Many deaf children and young people benefit from audiological aids such as hearing aids and cochlear implants. For more information about these see the Me2 Making Activities Deaf Friendly booklet.

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Radio aids Below is a summary of information about radio aids. If you require more detail you can access our publication Radio Aids: An introductory guide. Go to www.ndcs.org.uk for more information. Radio aid systems are commonly used by deaf children and young people in school, but increasing numbers of children now have radio aids which they can use out of school for social activities. A typical radio aid system comprises of two main components: a transmitter (which is worn by the teacher, instructor or leader) and receivers which are worn by the child. The most popular current receivers are wireless and simply connect to the child’s hearing aid. The radio aid will need to be set up by professionals for the individual child and cannot be shared. A radio aid system is simply an FM radio link between the transmitter and the receivers, so the teacher’s voice will go straight into the child’s hearing aid. This gives much clearer sound and background noise is significantly reduced, making it much easier for the deaf child or young person to understand what is being said and contribute to the activity. Most children do not own a radio aid system as they are not normally available from the NHS or local authorities. Systems purchased for use in school are often kept by them to ensure that they are properly maintained. However, some families will have purchased them privately to support a child’s learning and social activities out of school. If a child has a radio aid system then they should be encouraged to use it, as it is likely to be very beneficial within a participatory environment where the child/leader is moving around. Even if a child has a hearing aid or cochlear implant they will get great additional benefits from using a radio aid. If you have a hearing aid or cochlear implant user in your drama or dance class you could suggest to their parents that they borrow a radio aid system from the NDCS Technology Test Drive Service to see whether it would be of benefit. This valuable service allows deaf children to borrow equipment for up to three months in order for them, their family and leaders to see just how much it can help them. If you find that a child who regularly accesses your activity would benefit from a radio aid you may want to consider purchasing a system. To find out more go to www.ndcs.org.uk.

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Induction loops It might be suitable to have an induction loop fitted (or use a portable loop) in the room where you are delivering classes or workshops. An induction loop works in conjunction with a hearing aid which has been set to the ‘T’ setting. When the hearing aid is set to ‘T’ it picks up the magnetic waves (rather than sound waves) which are produced by the loop system within the area that the loop has been fitted. The benefit of a loop is that it helps to cut out background noise, making it easier for a deaf child or young person to focus on what is being said. The disadvantages are that most loop systems are limited in size and the child will need to remain within the loop to gain benefit from it – so it is ideal for static, indoor activities but not suitable for outdoor activities or those involving a lot of movement. Take care when using more than one loop system within your venue as signal crossover can occur. Most modern hearing devices have a ‘T’ setting but it is not uncommon to find that a child’s hearing aid has not had the ‘T’ setting activated. This is to stop them accidentally switching it onto the wrong setting. So loop systems may not work for all children and young people who wear hearing aids. Before using a loop system it is advisable for you to discuss this with the child’s parents. If they do wish to use the loop but do not have the ‘T’ setting programmed then they will need to visit their audiologist.

Portable loop microphone

Room loop

microphone

This is a brief overview of the technology available for arts venues. For more information, you can download the Loop and Infrared Systems for People Managing Public Services publication from the Action on Hearing Loss website: www.actiononhearingloss.org.uk. 13 JR0031

Don’t forget I’m deaf “My son was told off by the leader at a community dance class for not listening – so he didn’t want to go back” Parent of a deaf child If a deaf child or young person uses speech and lipreads, their communication needs may not be visible and it can be easy to forget that they need additional communication support. It’s important to always remember the deaf child or young person’s communication needs. If the child isn’t looking at you (or the communicator) whilst you are speaking it is very possible that they will miss some or all of what you are saying.

Helping to raise awareness of a deaf young person’s needs The children, young people and parents we spoke to felt that increasing the deaf awareness of the other children and young people in the group was a priority for them. As part of this pack we have compiled the tip sheet ‘working together’ with some ideas about how you can raise deaf awareness among the children in your group. How you go about this will depend on what type of activity you are doing, the length of time the children and young people will going to be involved in the activity, their age and how comfortable they are about the rest of the group knowing about their deafness. Sophie has moderate hearing loss and has a keen interest in creative activities. She took her BTEC in Performing Arts and is currently studying photography at university. She feels that it is really important that her peers are aware of her deafness. “It built up my confidence and I was able to relax more and be myself. If they didn’t know I would have been very shy and would miss out on conversations. My peers became very interested in sign language, which made it easier as it got me and them talking about my deafness.” Sophie was able to discuss her deafness with her peers – but not all children will feel confident to do that and will need your support. Check out the tip sheet ‘Working together – understanding a deaf young person’s needs’ for some ideas of how you can help other group members to understand deafness.

