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AUTHOR Bergman, Eugene TITLE Arts Accessibility for the Deaf. INSTITUTION National Access Center, Washingtof DC. SPONS AGENCY National Endowment for the Arts, Washington, D.C. PUB DATE Mar 81 NOTE 24p. AVAILABLE FROMNational Access Center, 1419 27th St., N.W., Washington, DC 20007.

EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Accessibility (for Disabled); *Art; *Cultural Activities; Dance; *Deafness; Museums; Music; Television; *Theater Arts

ABSTRACT The booklet provides information and resources for cultural organizations and institutions interested in making the arts accessible to deaf citizens. Preliminary information includes a discussion of deafness in America and the deaf in the history of the arts and notes that the era of silent films was the golden age of cinema. Listed are 36 theaters of and for the deaf as well as 18 hearing theaters with accessibility for the deaf. Also considered are television shows with deaf characters, entertainment programs for the deaf, news programing, the deaf and educational television, closed captioning, and videodiscs. Brief sections discuss resources for deaf dance as well as music and the visual arts. Museums offering interpreted tours and/or special programs for the deaf are listed. The booklet's suggestions for improving arts accessibility include involving the staff in awareness training, developing a deaf audience, and designing programs which consider visual cueing, lighting, fire and emergency warning, acoustics, and hearing amplification. Sources o..esign information are noted. Finally, resources are given for locating deaf people in the community, locating deaf artists, and reaching deaf audiences. (DB)

********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** MATEFiIALS U S DEPAh7NIENT OF EDUCATION NATIONAL INSTITUTE OF EDUCATION THE NATIONAL `,no )146.4A ACCESS CENTER

2 March 1981 Arts Accessibility for the Deaf The National Access Center

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1. The executive director's office 2. The local greasy spoon A typical arts administrator at work "Why theygesturing? Oh, they're deaf!

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7. The board meeting 8. Opening night "If we invest in the new sound helmets, we'll solve "What's thisa beauty parlor'?" the 504 problem and pick up ticket sales:.

Most pictures have a story behind them, and this Sometime later, the story was repeated in sequence of pictures depicting the trials and American Sign Language to Chuck Baird, a deaf tribulations of an arts administrator is 91 artist, who liked it enough to transfer it into exception. Three peopleGene Bergman the another mediumhumorous drawingsand author of this publication, Beth House of the offered it to the Center for publication. National Theatre of the Deaf, and Larry Molloy, We have never published humorous director of the National Access Center, were illustrations before, and are very pleased to discussing the potential audience for the book. present Chuck Baird's work. We must, however, _arty Molloy illustrated hit. view with a fictional reiterate that the story is apocryphal and we have account of how, if all things went wrong, an arts taken poetic licenle to exaggerate the s.xy to administrator could get into hot water if he or she emphasize the message. had no understanding of deafness.

3 4 March 1981 Arts Accessibility for the Deaf The National Access Center

ing arts accessible to the deaf has CONTENTS FOREWORD been accompanied by a veritable ex- This pulcation will provide use- plosion of cultural activities among Foreword 4ful information to every federally the deaf themselves. In the last 12 months, the number of theatrical Deafness in America 5 funded cultural organization and institution interested in making the companies of the deaf has nearly The deaf in the history of arts accessible to deaf citizens.It doubles. Not a week passes that the arts 6describes projects that provide another museum, hearing theater, or models for programming and en-hearing ballet company offers ar Contemporary deaf arts 8 vironmental considerationsin interpretedtour of performance Museums and deaf v:siiors 17museums, theaters, television, suited to the needs of deaf visitors. cinemas, ballet and orchestras. TheWhat we are witnessing is mutual Arts accessibility ultimate objective is to assure deafstimulation and enrichment of two for the deaf 18citizens equal opportunities forcultures. the deaf and the hearing. How to develop a deaf cultural enrichment. This vigorous new interaction is audience 19 The exclusion of deaf people inepitomized by the award-winning the past from cuitui ai events had asplay "Children of a Lesser God," Designing arts accessibility much to do with fear of the stigma of perforrried to hearing audiences by a for the deaf 20deafness or the part of the hearing leading actress who is deaf herself. How to reach deaf people 22 popuiation as with a genuine lack of Arts Accessibility for the Deaf is understanding about the special written by Eugene Bergman, a deaf How to locate deaf artists 22 needs of hearing impaired people.playwright w, iois a professor of How to reach Now that arts administrators haveEnglish at Gailaudet College. deaf audiences 23had more experience with hearingElizabeth House of the National impaired audiences and artists, they Theatre of the Deaf provided in- f md that these people quite of tan act valuable guidance and advice as a stimulus to the development of throughout the book and updated the arts. The increasingly visiblesome sections on the performing contributions of deaf artists (thearts. The section on developing a 1980 Tony..Award for Best Actress todeaf audience was contributed by deaf actress Phyllis Frelich, for ex- Ann Silver. ample) and the new appreciation of The author wishes to acknow- American Sign Language asa ledge the great help provided by powerful and dramatic tool for ar-Jane Mejewski of the Smithsonian tistic expression are exciting Institution for giving information on demonstrations of this trend. museums offering services to the The special accommodations fordeaf. Special thanks are due to making arts accessible to deaf Steven Berry, Joe Castronovo and patrons are much less costly andAndy Vasnick for contributing infor- simpler than we imagine, and oftenmation on theatrical life in the deaf hearing patrons benefit as wellcommunity, and also to Al Berke of through the use of imprjved lighting the Office for Civil Rights at the and acoustics and the fascinatingDepartment of Health and Human experience of watching the visual Services who provided a variety of language of sign mirror the spoken helpful tips. Space doesn't permit word. acknowledging all the other con- The process of providing our deaf tributors to this publication, but citizens with equal access to the arts Debbie Sonnenstrahl of Gallaudet is so new that only the first steps are College and Gregg Brooks of the being made. Only in the last fewNational Communications Founda- years, for example, have museums,tion have been particularly helpful. theaters, TV, cinema, ballet and orchestras became aware of the challenge of accessibility. In addi- tion, the awakening interest in mak- 5 4 March 1981 Ads Accessibility for the Deaf The National Access Center

shared language nas led the deaf tofacia; and body gestures)to develop a distinctive and highlyfacilitate clear exchanges ofinfor- cohesive minority subculture withmation. This is called TotalCom- tradition, at forms and folklore of itsmunication and is the method most own. deaf people prefer. ASL is a separate and auton- The recent looseningofthe omous language that is vitally ex-shackles of linguistic suppression pressive and rich in nuance. In thehas been instrumental in repairing hands of master signers, ASLcan the self-conceptf the deaf. They provide exciting artistic and estheticare more aware and more vocal revelations.It is also used withabout the opportunities"rorself- perfect clarity and logic forcom-development and self-advancement municating in everyday life bytwoopened to them by enlightened million profoundly deaf people. ASLlegislation, especially by Section is the third most widely used504, in a society determinedno language (Spanish is second) in the;onger to treat them as second-class United Stites. citizens. This includes accessibility The peculiar cultural situation of to the arts which strengthencom- the deaf as a neglected andhistor-munication between the deaf and ically and linguistically oppressedhearing population because: minority has contributed totheirThe arts ve the most popular ""unique cultural development.Likeleisure activ according to a 1978 ---,othermineritiesinthe UnitedLouis Harris NStates, the deaf survived anden- The arts are noncompetitive dured by acting as4hewers of woodsocialactivities that-.:anbring and orawers of water to the worldat people together DEAFNESS lei ge and in the process developed a The arts are creative and thuscan IN AMERICA vibrant and pulsating underground engender new methods for achiev- life of their own. Their cultureem- About two milliOn American adults ing the 504 mandate. braces numerous fraternalassocia- and children are profoundly deaf and tions at every levelcity, state,na- Defusing the Mythology another 13 million people havesome tional, and even international (the degree of hearing impairment. The People who have never worked with World Federation of the Deaf)And profoundly deaf in this significant the deaf often fear undue risks all the deaf culturetheir folklorein,,eased costs and inappropriate segment ofthe population haveand aftis based on the beautiful nerve deafness, which entails behavior fromthis handicapped language of AbL. minority. Their ears are unfounded atrophy of the auditory nerve. The Only in this context can the deaf partially deaf or hearing impaired and based on old myths and are be understood. 1 hat is why thepro- misunderstandings about the persons with bone deafness, whichfoundly deaf appreciate cultural entails more or less substantial nature of deafness. Because the institutions that providesign-handicap of deafness is invisible, residual nearing that can be boosted language :nterpreters and train their with the aid of sound amplifying deaf people are probably the most staff in sign language. misunderstood group among the devices. Because ASL isthe native Two other basic categories of handicapped population. language of American deaf people, Deaf and dumb? Few peopleare deafness are hereditary (crcon- many relate to English as a second genital) deafness and adventitious both unable to hear and unable to language. Therefore, lipreading isa deafness occurring during or after spear,, and the two impairments do difficult and seldom masteredart not necessarily go together. The ma- childhood diseases such asmen- and should not be reliedon as a ingitis, measles, mumps, whooping jority of aeaf people have perfectly viable means of communicatingnormal vocal chords and larynxes. cougn and maternal rubella. with deaf people. Poor communica- Unlike other groups of physically However, many who cannot hear the tion is the greatest barrier betweenspoken word choose not to use their disabled people such as the blindor deaf and hearing people, thurefore itvoices because they cannot gauge people in wheelchairs, the deaf have is importaht that each group give the a language of thew own, American the sound they make. Deaf people largest variety of communicationresent the use of the term "deaf and Sign Language (ASL, This bond of cues available (signing, speaking,dumb" not only because it is mac-