“I went to drama club and people took my hearing aids and didn’t include me. I hated it and didn’t go back” Deaf young person “They (the other children in the group) knew I was deaf and they didn’t bother. They didn’t know anything about deafness. Everyone should have accepted me and made me feel welcome. They could have looked out for me a bit more to see I was OK” Deaf young person

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Just treat me like I’m the same We have identified that leaders sometimes have lower expectations of deaf children and young people than their peers. NDCS believes that deaf children can do anything other children can do, given the right support, and that they should be valued and included by society and have the same opportunities as any other child. The Me2 Deaffriendly Pledge commits Me2 organisations to:

“It seems that because she is deaf she wasn’t given the chance • recognise the abilities of all deaf children and young people and help them to prove how good she actually is at to reach their full potential public speaking and memorising her lines” • provide equal play and social opportunities for deaf children and young Parent of a deaf child people. Many parents feel that if their deaf child were given support and given the same chances as other children, they would thrive. With any child, it is important to focus on their ability first and then work out how to overcome any barriers to their participation. Sam is thirteen years old and attends a local drama club, an informal group with an emphasis on having fun. His mum was really impressed at how the group included Sam: “I honestly thought that his brother would have been given the main part and Sam would have been left with the minor role, but the tutor was absolutely brilliant at recognising Sam’s ability from the start. Put him in a small group, treat him as normal, give him a chance and he excels!”

“My child never feels included. She’s always given lesser roles or nothing to do because deafness is seen as a barrier. She feels worse after having been there and doesn’t enjoy the activity” Parent of a deaf child

Managing behaviour Organisations we spoke to had concerns about how to manage the behaviour of deaf children and young people. The main consideration should be to make sure that they can understand what you are saying and that you are not disciplining a child who has misunderstood or not fully heard an instruction. You may want to think about how you manage the behaviour of the whole group in a more visual way. For example if you want everyone’s attention you could switch the lights on and off or stamp on the floor. Other than making sure deaf children and young people can clearly understand you, you should treat them the same as their peers – there is no reason to take a softer approach with discipline. This may be different if the deaf child or young person has additional needs that might impact on their understanding. 15 JR0031

The impact of negative experiences The potential benefits of the arts for deaf children and young people are tremendous. Participating in arts activities can help deaf children and young people to: • feel more confident • learn new skills • improve their communication skills • explore and understand their emotions, identity and the world around them • be creative and imaginative • broaden their horizons • have a great time! First impressions count – if you make a deaf child’s first experience with you a good one they will be more likely to benefit from the experience and come back again.

“My son was bullied because he could not talk to people. They made fun of him. It took him a year to be confident again” Parent of a deaf child “If he is given the chance he will give 110%. If he receives any setbacks he will just give up” Parent of a deaf child

How do I know whether an organisation is deaf aware? If you feel that you can offer deaf children and young people a brilliant, deaffriendly experience, get your message out there. Once you have signed the Me2 Deaf-friendly Pledge, you can use our Me2 deaf-friendly logo and ask the Me2 team to support you in promoting your activities to NDCS members. For more information on how you can communicate with deaf children and young people and their parents about the opportunities you have to offer go to the ‘How to be a deaf friendly venue’ resource.

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Tip sheet Deaf-friendly performing arts Communication is at the heart of performing arts and deaf children and young people are often well versed in the art of communication. Deaf children and young people, particularly sign language users, can be very accomplished at expressing themselves and conveying emotion through their body language and facial expressions. This tip sheet has been developed with the support of a deaf performance artist and a dance teacher at a deaf school. Working with deaf artists is a great way of developing your understanding of how deaf children and young people can access and participate in performing arts activities.

Circus skills • With aerial activities it may not be possible to give instructions to a deaf child or young person once they are in the air. •

You must give instructions at ground level, checking for understanding before they begin their ascent.

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You could use pre-agreed signs on ground level which you use once they are up high, or gently tug/waggle the silks (making sure you’ve agreed this with the deaf child/young person) to let them know you are communicating with them.

• If using a low level tightrope, having someone at their destination post that could communicate with them would be useful. •

When teaching skills, it is important to get all children and young people to put down the juggling ball/scarf/plate, etc. when giving instruction. While hearing children may be able to concentrate on an activity as well as listening to new instructions, it is very difficult for deaf children to do this. If they are still continuing with the activity while you are giving instructions, the chances are they are not taking the instruction on board.

• When teaching skills make sure that you do not demonstrate and speak at the same time.

Balance • As the ear is linked with balance bear in mind that some deaf children and young people may find balancing difficult when doing an activity such as standing on one leg, or with certain circus skills such as tightrope walking. • Talk to the deaf child or young person to find out how their balance is affected. Balance can be additionally affected when a deaf child or young person is not wearing their hearing aid(s) or cochlear implant(s).

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• For health and safety reasons it is important to consider balance when a deaf child or young person is near the edge of the stage.

Performances Managing cues • It is best to maximise the use of visual cues. Depending on the level of hearing that the deaf child or young person has, they may be able to hear auditory cues. Check with the deaf child or young person during rehearsals. •

Where it is essential to a production/ performance to have an auditory cue, a good idea would be to have someone in the wings on the opposite side of the stage to signal to the deaf child or young person when to go on stage.

Managing calls • If you use a tannoy system to call performers to the stage throughout the performance you may need to consider alternative options for a deaf child or young person. • You could make sure the deaf child has a buddy with them to hear the calls and give them the information. • Alternatively, the stage manager could go to the child’s dressing room in person. Blackouts • It is important to give directions before any blackouts. • It is also essential to inform any deaf children and young people that a blackout will be taking place, indicating approximate length of time. • During a blackout, perhaps have a small lamp backstage or alternatively make sure that the deaf child or young person is accompanied by a peer or leader when the lights go out.

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• Remember to ask the young person if they are comfortable/happy to have the light go out: some deaf children and young people may find it distressing.

Working from a script • When sitting down to read a script for the first time with a group, sit in a circle so that everyone can be seen. • Be aware that the deaf young person may be looking down at their script and miss what is being said and therefore their cues. • Go at a steady pace and perhaps get each person who speaks to raise their hand so the young person knows who is saying what. •

When using a script it may be necessary to use a communicator or interpreter to translate the text from English into sign language. This is particularly important if the deaf child or young person does not use speech and/ or if their first language is sign language.

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This can be a more complex task when approaching Shakespeare due to the use of old English. It may be useful to use accompanying guides (those used for GCSE or A level English) to first translate the text into contemporary or plain English from which it can be translated into Sign Language.

• To help a deaf child or young person learn a sign language script it might be an idea to create visual symbols to represent signs or stage directions. These can be drawn alongside the text on their script.

Scriptwriting and devising • A deaf child or young person may find that devising drama is more accessible than working from a script. This way their communication method can be integrated into the play, i.e. sign language users can sign their part with another child providing the voice-over. When scriptwriting, you may want to use more visual approaches to developing the script, such as creating a storyboard or tableaux or using mime, rather than starting off with written English.

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Icebreakers, warm ups and drama games • If you have a deaf young person in your group it is important to make sure that there are no warm up or drama games that they will be excluded from. •

When you are planning the games you will be using think about whether any are dependent on sound and how you might be able to adapt them. Use games that use eye contact or visual skills that do not rely on speech or sound.

• It’s important that the deaf young person can be included in these activities at the same level as their hearing peers. Some suggestions for drama games are: • Simon Says, using a visual hand wave rather than a verbal ‘Simon Says’ cue • Mine games such as telling a story without words – using body language and facial expression. Give an example and keep it simple. Each child could tell a bit of the story then pass it onto the next person for the next part of the story, like the game ‘Consequences’.

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See ‘Working together – understanding a deaf young person’s needs’ for more information on how to increase the deaf awareness of other children and young people in the group.

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It might be worthwhile having the deaf child/young person take the lead on something like choral work, so that everyone else takes their cue from them.

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Group work

Drama/dance examinations • You will need to investigate the awarding body’s inclusion policy and the specific syllabus to see whether adaptations are already in place to support deaf children or young people. •

Make sure the examiner is aware that the deaf child/young person needs to be able to see their face when they speak so they are not writing notes and speaking at the same time, or speaking when the child/young person is not facing them.