6 Arts Accessibility for the Deaf The National Access Center March 1981

(1766-1854), achieved a solid place in curate, but also because it denotes our cultural historythrough the un- retardation, which does not °rid:- affected quality and stark realismof hardy accoi opany hearing impair- his works. The renewed,merest in ment Brewster's works is reflected intheir The deaf can be taught to speak inclusion in the recent"American and lipread? True, but only for a Centuries" minority of toe deaf It is rhit possi- Folk Painters of Three exhibition at the Whitney Museum ble for a congenitally deaf person to York City. speak in a normal voice, Just as it is of American Art in New Other contributors to American not possible for anyone tolearn to visual arts early in the 20thcentury speak French without everhearing include Granville Redmond, apainter, itA^, for lipreading, it is educated guesswork, and 70 percent of all and sculptor Douglas Tilden. The first deaf artists worked in a deaf people cannot lipread at even a vacuum, living in timeswhen deaf barely adeauate level, people were regarded as little more Is deafness curable? It is, butonly than brutes or domesticanimals. It for people with bone hearing loss. of Enlightment People with nerve deafness cannot was not until the Age that Aristotle'sidentification of be cured because their inner ear is finally atrophied from disuse. speech with intelligence was recognized to be a fallacy. In the18th century a methodical andversatile The Arts as Myth-Breaker developed in Making arts accessible to thedeaf sign system was France.Inthe more democratic provides an effective shortcut to the tinally assimilation of the deaf minority spirit of the age, the deaf were alloyed to have and usetheir own into a community's culture.Par- sign languagethe commonbond ticipation in arts activities oy mixed uniting them, and themeans deaf and hearing audiences ootonly quatity of 1 \ whereby they could again recogni- contr outes to the tion by the hearing society.:.nd everyone's life, but also helps break and ofTHE DEAF IN develop their own distinct down the stereotyped images separate culture and art. deaf individuals in tie publicmind. THE HISTORY Oddly enough, the firstflowering No less important is the con- place not in of deaf people as aOF THE ARTS of that culture took sideration France but in the United States,and sizeable and previously untapped1 he first deaf person whose name was recorded in history wastheonly a century later at that.In post- resource for cultural programs Prance painter Quintus Pedius,mentioned Napoleonic Europe, incluoir,y Besides representing an enormous an by Pliny. After Pedius, how:ver, noitself, French liberal ideas were new audience forthe arts, deaf which producingdeaf artists arcs recorded untiltheanathema, and sign language, artists themselves are became films16th-century Spanish painterEl smacked of these ideas, visual arts, dance, theater and subject to linguistic suppression tf. at danle their hearing viewers and Mudo and the French poet Joachim 6i _t before this took place,the seed reflect a unique culture which hasdu Bellay. transplanted to the been shockingly absent from our Francesco Goya is among thevas already United States, where ittook firm galleries. stages, art centersand remarkable deaf individuals who, in- spired by their own sense of depriva- hold. By the end of the 19th century, cinemas virtu- tion, have thumped overadversitydeaf culture and art had been Europe but and made major contributionsto theally nipped in the bud in United arts He painted masterpiecesofhad started to bloom in the the only sublime horror after he became deaf States, which was by then did not In the world of music, Ludwig vancountry in the world that Beethoven after he had lost his hear- officially suppress sign language. ing, composed his greatestwork, The deaf flocked to soloperfor- rendered the Ninth Symphony mances by artists who Even in early America the deaf poems and stories itdramatic and held born folk painter, JohnBrewstereloquent sign language whisc:1 7 March 1981 Arts Accessibility for the Deaf The National Access Cents'

sway over their audiences Then, asbeen the only commercially accessi- futile and frustra log exercise The now, the deaf enjoyed watching able source of cinema for the deaf. promise of TV as a medium for bring masterful "orator" whose signs But the advent of the talkies was ing instant news to every home and parallel and visually challenge the not an entirely arid period to the deaf enriching the life of the Individual cadences of spoken speech Fromcommunity, since by tnena through the presentation of artistic these modest beginnings thereminuscule butthriving deaf filmand entertainment programs was developed thriving communityindustry had emerged Deaf film- largely unfulfilled as far as the deaf theaters of the deaf in many cities makers such as Ernest Marsl,all pro- were concerned. across the United States. The impor- duced and directed shorts and even Isolated attempts we._ made in tance of these theaters is reflectedfeature-length filmsinsign the 1960s to help the deaf enjoy TV in the 6pecial regard among the deaf language, including a signed ver-and make the public aware of the for their leading actors. The theater,: sion of Chekhov's The Boorin an era problems of the deaf A pioneer sa..sfiedthe needs oftheir au-when federal support of the arts didattempt was made by the well- diences by presenting skits andnot extend to the handicapped. Itknown deaf actor Bernard Bragg, playlets that reflected the problems was their pioneer work that provided who in the early 1960s or.g mated the and lives of the deaf Unfortunately,a solid basis for the development of weekly San Francisco TV program, most of this rich culttetteljal,,_mow sophisticated techniques of The Quiet Man". This was a has become irretrievably lost, except motion-picture and video filming in children's show produced in mime perhaps in the memories of a few sign. and sign, with Audree Norton, a deaf oldttmers, because as a visual Intriguing and innovativettsit actress who later appeared on language it could not be recorded in was, the deaf film industry could not"Mannix" and "Man and the City." writing, and videotaping was then contribute to the participation of the Since 1967, sign language produc- still a thing of the future. deaf community in the mainstream tions featuring the National Theatre of society. Something more had to of the Deaf (NTD), such as "My Third The Birth of a Medium be done, and finally the Bureau ofEye" and CBS's "A Child's For a time the birth of a new artEducation of the Handicapped, U.S Christmas in Wales" with Michael medium, the cinema, seemed toDepartment ofHealth, EducationRedgrave narrating, have been open new cultural vistas to the deafand Welfare, establie` ed the adapted for television. The response community. The era of the silentCaptioned Films arc:Telecom- of deaf viewers was enthusiastic, films was the golden age of themunications program. This program and hearing viewers appreciated the cinema to the deaf, towhom vision isprovides a freeloan serviceof chance to acquaint themselves with the principal sense of aesthetic andtheatrical, documentary, andthe beauty, dignity and stunningly artistic appreciation. It alsoaffordedselected adult educational captioneddramatic nature of masterfully used career opportunities to deaf artists16mm films to clubs and organiza-sign language. It was not until the such as Albert Bailin, the coach totions of deaf people Contact the 1970s, however, that TV programs for many .-iollywood stars, whose knowl- program at 5034 Wisconsin Avenue, the deaf hac' like deaf theater, begun edge of sign language enabled him Washington. DC 20016. to attain maturity and gain wider to instruct hearing actors in the fluid acceptance. and dramatic expression of emotion TV Siill Holds Promise through movements The advent of television, like the There even were deaf film-makers. advent of sound films, had a douole- Ernest Marshall and Emerson edged effect. It offered a major new Romero, under the name Tommyvisual medium for communica- Albert, made a series of comedytion and the spread of cultural silents m Cuba for the Pan Americanawareness among the hearing, but Pictures Corporation. The advent hf simultaneously it reduced the op- the soundtrack inevitably ended the portunities for access to arts and film careers of these gifted artists, information for deaf people since it and even hearing actors for the disregarded their particular needs silent screen were concerned that To understand this, consider that to the noting craft would die whenmost deaf people, watching TV is voices were adrlf.td. Deaf audiences like trying to lipread Here and there became alienated, and since then educated guesses can be made as to replays of silent films and foreign what people on the screen are talk- films with English subtitles have ing about but for the most part it is a March 1981 Arts Accessibility for the Deaf The National Access Center

pression to reinvigorate drama Ambidextrous Two hearing impaired American Sign Language,inactor-dancers perform a cabaret which words and concepts areshow of pop tunes through sign translated into action and visual im-language, mime and danceRita agery, is in itself a superb vehicle ofCoreyMusign Company, 2,312 dramatic expressionThus deafCoo dge Avenue, Oakland, CA theater, a former stepchild, is now in946,,2, TTY (415) 533-5490. a position to contribute significantly Dallier Theater of the Deaf Regan in to the larger world of the theater and early 1978 to interpret musical selec- entertainment industry. tions for deaf audiences Produced But the crumbling of the barriertwo full-lengthplaysinsign between deaf and hearing theaters language in 1979 Purpose -To bring does more than stimulate fruitfultogether the worlds of the hearing new developmentsinhearingand the hearing impaired through theater It has also increased thetheater productions." Projects spon- number of hearing theaters opening sored by center and by grant from their doors to equal participation byDallas Arts Program as well as deaf and hearing actors and pro-admission receiptsBillie Jordan, viding equal enjoyment of drama forManuel Esquivel, Dallas-Callier mixed hearing and deal audiences. CenterFor Communication This is accomplished in several Disorders, University of Texas, 1966 ways Some theatrical companies, CONTEMPORARY Inwood Road,Dallas, TX 75235, such as the Integral Theatre Founda- telephone (214) 783-3040. DEAF ARTS tion in New York City represent in- tegrated troupes of deaf and hearingChildren's Thl ater of the Deaf Ten Until the 1970s, deaf culture could be children ages 10-15, half of them likened to a hidden but enduring actors who work together on the ex- deaf. One main production each subterranean stream. However, after ploration, development and presen- tation of nonverbal communicationyear. A smaller group called The 4e- thefederal mandate for equal Travelling Hands performs for access to the arts for the handi-techniques. Others, such as the schools and libraries. Both groups capped was enacted, that stream National Theatre of the Deaf (NTD) in use sign, vole°, mime, song, dance. emerged full force and began toWaterford, Connecticut, present One full-time staff member; funded enrich the mainstream of Americanoriginal sign-language versions of byIllinoisArts Council and the culture Deaf theater, cinema, televi- classical and contemporary plays that are accessible to both deaf and,:enter.Cecilia Streje, Center on sion, dance and folklore are enjoying Deafness, 600 Waukegan Road, a resurgence. There has even arisen hearing audiences. The new Model Glenview, IL 60025; telephone (312) a new cultur,-; phenomenon- deaf Community Theatre of the Deaf in 729-5620. arts festivals Washington, DC, is detlicated to staging original playsabout the livesColorado Theater of the Deaf Spun Theater and problems of the deaf. off from CETA grant 1978. Started as The deaf theater's emphasis on the hallmark of these theaters isa therapy group, seeking to expand visual aspects of drama is the basis that they are open to the publicinto full-length adult works. Spon- ofdeaf theater and provides a rather than to deaf people only andsored by Creative Arts Therapy medium in which deaf actors excel thus their art can be enjoyed by aInstitute Madeline Gerstein, Judy with spontaneity and vigor. Deaf wide audience. In addition, there areMelvin, 3605 Morehead, Boulder, CO theater is proving to be a valuable many hearing theaters that use a80303; telephone (303) 499-5838 resource and inspiration for the new variety of techniques to mo!:e perfor-Cridders Members of the Connec- visual movements inhearing mances accessible to deaf people theater. This interesting trend rever- ticut Registry of Interpreters of the Deaf, "turn song and rhyme into sign sal was given impetus by the English Theaters Of and director Peter Brook, the PolishFor Th Deaf and mime". Barbara BBrasel, Jerzy Grotowski, the AmericanThe following theaters of the deafCommission on the Deaf and Joseph Chaikin, and the Nationaland theaters with mixed deaf andHearing Impaired, 40 Woodland Theatre of the DeafPlaywrights, hearing actors include community,Street,Hartford, CT 06105, actors and directors are now fre- college and professional performing, telephone (203) 566-7414. quently using physical forms of ex- groups and training programs Dayton Community Theater of the