• When looking at exam content, make sure you consider whether a communicator will need to accompany the young person (e.g. if the young person will be asked questions by the examiner). •

Remember to have the same high expectations of deaf children and young people as other children, but also remember that many deaf children have low self-esteem and self confidence. Think about what the child/ young person can achieve and match their entry to any examinations accordingly.

“In my experience, I was allowed to take an oral exam with support from a speech therapist but it can be a personal issue when looking at language, speech, clarity, etc. and should be approached with sensitivity” Rebecca Withey, deaf performer

• In a drama exam a deaf child or young person may have difficulty with sight reading and diction. Special consideration may need to be requested in these circumstances. In a dance exam, it may be difficult for a deaf child or young person to improvise to a new piece of music unless they have some hearing or are able to feel the music rhythmically. This should be discussed with the examination board prior to the exam and reasonable adjustments should be made, such as someone to count the beat for the candidate.

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Dance • If you have a deaf child or young person in your class you may need to reconsider your positioning whilst teaching so that they can see your mouth and gestures clearly. •

Dance is often taught with the teacher’s back to the children so that they can copy the movements. However, depending on the hearing level of the deaf child/young person this may not be a possibility, as the movements are often accompanied by verbal instructions.

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To make this kind of activity accessible it is best to give verbal instructions without movement first whilst facing the deaf child/young person, followed by a practical demonstration. Where possible, practise the routine facing the class.

• Remember to eliminate additional background noise by turning the music off before giving instructions. •

Try breaking down dance routines into clear rhythmical patterns and demonstrating them in silence with clear, accentuated beats. For example, instead of merely counting ‘1, 2, 3, 4, 5, 6, 7, 8’ it can be helpful to translate the counts to movement – such as, ‘step, punch, flick and drop, 5, turn, jump and hold’. This is also a useful practice for hearing dance students to develop their sense of visual/kinaesthetic rhythm instead of relying entirely on audible cues and rhythms.

•

If you are teaching a classic form of dance that has terminology or language that may be unfamiliar to deaf children who rely on lipreading, it is very helpful to produce written/visual information that includes this, e.g. it will be very difficult to lipread the words ‘demi-plié’ in a ballet class. When a deaf young person starts the class it would be useful to use images to help them get to grips with technical language.

Top tip!

“Dance is a visual language. Try to show what you want the children to do, rather than using complex verbal explanations” Kylie Barker, dance teacher at a deaf school

• By developing a positive relationship with deaf students, allowing them to feel able to approach you and ask questions, it will ensure that they are kept safe, injuries are limited and success is possible.

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A useful resource with further information about teaching dance to deaf students is a book called Inner Rhythm: Dance training for the Deaf by Naomi Benari.

Music (in a dance setting) • It may be that the child or young person can hear the music or feel the bass/beat. Using a live drum/instrument can be more effective than a recorded tape for some deaf children and young people. If this is not the case, consider teaching the young person to understand the beat/rhythm visually first and then introduce the music. Using a remote control for your sound system would make this easier. It may be necessary to use visual clues, such as a hand movement or clap to signal the beat.

When sound is part of dance (e.g. Irish dance/tap) •

If the young person is unable to hear the sound from their shoes you will need to teach them to understand how their foot feels when the correct sound is produced, therefore linking the association between foot movement/positioning and sound.

•

The young person may be more aware of the vibrations of their foot movements and the music. If this is the case, they may well be able to follow the music and rhythm. If the music is not reverberating enough, visual clues/cues could be used – a drum, for example.

•

If the deaf child or young person can be taught how to count the breaks of the phrase, then even if they cannot access the music they can still dance in time by learning to beat their feet using the correct rhythm. Provided they start on time with the music they should be able to stay in time.

•

Learning to count in time with the music can be taught using simple clapping exercises, distinguishing between whole notes, half notes, quarter notes, eighth notes, sixteenth notes and accented notes with and without syncopation.

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Top tip!

“In technique classes, it is not helpful to interrupt a deaf person by physically readjusting their position while mid-movement as this can be confusing and throw them out of time. Information should only be given when the dancer is ‘at ease’ and not mid-performance/practice. Deaf people don’t have eyes everywhere!” Rebecca Withey, deaf performer

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•

Tip Sheet Deaf-friendly visual arts Deaf children and young people can be very comfortable communicating visually, so visual arts are a valuable method of self-expression and can be easily adapted for them to participate in. For the purpose of this resource, NDCS is using the term ‘visual arts’ to refer to drawing and painting, collage, photography, craft, graffiti art, 3D art, graphic art and animation. This tip sheet has been developed with the support of a deaf artist. Working with deaf artists is a great way of developing your understanding of how deaf children and young people can access and participate in visual arts activities.