8 9 March 1981 Arts Accessibility for the Deaf 1 he National Access Center

Deaf City-sponsored community thestateJohn Heidger, 3400affiliatedwith Model Community theater, established 1978,for Pershall Road, St Louis, MO 63135,Theater of the Deal Established in purpose of enriching deaf social telephone and TTY (314) 595-4477 1979 as a model for community activities exposing deafness to the theaters throughout the United Gallaudet College Theater Perform- hearing community by demonstrat- States Begun by Bernard Bragg to ing since 1894 Drama Department ing the beauty )f sign language, and develop and stage plays about the established in 1964. Two major pro- fostering interaction between the deaf ana make tapes of them to lend hearing and d 3af Member of Ohio ductions each year, academicto community theaters, provide ar- Theater Alliance and NAD Melissa courses. Chairman Gilbert Eastmantistic and technical assistance to Shaffer, Dayton Playhouse. 1728 was a founding member of NTD other community theaters of the Small touring ensemble started 1977. East 3rd Street, Dayton, OH 45403, deaf,help develop actingskills Gilbert Eastman, Gallaudet College, telephone (513) 222-7000 among the deaf through mime and Kendall Green, Washington, DC Deaf Drama and Arts Project sign workshopsTales from a 20002, telephone and TTY (202)Clubroom, an original play written by Established 1977. courses in Deaf 615-5606 Theater Arts. two major productions Bernard Bragg and Eugene Berg- each year, Deaf Arts Festival, inter- Gallaudet College Deaf Awarenessman, premiered in Cincinnati in 1980 preting services athearing" Troupe Performs music in American at the National Association or the theaters in Seattle The Free HandsSign Language, alsolecture.-- ar, Deaf Centennial. Twenty cast schools to hearing children about Players,a touring company for members, 5 paidstaff, ana 10 children added 1979, actors, half ofdeafness. Janet Bailey Gallaudetvolunteers.BernardBragg, College, whore are deaf, are paid ar d work full Kendall Green, Wash-Gallaudet College, Kendall Green, time Jer Loudenback. Seattle Com- ington, DC 20002 Washington, DC 20002, telephone munity College. 1701 Broadway,Gallaudet Modern Dance Group (202) 447-0786. Seattle WA 98122, telephone (206)Traveling dance group under direc-Knoxville Theater ofthe Deaf 587-4183 tion of Peter Wisher tours world-Formed in 1979 for variety shows The Detroit Sign Company Estab- wideGallaudet College. Kendall with sign and voice, now planning lished 1971, group made up of 11 Green, Washington, DC 20002 major productions. Arts council actors, all deaf or hearing impaired funding and occasional ticket fees Golden West College Theater of theTwo paid staff; 7 cast members, 'me Usually 10-12 performances per year Veal Course offered everyIther for various fund raisors and com- deaf. Charles Davis, PO. Box 886, semester. About 35 student, many Knoxville, TN 37901. telephone (615) munity activities. Roman Imielow- of them deaf Each class produces a 577-3741. ski, Madonna College, 9702 Michael major production and tours it locaily. Drive, Romulus, MI 48074, telephone Work is mostly visual gesture: little Minnesota Theater Institute cf the (313) 941-5213. sign or voice Stewart Rogers, 15744Deaf Established in 1977, three com- panies, for children, juniors and Fairmount Theate Golden West Street, Huntington of the Deaf adults Children's classes and Satur- Established 1975Other than the Beach, CA 92647, telephone (714) uay morning workshops, in addition 1\11D, FTD is the only professional 892-7111 to taking part in performances. Little deaf the ater in the country. In addi- The Hands Have ItRita Gnvich, Theater, (for children 5-10) is for deaf tion to regular touring sepson, FTD White Station High School, 514 children only, they perform skits for offers a workshop series in theater South Perkins, Memphis, TN 38117; FTD originally with Fairmount °yin enjoyment, no real productions. telephone (901) 767-1174 Naomi Samuels, Tessa Bridal, Center for Creative and Performing Hennepin Center for Arts, 528 ArtsFunded now through grant Happy Handfuls Children's Theater from Cleveland Foundation and Begun in early 1970s, performs skits,Hennepin Avenue, Minneapolis, MN Ohio Arts Council Robert Tolero,songs, poems and Improvisations in 55403, telephone (218) 871-1153 Fairmount Theater, 1925 Coventrysign and voice for deaf and hearing The Mississippi Interpretations Road, Cleveland, OH 44118, children and adults, 3 deaf, 2 hearingStudent and teacher group estab- telephone (216) 932-2573 perforr-rs. Dennis Schemenaner,lished in 1979 performs songs and California State University, North-dances with sign, tours throughout Florissant Valley Theater of the Deafridge, P.O Box 1265, Reseda. CA Established in 1979 College com- state Randy Brightwell, Mississippi 91335, telephor-: (213) 885-2614 School for the Deaf, Jackson, MI pany of 6-14 deaf, 4-5 hearing actors Plays presented in sign and voice AFrederick H. Hughes Theater 49201, telephone (601) 366-0317 Little Theater has been added to tour(Hughes Memorial heater) NowNTID theater Established 1968,

9 March 1981 Arts Accessibility for the Deaf The National Access Center

became a highly active and boldtelephone (206) 695-0847 song, dance, and mime around one theater department in1973 Pro- central theme Traveling group of 12 The O'Neill Center's Nationalmembers Wchael JHiggins, duces 4 or 5 presentations each year. Theatre of the Deaf Founded 1967 225 students: faculty includes Pat University _e North Colorado, PO Fully professional company of 12 to Graybill, former NTD Associate Box 1044,(.3reeleyCO 80632, 20 actors Tours U.S twice a year. 15 telephone (303) 336-8354 Director and Paul Johnston. Sun-foreign tours to 21 countries Has shine and Company, a NTID group given over 2500 performances. Done Show of Hands Circuit Playhouse that performs songs in sign. Bruce TV specials for NBC, CBS, and PBS Theater of the Dept Established with Halverson, National Technical Leader in advocacy movement forCETA grants 1978. Uses sign, mime, Institute of the Deaf, Lomb Memorial deaf artists. National theatricalpoetry, and dance. Paid company of Drive, Rochester, NY 14623, resource center for all deaf perform-5 includes one deaf and one hear- telephone (716) 475-6250 and TTY ing groups. ingimpaired, 4 administrators (716) 475-6254. Little Theatre of the Deaf, Two pro- Performs mostly vignettes,im- New Dominion Theater of the Deaffessional companies performing forprovisationTours Memphis area, Debut in 1979 as Richmond Theater young audiences. Tours twice yearly performing for adults and chiloren in of the Deaf, supported in part byPerforms worldwide. Regularly on schools Hopes to expand touring grant from Virginia Commission for"Sesame Street" range, looking for more deaf per- the Arts. Plans a touring schedule. Theater-m-Sign; professionalformers. Marc Marinez, 162 North Robert Blumenstein, 5 South Colo-company performing in American Tucker Street, Memphis, TN 38104, nial Avenue, Richmond, VA 23221; Sign Language with no interpreta- telephone (901) 726-5521. telephone (804) 358-5468. tionWeek's residency includesSpectrum Focus on Deaf Artists workshops and consultation ,/ith Established in 1975. Restructured New York Deaf Theater A newlylocal deaf theater groups. formed community group of deaf into a service organization to provide Runs Professional Summertechnical assistance and channels actors. Cabarets performed at School for Deaf Theatie Personnel Chelsea Theater Center and local of communication for emerging in- and the National Deaf Playwrights'depenr ent arts organizationsPat dinner theaters. Charlie McKinnLy, Conference each summer to trainClubb, PO Box 339, Austin, TX c/o Wonder, 147 West 22nd Street, and assist deaf actor:: stage techni- 78767, telephone (512) 476.4895 10th floor, New York, NY 10011; TTY cians and writers (212) 989-5703. David Hays, O'Neill TheaterSpectrumThe American Deaf Center, 305 Great Neck Road, Water- Dance Company Began in 1978 and North Carolina Theater of the Deaf made first national tour performing A college company with three deafford, CT 06385; telephone ,203) 443-5378, TTY (203) 443-7406. and giving master classes and actors and one interpreter. Michael lecture demonstrations Choreo- Larson, North Carclina State Univer- Phoenix Theater of the Deaf Founded graphed by Yacov Sharer, who is also sity, Raleigh, NC 27607; telephone in 1979. Performs variety-type showsartisticd ectorPO. Box 339, (919) 782-1773. and plays. 16 actors, half of them/Austin, TX 78767, telephone (512) deaf. Group is not funded, performs North Carolina Theater of Gestures 476-4895 without fees. Doris L Krampe, 5308 Presented The Chalk Circle with Stage Hands, Inc. Established in West Acapulco, Glendale, AZ 85306; deaf and hearing actors from 1976 for interpreting the performing (602) 938-7410 Winston-Salem area; supported by a arts for hearing impaired audiences. grant from Winston-Salem Founda- Riverside Deaf Players Deaf theaterAiso formed Atlanta Area Theater of tion. Michael Todd Larson, PO. Sox club established in 1965. Producesthe Deaf, a group of hearing im- 121, Wendell, NC 27591; telephoneabout once a year in sign with off- paired youths (12-16) performing 10 (919) 365-6183. stage voice; many Gallaudet alumni shows a year. Also performs in TV Seymour S. Bernstein, 2992 Hydeproductions including an hour-long Northwest Theater ofthe Deaf Park Circle, Riverside, CA 92606; musical production, "Ra.nbow. The in1973 to provide Established telephone (714) 787-9649. by, and for, the deaf. Colors of Life," which explores lite theater of, experiences through songs in sign Performs two productions annually.See-Saw Little Theater for the Deaf Debra Brenner, Stage Hands, Inc., Financial suppc-t from admissionand Hearing, Inc. Begun as student 332 Oakland Street, Decatur, GA fees: employs one director(hearing). honors hroject in 1976. Use SEE 30030, telephone (404) 377-7883. Pei ,orms'nsign with off-stage(Seeing Exact English) method in y ces. Jim Randall, 3406 Edgewoodtheir performances. Group createsTheater of Silence Formerly funded Drive, Vancouver, WA 98661, its own family theater scripts using by State Arts Council, then univer-

10 1 1 'March 1981 Arts Accessibility for the Deaf The National Access Center

sity, now depends on fees Touringawareness of dearartsthrough this year to 12 states, program ofsigned performances and employ-YIETRO THEATP mime, poetry, and dance. Seventeen ment of professional deaf artists arid actors, only one of whom is deaf companies such as The National Jack POlson, Montar.a StateTheatre of the Deaf. Lynn Martin- University, Wilson Hall, Bozeman,dale, Arizona Commission on thelAW[1,,P MT 59715, telephone (406) 994-3815 Arts & Humanities, 6330 North SOUND EQUiPMEN Urban Arts Project in DeafnessStreet, Ph2-,.-inix, AZ 85014. telephone 602) 255-5882 integrated arts work experience pro- gram, all aspects of theater produc- Body Politic Theatre Provides inter- tionTraining in theater arts andpreted performances2261 No, ,h visualartsfor 3p high schoolLincoln Avenue, Chicago, IL 60614, students (20 deaf, 10 hearing) telephone (312) 525-1052 employed by CETA. Produces and Dallas Theater Center Producing performs 6 productions, developing Children of a Lesser God w:th mixed a touring company of deaf actors to deaf and hearing cast 3636 Turtle educate the hearing public about Creak Boulevard, Dallas, TX 75219, deafnessAnne McDermott, 456 Belmont Street, Watertown, MA telephone (214) 526-8210 02172, telephone (617) 928-8440 The Folger Theatre Group Provides interpreted performances 201 East Hearing Theaters with Capitol Sheet, SE, Washington, DC Accessibility for the Deaf 20003, telephone (202) 547-3230. The following theaters and projects Geva Theatre Provides signed per- have produced worKs mat included formances Vicki Duval, Geva Theatre, deaf actors or provided accessibility 168 Clinton Avenue, Rochester, NY to deaf audiences The National Ac- 14604, telephone (716) 232-1366 cess Center would appreciate news 2111111111--- of theater and drama projects thatThe Guthrie Theater Provides inter- should be included in the foregoing preted performances. Jeanne Keller,CA 90006; telephone (213) 464-5603 and following lists The Guthrie Theater, Vineland Place, Longacre Theater The Broadway Annenberg Center's Hearing TheatreMinneapolis, MN 55403; telephonehome of the Tony Award-winning for the Deaf Provides ticketing ser- (612) 377-2824. play Children of a Lesser God vices, interpreted performances and Hartman Theatre Company Em- Children features a mixed deaf and post-performance discussions forployed two deaf actors in a hearing hearing cast Nat:onal touring corn hearing impaired audiences in thecast for He Who Gets Slapped, 1977. pany performing nationwide Long- Philadelphia area. Catherine Hartman Theatre Company, Box 521. acre Theater, 220 West 48th Street Marshall, University of Philadelphia,Stamford, CT 06904, telephone (203) New York, NY 10036, telephone (212; 3680 Walnut Street, Philadelphia, PA 324-678 246-5639 19104, telephone (215) 243-7571. Integral Theater Foundation Re- Manhattan Theatre Club Presented Arena Stage/The Living Stage Arenasearches audiences with com- "Hand Poems," a poetry reading in provides interpreted performances munications. Uses neither visual nor sign language and voice by one deaf The Living Stage, under the direc-vocal language. Laurie Sackler, In- one hearing actor as part of the tion of Robert Alexander, employs tegral Theater Foundation, 110 East Poetry Series 321 East 73rd Sheet and performs for disabled au-59th Street, New York, NY 10022, New York, NY 10021, telephone 212: diences, using some sign language telephone (212) 759-6300, 288-2500 Arena Stage, 6th and M Streets, SW, Los Angeles Actors' TheatreMark Taper Forum First produced Washington, DC 20024; telephone Produced Trojan Women in1980 Children of a Lesser God in 1979 (202) 554-9066. featuring a double cast of deaf and prior to its Broadway run Included Arizona Commission on the Arts and hearing actors. Used sign languagedeaf actress in an all-hearing cast if Humanities Implemented a three-and vocal narration simultaneously A Christmas Carol, 1980 A deaf (to year programofdeaf audienceLos Angeles Actors' Theatre, 1089thence development project. Project development and hearing audienceNorth Oxford Avenue, Los Angeles, DATE offers interpreted perfor 12 March 1981 Arts Accessibility for the Deaf The National Access Center

mances, ticketing and subscription Cinema to convince the Will industry that dif- services, workshops and post--13-einema has not done nearly asf erences between people car, performance discussions for the well aS deaf theater during the lastbecome the source of innovation deaf community. Timothy John Son, decade. Two feature-length films,and exciting artistic expression K,ark Taper Forum. 135 North rand Deatula and Think. Me Nothing, were The motion pictuiindustry still Street, Los Angeles, CA "1012, made by deaf film makers, but deaftends to show considerable igno- telephone (213) 972-7373 and TTY cinema has to goa long way before itrance of the deaf and of their special (213) 680-4017. catches up with the early classicschallenge. In this respect, it lags behind the television industry which Milwaukee Repertory Theatre Com- made by the deaf film maker Ernest pany Produced Children of a I esser Marshall. with "And Your Name is Jonah" scored resounding popular success Gcd for 1980 seasonMilwaukee Films about the deaf produced by Repertory Theatre Company, 929 hearing companies have an in-by employing deaf actors for all the North Water Street, Milwaukee, WI teresting but ironic history. Populardeaf roles and realistically illuminating the dePf and their prob- 53202, telephone (414) 273-7121. movies such as "Johnny Belinda" and "The Heart is a Lonely Hunter" lems. Nebraska Arts Council/Metropolitan portrayed deaf people as depressed, The first special film festival for Arts Council and N.E. Iowa Arts helpless types and employed hear-the deaf was a part of the 1980 Council Arts with the Deaf and ing actors. More recently, TV filmsGreater Miami International Film Hearing Impaired program employssuch as "Dummy", The Kitty O'NeillFestival.It offered subtitled Mr is a deaf actor as artist-in-residence, Story", "My Mom and Dad Can't Hearaimed at the deaf, and included gives interpreted performances withMe" and a theater release, Voices,interpreted co3rences with film deaf actors at the Omaha Community continued the same practice ofdirectors such as John Fran k- Playhouse and Omaha Junior employing hearing actors to portrayenheimer (Black Sunday) and an in- Theatre, and runs workshops in deaf stereotyped roles of helpless orterpreted tour through the Trade Fair. and hearing schools. Several heroic deaf characters. A special opening night was held for Shakespeare playsare being But with these more recent pro-deaf participants with deaf actor translatedinto Americal. Signductions, the deaf community, filmBernard Bragg emceeing a perfor- Language. Metro Arts Council, Box unions and organizations of the deafmance by Bobbo Goldberg's Fanto- 1077 Downtown Station, Omaha, NE protestedloudly and actively. Amime Theatre. Thispartof the 68601; telephone (402) 341-7910. national press confe'ence in 1979program was arranged byI ynda in Los Angeles announced NTD'sSloan, special coordinator at th. Theatre Access for the Deaf publicationof the Deaf Players'festival. Provides sign interpretedperfor- Guide, and deaf actors Julianna Work is underway at Gallaudot mances at theaters throughoutField, Richard Kendall and PhyllisCollege to produce a tarn,Tales Boston such as the Boston Shake- Frelich spoke out on the discrimina-From a Clubroom based on the play speare Company, Colonial Theatretion they have faced and offeredof the same name by two deaf and Loon and Heron 'Children's their vision of equal casting rights in playwrights, Bernard Bragg and Theatre. Barbara Levitov, Commis-the future. Eugene Bergmar. The drama, sion on the Handicapped, City Hall, The feeling now is that screen-centered about a club of the deaf, Boston, MA 02201; telephone and writers should be encouraged tooffers a revelatory glimpse into the TTY (617) 725-3696. write a variety of roles for deafIves and concerns of deaf people Theatre Development Fund's characters in film, not Just heroic or The Captioned Films and Tele- Theatre Access Project Provides full "special" roles. Why not have a deafcommunications Program ofthe ass,milatici of the disabled intovillain, lawyer or lover! Deaf actorsBureau of Education provides free regular au Jiences of the performing should be able to audition for anyloan service of captioned theatrical, arts in New York City. Offers services role and be Judged on artistic meritdocumentary and educational 16mm specifically designed for the hear-rather thaninterviewed aboutfilms to clubs and organizations ing,visually and physicallyim- deafness. The film industry is nowserving deaf citizens. For informa- paired, such as ticket sales and beginning to recognize that there aretion, contact. Captioned Films and interpreted performances forprofessional deaf actors who canTelecommunications Program, 5034 theater, music and dance events.provide original, authentic por-Wisconsin Avenue, NW, Wash- Linda Lowy, TDF-TAP, 1501 Broad- trayals of deaf characters. And, a fewington, DC 20016. way, New York, NY 10036; telephonecreative directors and producers in A pioneer organization for placing (212) 221-0885 theater and television are beginning writers, producers and directors in