Setting up the room • Where possible, you should try to rearrange the room so that you have a circular or U-shaped set up, rather than blocks of tables. This will mean that everyone is able to see the tutor. • This can be very difficult in an IT space where children are often facing the wall so make sure you think about this beforehand.

Explaining activities • Use visual aids as much as possible.



Use examples at different stages of development to help deaf children and young people understand what you require.

• Use multiple images and mixed media to try to encourage children’s imaginations, rather than directly copying your example. • Practically demonstrate rather than



tell. Remember – don’t demonstrate and speak at the same time because deaf children and young people will not be able to lipread if you have your head down.

“For digital and computer-based work it can be useful to break down an approach into steps and give practical demonstrations more than once; quite often the cursor movement happens in one area of the screen and the resultant outcome in another. Repeating actions gives a clearer demonstration of cause and effect” Damien Robinson, deaf artist

Giving instructions • Make sure you have the deaf child’s attention before you give instructions.



The child may be focusing on their work and may not realise you are giving instructions so will be left behind. Whilst hearing children may be able to continue with the activity at the same time as listening to instructions, it is very possible that a deaf child will miss something if they are creating whilst you are speaking.

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• Make sure you give health and safety instructions before the deaf child begins to participate in the activity. • When you are talking to a group that may be crowded around you, make

sure that the deaf child or young person can see you.

• For more tips on giving instructions see above.

Supporting development • When you are working one to one with a child, make sure you are facing them, rather than focusing on their work. • If children are sitting at a table or desk, looking through a camera lens or at

a computer screen, don’t talk to them over their shoulder. Make sure they are able to see your face in order to be able to lipread.

• If you wear a mask for your arts practice, make sure you take it off when talking to deaf children and young people. • Keep checking the deaf child or young person’s facial expressions – do they look puzzled or confused? Try to gauge whether they have understood the task. • As deaf children and young people’s visual sense is often well attuned,



seeing their work come to life can be incredibly gratifying. Being able to quickly see the results of their creative endeavours (through animation for example) can really help to build confidence and inspire children to progress further.

• You might want to try to think of ways that you can communicate abstract concepts visually, as deaf children can find them confusing when described.

Additional tips for photography When in a darkroom: • have a safe light

• make sure you give a clear briefing before you turn the lights off

• give participants time to get used to the lighting level

• keep instructions/discussion minimal when lights are off. Where possible, use visual demonstration instead

• use a changing bag when removing film from cameras so that the safe light can remain turned on.

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Tip Sheet Working together

Understanding a deaf young person’s needs To be a genuinely deaf-friendly arts organisation it is essential that all members of the group are deaf friendly. This includes arts practitioners, administrators, ushers, helpers or volunteers and other group members. It is important that everyone knows how to adapt to ensure deaf children and young people are included in all aspects of the organisation. This includes the time before activities take place, throughout the activities, during free time, breaks and during any social activities or outings. The way that you raise deaf awareness within the group/class may depend on: • the length of time you are working with them – is it a one-off or long term? • the type of activity you are delivering • the dynamics of the group/class and the young person within it – is it an established group that the deaf young person is joining or is everyone starting at the same time? • how the child/young person feels about their deafness, and how confident they are talking about it and sharing with the group. Before you start, it is important to discuss the options with the deaf young person and their parents. We know that some deaf young people do not like to tell others about their deafness because they want to be treated the same as everyone else, so it is important to approach this sensitively. Conversely, other deaf young people will feel really confident about being deaf and will want this information to be shared. Ask the young person and their parents what approach they feel would be the best. Think about how comfortable the young person is talking about their deafness with their peers. Depending on the above considerations, try one of the following. • Have a broad session with the group exploring difference and what it means. NDCS has materials covering difference, including the levels of deafness, types of communication and also discusses additional needs. Contact the Me2 team for a copy. •

Have a session specifically focused on deaf awareness. You can deliver this yourself, provided you have attended Me2 training. The Me2 project may be able to provide a volunteer to deliver this for you. On the next page, we have given some ideas on how you can rasie the group’s deaf awareness. These activities have been delivered to groups of hearing and deaf young people and have had positive feedback.

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Activity one

s

n 5 mi

Ask the group to line up in order of birth date without using any verbal communication (date and month only – not year).