12 13 March 1981 Arts Accessibility for the Deaf The National Access Cente.

the motion picture ana television in- women, Puerto Ricans and otherSecond Family Tree" dustries is headed by Saul Rubin, a minority groups, deaf actors will be Clearly, this is just the beginning producer, ana Gregg Bmoks, a deaf cast for a variety of roles.. not just af a breakthrough in this great social produces and director. Contact themdeaf character roles.Also,itis frontier. Not only is a new profession atthe National Communicationsimportant that these shows be cap-building for deaf people, but all of Foundation, 3876 Carpenter Avenue, tioned for deaf and hearing impaired our lives are being more deeply Studio City, CA 91604. audiences. touched with the awareness of their Bernard Bragg made the first realpresence and the gifts they bring. Television breakthrough in his work as host of Entertainment Programs "We arelivingina visually KQED-TV's "The Quiet Man" in San exploding world Who else is Francisco in the 1960s. Bragg wasfor the Deaf more suited to work in visual followed by Linda Bove, who was the In 1973, WETA-TV, the PBS station in media than those who depend first deaf actress to be employed asWashington, DC,inconjunction on light waves for their very a regular performer on a networkwith Gallaudet College (the world's means of communication?" - show, "Sesame Street" on PBS, andonly college of liberal arts for the 1979 -1980 Deaf Player's Guide, later in the- CBS serial "Search fordeaf), produced "Rock Gospel", a National Theatre of the Deaf. Tomorrow". Linda was also a guestone-hour show in which a band per- star on ABC's "Happy Days". formed folk and gospel music while Since 1970, the number of television In 1980, a young deaf actor, Alban four "signers" interpreted the lyrics prog:ams designedfor deaf au-Branton, appeared with interpreter/in sign language. "Rock Gospel" diences,orincludingdeafactor Lou Fant in NBC's "Littlereceived a local Emmy award for characters, has noticeablyin- House on the Prairie", deaf actressspecial programming. Not long creased. The growth has proceeded Sheila Lenham appeared with Sonnyafterward, WTOP-TV, alsoin along several lines, network showsBono on ABC's "Love Boat", and LizWashington, DC presented a half- that include deaf characters, theQuinn was in CBS' "Trapper John,hour rock music progra-,"Song presentation of shows in sign lan-M D.". Five former members of theSung Signed", in which deaf and guage, and insets of sign languageNational Theatre ofthe Deaf,hearing performers interpreted rock interpretation or captioning toEdmund Waterstreet, Linda Bove,songs and poetry in sign language provide accessibility of "regular"Sam Edwards, Joseph Sarpy andand dance. That also won a programming to deaf and hearingEliane Bromka were featured withlocal Emmy impaired audiences. At present Meryl Streep on ABC's "Omnibus". In 1979, D.E.A.F. Media, Inc, in ABC, NBC and PBS are participating CBS produced a drama of specialOakland, California, produced a pilot in a new clo...ted captioning effort. merit, ". .And Your Name Is Jonah,"series for "Rainbow's End", a pro- CBS is not. which f?atured a cast of many deafgram designed for deaf children and actors (the lead played by youngtheir families. This unique show Television Shows JeffreyBravin) and treated theuses a story format performed by with Deaf Characters problems of deaf people with greatdeaf actors to provide deaf children Deaf characters have been included understanding and care with adult role models, to encourage in network programs such as All in The use of deaf actors will in-language enrichment, and to the Family", "Starsky and Hutch'', crease on prime time network showsstimulate family interaction among and "Marcus Welby, M.D", but were,during 1981NBC's "Disney'sdeaf chidren and other hearing and unfortunately, cast with hearing Wonderful World" will show a televi-deaf members of their families. Thir- actors. This practice was seen by sion film called "Amy" which stars ateen segments are being developed rianyin the deaf community to number of deaf youngsters from thefor production, which the producers parallel the use of white performersCalifornia School for the Deaf athope wrIl be picked up by PBS. For blackface toportray black Riverside, Otto Reichenberg among information: Betsy Ford, D E.A.F. characters. But with the increasingthem. ABC willfeature actress Media, 401 East 21st Street, Oakland, awareness of the American public Phyllis Frelichin an episode of CA 94606. and the emergence of talented pro- "Barney Miller", and two new series Another series featuring deaf fessional deaf actors, the trend isshows will add deaf characters (bothactors, "Our Place", is produced by beginning to reverse itself. We arechildren) as regulars CBS will useAll Join Hands for adult deaf audi- seeing a growing number of deaf10-year-old Fred Weiss `oritsences. Funded in part by Warner actors portraying deaf characters"Secret of Midland Heights", andAmex Cable Communications, Inc., with integrity and great appeal. The 10-year-old Jonny Kovacs will appearthe show uses a neighborhood store hope now is that, just as with blackregularly on a new series, "The as tne context for guest stars and in-

14 13 March 1985 Arts Accessibility for the Deaf The National Access Center

teresting visitors who meet, con-such as "Nova", "The Advocates",one magazine-format deafpro- verse in sign language and share"ZOOM", and "Crockett's Victorygramthe weekly half-hour show ideas. "Our Place"is shown onGarden" in the last live years WGBH "Silent Perspectives" 'which com- Warner Cable TV systems aroundhas produced more than 700 hours bines news, public affairs and enter- the country.For intormation of captioned programming on public tainmecit. Douglas Paddock, All Join Hands, 17affairs,t hildren,sports and The regular ABC network news Saw Mill River Road, Hawthorne, NY deafness. program is captioned every week- 10532. WGBH has also produced in Sign night at WGBH-P/ This captioned The field of sign-language enter-Language "Who Knows One", a version is news with a differencea tainment programs on TV is barelyPassover Seder featuring the complete 29- minute nev s package beginning to be explored. Much canNational Theatre of the Deaf and iswithout commercial interruptions. be accomplished, especially since working on a 13-part series "Festival The six minutes of commerc, al the increasingly vocal deaf com-of Hands" documenting majorbreaks are replaced by the only munity is aware that it can gain works by NTD in its 17-year history of regularly produced and nationally public service air time through theworldwide performances. The firstbroadcast materials for and about Federal Communications Commis-part, with Jason Robards as narrator, deaf citizens. They include. The Cap- sion (FCC) reporting requirement forwill be aired April 29,1981. These pro- tion Center's Late R3port, a last- radio and television stations. Thegrams (with soundtrack) are distrib- minute update ofthe evening's requirement, known as "ascertain-uted through the Public Televisionnews, Deaf Heritage, aiistory of ment of community problen.- re- Library Video Program Service. 475 events and people that made sign if quires all stations serving markets inL'EnfantPlaza West, SW, Wash-cant contributions to the world ol excess of 10,000 to regularly list 10 ington, DC 20022. thedeaf;Chronicle, news that community priorities ascertained directly affects the deaf community through interviews with localNews Programming thrcughout the U.S ; and Captioned leaders and organizations. Obvi-There are threrl ways of presenting Consumer, which offers special con- ously, stations have to do a lot more intelligible news to deaf citizens: Bysumer tips. Sports and weather than cover one group or one seg-sign language interpreters super-reportsfor 86 citiesare also ment, but the ascertainment require- imposed on the screen, captioning, includea. ment makes it easier for them to doand presenting deaf newsmen on The Captioned ABC News is their job correctlyDeaf organiza-the screen. Interpretation is losing broadcast on 142 public television tions can use the ascertainment rulepopularity since watching the broad-stations and after 5 years is still the to secure more time and coverage on cast and the sign language inter-only nationally broadcast news television. preter on the screen is a distracting aimed at an estimated 14 million Deaf audiences can alwaysand visually tiring exercise to hear- hearing-impaired people. The suc- benefit from captioning of the kinding and deaf audiences alike. Cap- cess of this program, despite the of shows that hearing people enjoy.tioning is an increasingly popularlate hour, demonstrctes the oppor- Captioning has an advantage overand widespread method, and some tunities for cooperation between sign-language interpretationstations provide news summaries commercial and public television becauso it serves the widest rangepresented by deaf newsmen stations in serving deaf viewers. of dear and partially deaf viewers Tht, first attempt to make news "Deaf" refers to people who use signbroadcasts accessible to deafThe Deaf and language, and "partially deaf" topeople was made with signEducational TV those who do not u-e it but have alanguage interpretersin 1956 by Educational TV is able to provide significant degree of hearing loss WOED in Pittsburgh. Soon after, sta- programming for deaf audiences The first major national television tions in Tennessee and Washington, free of many of the copyright restric- experiments in captioning wereDC, presented interpreted short tions. Amendments to the copyright made by WGBH-TV, the PBS station news segments fordeaf people. Cur- law adopted by Congress in 1976 in Boston, with funding by the Mediarently, at least 40 provide some local statethat, "Broadcastingperfor- Services of the U.S. Department ofnews for their deaf and hearing-mances of non-dramaticliterary Health, Education and Welfare.impaired viewers. Usually these in- works, directed primarily at blind or These efforts started with the cap-serts are five-minute summaries of deaf audiences, is not considered an tioning of 26 hours of Julia Child's news added to regular news broad-infringement of copyright, provided: "The French Chef". Since then, cap-casts before 7 a.m. or on Sundays (a) the transmission is made without tioning at WGBH has provided clearThey are seldom, if ever, in primeany purpose of commercial aavan- and direct language for programs time viewing hours There is at leasttage; (b) the broadcasting facilities

14 1.5 March 1981 Arts AciAssibility for the Deaf The National Access Center

are operated by a governmental With Your Hands", has been aired onis planning to introduce a color TV set body, a non-commercial educational NBC stations. In addition, Deafnesswith a built-in decoder. station, a radio sub-carrier or a cable Center staff have been featured in a Thousands of these decoders system ". television series, "Christopherhave been purchased by deaf people Closed circuit television systemsClose-Up" with Carol Tipton, andwho can now enjoy somebut still (CCTV) have been introduced forhave provided full consultancy sup-not allTV programs. learning and entertainmentpur- port for a third series, NBC's "Watch The National Captioning Institute poses at many schools for the deafYour Child". The Center produces(NCI), established as a result of the and at public day classes tor the"The Deaf Community" weekly forFCC's decision started by caption- deaf. Portable video equipment isthe two cable television systems in ing 16 hours or programs weekly for used to enable studentsaiid New York City, and makes video-ABC, NBC and PBS last March, and teacher:, to produce their own pro-tapes for in-house training purposesexpects to raise this number to 221/2 grams, using a visual medium loor for circulation to other schools orhours. The most recently added cap- express their visual world. In oneagencies. tioned shows included "Little case, the TV program atthe In the past three years PBS hasHouse on thePrairie","Disney's Tennessee School for the Deaf in distributed an average of five hoursWonderful World", "Diff'rent Strokes", Knoxville was so successful thatper week of programs with "open"The Sunday Big Event", and the WSJK-TV, the local PBS station, in-captions", including a weeknight12 -hour blockbuster "Shogun." troduced a weekly program for the repeat of ABC's Evening News. The support of the captioning deaf, "Signs of the Times", that has Other major PBS series like "Master-service by advertisers has been over- been well received by both deaf at piece Theatre" and "The Adamswhelming. At least one agency hearing viewers. Chronicles" have been distributed Foote, Cone & Belding, Los Angeles In addition, educational institu- in a captioned version. PBS has alsohas adopted a policy of urging all tions for the deaf and deafness provided captioned repeats of majorOT its clients to have commercials research centers are working onspecial events, including presiden-captioned. For more information, television projectsGallaucet tial campaign debates. write: National Captioning Institute, College produces original programs 5203 Leesburg Pike, Suite 1500, Fails in sign language and through itsClosed Captioning Church, VA 22041; telephone and Office of Educational Technology Last March, a system called closed TDD (213) 469-7000. captions commercially availablecaptioning was introduced to com- shows for the benefit of the campus mercial TV. ln contrast to "open"Videodiscs community. (Unfortunately, thesecaptioning used in WGBH broad-Videodiscs may be able to open the services are not available to the non- casts of the news, the closed cap-storehouse of artistic and entert ment programming to trio deaf. The college deaf population ) Callaudet tion line is seen only by viewers University of Nebraska at Lincoln rs also produces instructionalpro- using a decoding device. Encoded grams for community outr.-.,ach subtitles are imposed on line 21 ofthe site of a na' 3nal research proj- projects the TV vertical blanking intervalaect for using videodisc technology Similarly, the National Technicalportion of the screen that does notfor hearing-impaired television viewers. At the same time, the new Institutefor the Deaf (1 Lomb ordinarily contain a television pic- Memorial Drive, Rochester, NYture. The encoded caption material technology will be assessed for its 14623) includes video resources in is transmitted by the television sta-value in delivering instructional and technical education for the deaf tion alor g with the rest of the pro-public television programming Agencies involved on the Lincoln Televisionistreated as a major gram.Itbecomes visible when instructional tool in such areas as decoded by a device incorporated in-campus are the Berkeley Memorial medical tech, ology, mechanical to the viewers TV receiver ViewersCenter /Media Development Project engineering and commercial art.with normal hearing ability will notfor the Hearing Impaired, PBS sta- The programs are often coordinated find the capuons diqruptive sincetion KUON-TV, and the Great Plains with computer-assisted instruction they cannot be seen without aNational Instructional Television Library. systems. decoder. New York University's Deafness Now that the Federal Commu Dance Research Center (80 Washington nications Commission has finallyDance as pure movement in the Square East, New York, NY 10012) isapproved permanent reservation ofabsence of sound is a challenge to also involved in instructional televi- line 21 fo: closed captioning, Sears,choreography. Deaf dancers have sion production. An introductory Roeouck, & Co , is selling a decodingprovided a provocative point of course in sign language, "Speaking attachment for standard TV sets, and departure for dance with their gift of

15 16 March 1981 Arts Accessibility for the Deaf The National Access Center

einonstrating feelings through says the Joffrey program, can chestras ;n Syracuse, New York, facial and hand gestures and fluid provide companies like us with Atlanta and Philadelphia body movements Their sense of future dancers There is no ouestion The technicalities of the sound rhythm is based entirely on the pure that the deaf can achieve a level ofamplification systems is discussed qualities of sight and movement professionalism in dance equal toon page 00 Readers are reminded with only minimal input from vibra- their hearing counterpals if they are that these electronic systems can tions just given an opportunity The deafbenefit or individuals with mild to Two major companies of deaf can develop a special and uniquemoderate hearing impairment They dancers tour the United States. the relationship with music. They don't will not work for the profoundly deaf pioneering professionsgroup interract...they coexist with music." Nevertheless, there are other American Deaf Dance Company The second model projectIli ways to introduce tne profoundly based inAustin, Texas, and the dance for deaf children was done by deaf to music The major technique Gallaudet College Modern Dancethe Rain Island Dance Company inis, once again, interpreters. But for Group. The American Dance Com-Portland, Maine, during a month- music, interpreters of a special kind pany is under the artistic direction of long residency at the Governorare needed Just as dramatic inter- Israeli choreographer Yacov Shaw BaxterState School forthe Deaf The preters are neededintheater, and is the world's first professional residency began with a workshop forspecial music interpreters are deaf dance troupe. Gallaudersthe staff and faculty, and an in-needed in music For instance, con- student dance group, under the troductory workshop for 17- andsider two such disparateinter- direction of Dr. Peter Wisher, has 18-year olds The focus was on highpreters as the "Rock Gospel" group perfcirmed , cross the United States, school and middle school students,at Gallaudet College, and the in Canada and Israel. These two and the month's work ended with a"operaticinterpreter Clarenda companies often develop dancesperformance by all involved The Gaudio at the Miami (Florida) Opera which are not accompanied by totalinvolvement ofstaff and Company. music, thus forcing us to rethink ourstudents and the cooperation be- The Rock Gospelers use a blend conception of dance and to see tween the school for the deaf and the of sign and mime while swaying and dance clearly as an autonomous art dance company is an experienceshaking with the inusic to convey to form, independe-t of its musical worth emulating the deaf audience a feeling of the accompaniment. rhythm and emotion inherent in it There have been few oppor- Resources for Deaf Dance By contrast, Ciarenda Gaudio tunities for dance education for deaf American Deaf Dance Company,uses ballet-like techniques for inter- children. Just recently two excep- PO Sox 339, Austin, TX 78767;preting opera Using her face, body tional model programs for deaf telephone (512) 476-4894. and posture, she communicates children have emerged which make Gallaudet College Modern Dancetempo, rhythm, delicacy, power. and the future for dlaf dance promising Group, Gallaudet College, Kendal'other nuances of music. The Joffrey Ballet in New York City is Green, Washington, DC 20002, In Chicago, a group of contem- hosting an experimental "Ballet for telep hone (202) 651-5361 porary musicians called Foxfire pro- Deaf Children" program whicl- Robert Joffrey Ballet School, 434vide signed and dramatically inter- offers classical ballet techniques Avenue of the Americas, New York, preted music to deaf audiences. Twelve children were selected from NY 10001, telep -lone (212) :04-8520 Fo.,:fire has developed an extremely local schools for the deaf, and the entertaining an., usefu: way of incor- staff includes a total communica- Music porating signing and music for tioninterpreter. Stick figures An interesting experiment in makingeveryone illustrate ballet postures, andorchestral music accessible to the With these companies, the pro- rhythm is taught by beats defined on partially deaf is underway ,n Buffalo, foundly deaf are being helped to the piano The music isquadri- New York, where the city's Phil- experience the full range of musical phonically amplified harmonic Orchestra has beeninterpretation. They are being in- The Joffrey program has beentesting sound amplificationtroduced to music as a language such a success that the staff is con- systems for their fidelity in musicintegral to our societya language sidering merging this class into the transmission Using high frequencywhich sets moods and changes the regular hearing classes under direc-wireless headphones and micro-atmosphere. Much still remains to tionof noted choreographerphones, the orchestra began musicbe accomplished in this field, but Jacques D'Amboise of the New York education classes for deaf children the Rock Gospelers, the Miami CityBallet. Yacov Sham- ofthe and adultsSimilar projects haveOpera Company and Foxfire have American Deaf Dance Companyalready been undertaken by or-shown the directions to take.