Once they are in line: • test to see if they are in the correct order • ask them how they felt during the activity • ask them what methods they used to communicate • emphasise that there are lots of ways to communicate, including counting on fingers, making gestures, writing it down, mobile phone, etc. Purpose: To get the group thinking about communication and raise awareness of communication.

For younger children Give each child a sign name that can be used by the deaf child and other children, rather than having to spell out their entire name each time they want someone’s attention or to refer to someone. • A sign name can be related to the person’s name or what the name sounds like, e.g. Fred Bell could be ‘bell’ or Rosie Jones could be ‘rose’ or ‘rosy cheeks’. • It can be related to appearance, e.g. ‘spiky hair’, ‘curly hair’, ‘pink clothes’. • It can be about your hobbies/interests/what you like to do, e.g. football, dancing, art, swimming, etc. Agree on a sign name for each child in the group. With younger children, ask them their favourite thing to do and give them an appropriate sign. Get the whole group to sign along and to try to remember sign names. (You could then play a name game dependent on time and group)

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Activity two

s

Start by demonstrating lip speaking (no sound) the word ‘colourful’. Ask the children what you said. It looks the same as ‘I love you’ and ‘elephant juice’.

in 10 m

Get the children to have a go at lip speaking (making no sound). Lots of people will whisper instead. Now play ‘Chinese Whispers’. • Pass the message down the line, lip speaking with no voice off – “I love X Factor” • Pass the message down the line, lip speaking and using body language gesture – “I don’t like football” For large groups, split into two lines and get the groups to race each other. After each task • check to see whether it was successful • ask how they felt whilst completing the task. Purpose: To introduce lipreading, i.e. what is being said on the lips, and the importance of gesture. Lipreading is really difficult and takes concentration. Lots of words look the same. For younger children Lip speak phrases and ask either the whole group or teams to then agree what you said. This could be done with two teams and an adult helper who could then write down what the team thinks you said. For example: • Good morning/good afternoon/good evening • How are you? • Games are fun! • Crocodile shoes/elephant juice/spaghetti hoops, etc. • Break time Phrases should be appropriate to the age and ability of the group. Add in facial expressions/body language to make it clearer on the second attempt.

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Activity three

s

in 10 m

Introduce the fingerspelling alphabet. Ask if any of the group have used it before. You can use the fingerspelling cards available from NDCS.

Explain that it is used for spelling out names of people, places and for words that do not have a sign. It can also help to aid communication if you fingerspell the first letter of words. Lots of children get confused about which hand they should use. Show them that the hand they write with is like their pen and their other hand is like the paper which they write on. Demonstrate the alphabet and encourage the group to sign along at the same time, checking that they have got it right. Ask the children to have a go and then see if there are any volunteers who want to fingerspell their name. Purpose: To introduce fingerspelling as a way of supporting communication.

The British Fingerspelling alphabet Aa

Bb

Cc

Dd

Ee

Ff

Gg

Hh

Ii

Jj

Kk

Ll

Mm

Nn

Oo

Pp

Qq

Rr

Ss

Tt

Uu

Vv

Ww

Xx

Yy

© BSL sign graphics Cath Smith - the LET’S SIGN Series www.DeafBooks.co.uk

Zz

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Activity four

s

in 10 m

Explain that some deaf children use sign language, such as British Sign Language (BSL). Go to the NDCS website to access relevant BSL words to practise with the group. Use the Me2 Arts BSL resource online for examples of sign language. Ask the children first – “What do you think the sign is for...?”

(Lots of the children will guess the first few signs, so reassure them that they are natural signers!) • Hello/goodbye • Yes/no • Please/thank you • Welcome • What is your name?/My name is... • Activities • Thirsty/hungry • Any others they ask or you think are relevant Purpose: To introduce BSL as a language and reinforce the importance of using gestures.

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Activity five Try playing one of the following games: • communication train/communication chain game/electric shock game (this game is extremely popular with deaf children at NDCS events) • hand tap game • Simon says

Me2

• traffic light game.

You can find details on the following deaf-friendly games in the Me2 booklet. Purpose: To use deaf-friendly games to embed learning and create an accessible, fun environment.

Activity six Have an open discussion in the group about deafness. It may be appropriate for the deaf young person to answer any questions their peers have in a supported environment. Remember you must agree this with the deaf young person first. Purpose: To address any questions that young people may have.

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