16 Merch 1981 Arts Accessibility for the Deaf The National Access Center

The Visual Arts. MUSEUMS AND Meiewski, can provide on 48-hours The visual arts have expel tenced notice sign and oral interpreters tor major stimulus from gifted deafDEAF VISITORS deaf visitors at lectures, programs painters, and two in particular haveAfter the Smithsonian Institutionand tours. gamed worldwide recognition. Mor-made a comprehensive survey of the A similar effort has been success- ris Broderson r, perhaps the mostneeds of disabled students visitingful on the other side of the continent. well known, both in the deaf landmuseums, itpublished the prob-Docents for the Deaf, sponsored by nearing worlds. His work is in thelems and their solutions in the Docent Council of the Asian Art collections of The Museum of FineMuseums and HandicappedMuseum and the Fine Arts Museum Arts in Boston, the Whitney MuseumStudents: Guidelines for Educators. of San Francisco, work wi.h par- of American Art in New York andThe book includes guidelines forticipating docents from the San countless other museums andmuseum programs for deaf students, Francisco Museum of Modern Art in private collections around the world.and the information equally pertains the preparation and presentation of Henry Seldis, art critic of the Losto deaf adults who are not students.museum tours for deaf visitors The Angeles Times, wrote, "It may well The guidelines include instruc-activities of Docents for the Deaf be thathis [Broderson's] forcedtions for 'docents and interpretersrepresent an outstanding example escape from the din of modernityaccompanying deaf visitors; clear of an integrated community effort hay given this enormously giftedlanguage on labels; amplificationsince they are done in cooperation artist a better chance than most todevices; film synopses; and liaisonwiththe San Francisco Senior also eventually still the incessantwith the deaf community. ReadersCenter, the California School for the chattering of the mind" In 1980,who want to know more aboutDeaf and the San Francisco Com- Broderson's work was the subject ofaccommodating deaf visitorsin munity College District. a cover story in the publication Art inmuseums should write foT' a free The Museum of Modern Art America. oversees a program of signed gallery Broderson works a seven-daycopy of the book to The Coordinator, Programs for the Handicapped, Na- talks, walking tours, demonstra- week in his Los Angeles studio, and tional Air & Space Museum, Smith- tions, courses, and lectures for the the startling realer-than-real images sonian Institution, Washington, DC deaf in New York City. Participating he creates in strikingly clear colors 20560. institutions include the American betray the tremendous discipline Museum of Natural History, the and eagle eye of a man who crashed Model Museum Programs Center for Inter-American Relations, through cultural barriers with sheerThe Smithsonian Institution offersthe Japan Society, the N N York talent. interpreted tours ofsix majorBotanical Garden, the New York Hall Robert Freiman does for water-Washington, DC, museums (The of Science, the New York Zoological color and acrylic what BrodersonNational Air and Space M useum, the Society, the South St eet Seaport does for oil. The art critic Rosette C. National Portrait Gallery, the Museum, and the Studio Museum of Lamont describes his work asNational Collec.rion of Fine Arts, theHarlem. The project, developed at "Utterly generous, welcoming, all- Hirshhorn Museum and Sculpture the Museum of Modern Art's Depart- embracing. Under a lyrical, tenderGarden, the Museum of History and surface, one feels the strongTechnology and the National skeleton, the powerful muscles of e.Museum of Natural History) and controlled form" His work is in theeven the National Zoo! The Smith- private collectio,,s of Georgessonian's Coordinator of Programs Braque, Simone Signoret andfortheHandicapped, Jane Tennessee Williams. among others, giving testimony to his international renown The art critic Pierre Rouve said, "Water colours have been all too long a toy for pictorially minded spinsters and spinsterish painters...It is therefore refreshing to see them revitalized by the colourist wealth and virile hand- writing of Robert Freiman, probably the best American watercolourist since John Mann.

17 18 March 15151 Arts Accessibility for the Deaf The National Access Center

audiencewillbring a new ex- merit of Education and funded by the .00 National Endowment for the Arts, is perience to many of your staff and coordi.lated by Sue Yarboff,co- hearing audience who have not founder of the NPw York City Metro previously had contact with deaf Registry of Interp, eters for the Deaf, people. Therefore, it is particularly and Anr Silver, a member of the New important to orient your staff to new York Deaf Cultural Arts Community. policies that facilitate an easy and The following museums provide welcoming atmosphere for all.In- interpreted tours and/or special pro- service courses in sign language, grams for deaf visitors. materials about deafness, and open Jane Mejewski, Coordinato, cf meetings with members of your ad- Programs for the Handicapped,rf%; visory board are a few ways to Srr sonian Institution, Room 1163, heighten awareness of deafness. 911.. affersoh Drive, Washington, DC ARTS The public can be advised of your 20560. new policies through press releases W J. Burbank, Director, Depart-ACCESSIBILITY or printed information. ment of Education, Museum ofFOR THE DEAF It is also important to train staff or Modern Art, 11West 53rd Street, New volunteers who will be associating York, NY 10019. Deaf people and their organizationswith deaf audiences. Training Docents for the Deaf, Asian Art must be involved in an arts organiza- should include not only basic ASL Museum and the Fine Art Museum tion's overall plan for arts activities.and fingerspelling, but also deaf of San Francisco, Golden Gate Park, This involvement is required by theawareness information. You may San Francisco, CA 94118. Endowment's regulations, anc, thewant to have a deaf member of your Ann W Lewin, Capital Children'sjointly planned program shouldadvisory board lead workshops and Museum, 1334 G Street, NW,gradually convert services anddirect you to the best reading Washington, DC 20005. facilities over a three-year period tomaterial on deafness. Reading the Janet Karmen, Director of Special meet the needs of deaf audiences.work of deaf people or listening to Education, Boston Children's The federal mandate of equal oppor- tapes of oral deaf language can be Museuni Jamaicaway, Boston, MAtunity for the handicapped is univer- helpful. Encouraging a healthy inter- 02130. sal, and professionals in the arts are change of ideas with members of the Ellie Rubin, Museum of Fine Arts. well equipped to respond creativelydeaf communit, is the best resource Huntington Avenue, Boston, MAto the social and communicationyou will find. 02115. challenges confronting this new Deaf people have recently Marianna James, Winterthurcivil rights movement. An advisorybecome their own best advocates Museum, Winterthur, DE 19735. board made up of deaf citizens fromand are determined to be part of the Lois Blomsterann, New Britain varying age gri ips and educationalsolution of arts programming prob- Museum of American Art, 56and economic backgrounds will belems rather than the problem itself, Lexington Street, New Britain, CTyour organization's best tool. Deaf people are always pleased to 06050. "Special" programs fdr the deaf,meet people who can converse with Charles Steiner, Metropolitanwhile they may be appropriate on them in their owr, language, and so a Museum of Art, Fifth Avenue at 82nd rare occasions, are generallyknowledge of basic ASL helps over- Street, New York, NY 10028. discouraged since they tend to fur-come initial awkwardness or The Art Institute of Chicago is thether isolate the deaf population.misunderstanding, and establishes first museum inthe country to nere are some cases in which pro-a good rapport between the sponsor- develop a program for deaf and grams a1-e needed to orient deaf peo-ing organization and the deaf com- physically disabled people to serveple to new areas of experience. Inmunity. Assistance with training in as paid lecturers and guides forsuch cases,hearing people arethe form of films, brochures or con- physically disabled persons as well welcome participants. The main pur-sultants is available from The Na- asfor the general public. Deafpose of Section 504, however, istional Association of the Deaf, 814 museum guides are now being equal access to all programs open toThayer Avenue, Silver Spring, MD trained at Gallaudet College underthe public 20910; telephone (301) 587-1788. the direction of Professor Deborah The MAD can also help you locate Sonnesto. The Hirshhorn MuseumInvolve Your Saff deaf leaders in your community is also training a deaf docent to pro- in Awareness Training vide interpreted tours. The presence of deaf people in the

18 19 March 1981 Arts Accessibility for the Deaf The National Access Center

HOW TO DEVELOP interpretedinto sign language accompanied by a deaf consultant A DEAF AUDIENCE work pith tne cultural organiza- tion. Publicizing cultural events to Another direct approachisto develop an audience from the deaf create a newsletter or issue press community requ'res different releases telling what's happening, techniques than for other au- as well as placing news items in diences. In this section, Ann Silver, newsletters serving the deaf com- who serves as a deaf consultant to munity. Feature articles could be several a7ts institutions, explains contributed to deaf publications asa why such techniques are required. means of informing potential audi- Miss Silver designed the sign ences about your programs.. language interpretation logo used And, last but riot least, include at throughout the United States to least one deaf performer in all pro- signify programs that are accessible grams you offer. He or she will be a to deaf and hearing impaired people. tremendous draw in developing a An extremely small percentage of deaf audience. the people in the deaf community Publicity for existing deaf groups enjoy or take advantage of cultural depends heavily on mailers, news- activities independently. Because letters, and bulletin boards at clubs deaf people are isolated by languageunderstand the needs of a deafand organizations' offices. Thus and communication from the hear- audience. publicity is critical for any group try- culture, they have become In addition, it is always -ielpful to ing to develop a deaf audience and it accustomed to enjoying their ownestablish a committee or board of must be planned well in advance of form of cultural entertainment atadvisors of popular deaf personsan event Without publicity and a full their deaf clubs. Popular deaf enter-with strong community ties. Thesecommunkatton network, the deaf tainment, known as "deaf culture", people can provide representationare handicapped communicatively, includes skits, one-man perfor-for their own community and helpnot physically! mances, deaf folklore and humor, rally support when needed. Having planned a course of pro- films with subtitles or captions, Without community support nomotional activities, the next step is crafts, card playing, and bingo.program will get far. Whenever atowriteitina manner easily These clubs are the core of the deaf cultural arts committee meets withunderstood by deaf people. For deaf community's existence, and oftendisability groups for advisory orreaders, always keep th,_ language become almost a second home forplanning meetings it should focussimple and to the point. Avoid com- many of the members. on one group at a time and no plex sentences with dependent A frequent mistake made by arts attempt to mix two or more disability clauses interrupting the straight organizations is to provide programs groups together. Deaf people canflow of words and events that are too sophisti- discuss their needs and problems Include as mucn information as cated for the tastes of a deaf audi- clearly and comfortably and addresspossible in the text. Be sure to give ence. Deaf people rely heavily onthe arts group through an inter-the following. Location, how to get visual entertainment, and are not preter, but it takes a little more timethere, time and date, admission fond of lectures that have little or no than with hearing people. Thus theirprice and relevant discounts, graphic backup. The more action, ,Meetings should not be distractedavailability of a sign language inter- the better. More deaf people would by discussion of the problems andpreter, what to bring, and a TTY attend a King Tut exhibit than aplans of other groups' disahilitie.s. phone number for information. lecture on the classicr-.onetary To reach the deaf community, an A TDDITTY is to the deaf what a crises of 14th-century Hugenots. arib organization must try severaltelephone is to the Gearing. It is a To avert situations in which pro-approaches. A direct route is to put small version of a teletype machine, grams may be beyond the range of a onslide shows (called "sneakand when attached to an ordinary prospective deaf audience, apreviews") at deaf social clubs or attelephoneitwilltransmit typed cultural organization should have a meetings of deaf organizatirms. Themessages between stations. The deaf person to serve as a consultant, slides should be accompanied by aTTY and sign language interpreta- advisor, or liaison with the deaf com- popular deaf "word-of-mouthtion are the deaf community's most munity. Such a person will know and spreader", or if spoken, it should beimportant technical services. You

20 19 March 1981 Arts Accessibility for the Deaf The National Access Center

can obtain information about eacnhoning before the show opens You type of service from the followingmust avo:d a "ping pong" effectDESIGNING ARTS sources. where the deaf people swivel theirACCESSIBILITY Contact your localor stateheads from side to side, and youFOR THE DEAF chapter of the Registry of inter-must ensure that the interpreter is preters for the Deaf (RID), or theadequately lighted. If possible, pro-The barriers that deaf and hearing national of lice of RID c/o National vide a synopsis and make full smpts impaired people have to overcome Association of the Deaf, 814 Thayeravailable for those who want to readare related to communication Thus Avenue, Silver Sphng, MD 20910. For the play beforehand. A.S when adapting environments to deaf TDDITTY informationcontact audiences, the emphasize is on max- Telecommunications for the Deaf,Accessibility to Theater imizing thevisitors'safety and Inc., at the address above. EachPrograms for Deai People minimizing their discomfort and group can be reached at TTY (301) The Theatre Script Center for the inconveniences. 589-3006, or (301) 388-4605, voice. Hearing Impaired in New York City Functionally this means that When sending articles to deafcontains a collectionofscriptsfacilties should be adapted to con- publications, be sure to keep thedonated by the producers of current veyinginformationvisually.This stories short and simpleIncludeBroadway plays. Deaf and hearing includes safety considerations. In photographs wnenever possible toimpaired theater patrons may read addition to the basic visual accom- make the articles visually more in-these scripts at the Actors Equitymodations, it would be helpful to teresting.Itis also a smart ideareading rooms at 1500 Broadway, redesign the acoustics and install a to pl ice an advertisement for yourThe Script Center is a nonprofit hearing amplification system for the program in the publications. organization advised by a board hearing impaired people with ade- Publicity materials should carryrepresenting the theater communityquate residua! hearing. the sign language interpretationand organizations and schools serv- The five key areas for design are: logo whenever it is applicable. Theing deaf and hearing impairedvisual cueing,lighting,fire and deaf community in major cities ispeople. The Script Center is also ex- emergency warning, acoustics. and already identifying with the logo andperimenting with audio-amplifi- hearing amplification. its use is spreading across the coun- cation in Broadway theaters. For in- try in an effort to end communica-formation: Ann Brownstone, Theater Visual Cues to enhFoice iion isolation. Naturally, the logoDevelopment Fund, Inc ,1501 Broad- The design options visual interpretation of the environ- should not be used inpublicity way, Suite 2110, New York, NY 10036. unless there is going to be an inter- ment are: preter present at the event In addi- Provide graphic systems of clear tion to publicity materials, the syiti- unadorned letters displayed in bol can be used on programs, en- light colors against a dark field. trance doors, calendars of events, ID The sign should show direction, badges worn by interpreters and room numbers and functions of coordinato-s, information desks, space and should be displayed at and on reserved seats. prominent locations Seats are important to the suc- Provide cleat lines of vision to cess of deaf people's enjoyment of a interpreters and visual displays. performance. Front seatingis Identifyallrecessed services necessary to reduce the distance be- such as water fountains,rest tween the interpreter and the deaf rooms, or telephones with visible audience. Interpreters should be overhead signs. positioned higher than the audience caption films and other audio- so tt at the signers can ~e seen from visual materials. the waist up. For lectures, interpreters should Lighting stand next to the lecturer. For plays, Provide glare-free lighting. several considerations prevail, Assure lighting of interpreters depending on the theater configura- with a shadow4ree diffuse light of tion, set design, and seating. A deaf high illumination. Special lighting consultant and an interpreter should fixtures, possibly portable, may be brought in to work out the pose be needed in rooms which are 21 20 March 1981 Arts Accessibility for the Deaf The National Access Center

darkened for media presentation addition, hearing loss is often con- which can cause problems with or spot-lighted events. centrated;n particular frequency hearing aids. Provide elevator light signals that ranges. are visible as well as audible. Reduction of noise interferenceHearing Amplification Locate signals in direct line ofand control of frequencies of sound,Amplification systems can be used sight. both significant aspects ofto allow a hearing-impaired person Provide round or oval tables forenvironmental design, can beto use his residual hearing by in- group discussionsto improveaccomplished with these steps. creasing the level of sound in his ear. sight lines among all participants. The systems now in use are compati- Soundproof the premises. ble with most theater sound Insulate heating and ventilationsystems and include: Fire and Emergency ducts. Warning Systems Wireless listening system.!r- Suppress noise from mechanical Since alarms and emergency equipment by floor and wall stalled in the Kennedy Center's sionals are of little use to the deaf Eisenhower Theater in Wash- insulation. unless accompanied by visual cues, ington, DC, and several Broadway th., vincipal elements of such a Regulate airflow velocities to con- theaters.rtvz system transmits system should include: trol turbulence-induced noise. sound, in the form of invisible Emergency telephones designed Reduce electrical interference. infraredlight, from the stage to summon help whether or not a Install anti-static carpet (or treat to patrons wearing light head- spoken message is transmitted, existing carpet) to control build- phones. i.e.,lifting the receiver or up ofstatic electricity that Audio loop system. The sound activating an alarm will summon interferes with hearing aids. from the stage is picked up by an aid. A visual display panel lighting Provide increased humidity to amplifier and is fed into the loop up when an emergency call is re- minimize static electricity. encircling the auditorium. The ceived and relaying the message, signals are picked up by tele-coils "Please Be Patient. Help Is On Control frequencies oftrans- in hearing aids. Installed at the mitted sound. The Way," would be desirable. Walnut Street Theatrein Elevators provided with "Help Is Avoid ultra-high-frequency sound Philadelphia. On The Way" signs that light security systems and low-cycle "Cinema-Radio." An AM receiver when stalling occurs. electric transformers, both of type of system for hard-of-hearing Visual fire alarm systems with film spectators that can be pur- high-intensity flashing lights chased in electronics stores. should be installedinpublic Infrared listening system. Invisi- areas. Since rapid high-intensity ble infrared light transmits sound flashes are suspected of causing seizures, the flashes should not exceed five per second, accord- ing to the American National Standards Institute's manual ANSI A117.1. Installvariable-intensity fans wired into tne fire alarm system so that the high-speed air flow setting serves as a fire warning signal. Lower speeds can be used for communicating other mes- sages to deaf or blind people. Acoustics Reduction of background noise is important because rnany oeaf peo- ple havA some residual hearing, and many wear hearing aids. The lowered noise level improves the in- telligibility of the speech signal. In 22 21 March 1981 Arts Accessibility for the Deaf The National Access Center

from stage microphones to Information on making all newHOW TO REACH patrons wearingspecial hee- constructionfullyaccessible to sets. Installed at the Barrymorehandicapped persons is provided inDEAF PLOPLE and Lunt-Fontanne Theaters in 7 he American National StandardThe reg;. lations in Section 504 of the New York City, and inseveral Specifications fur Making Buildings Rehabilitaton Act encourage aris other theaters across the country. and Facilities Accessible to, andorganizations to seek the help of Usable by, th9 Physically Handi- The comparison tests being con- local deaf people when planning capped (ANSI A1171-80). These stan- ducted by the Buffalo Philharmonic accessible arts programs. Real in- dards are available from thenovations in program and facility Orchestra should clarify theAmerican National StandardsIn- design only occur when deaf and usefulness of the various audiostitute, Inc., 1430 Broadway, New amplification systems, and in this hearing groups work cooperatively. York, NY 10018. sense they can serve as a model for To locate deaf people in your com- You may use other standLrds ifmunity, contact the following other cultural institutions such asequivalent access if provided. theater, ballet, opera, and cinemas. national and regional consumer and The Buffalo Philharmonic Or-Design Bibliography service groups that are run entirely chestra will send inquirers a copy of Anders, Gustavo, Ed., Disability & by deaf people. National Association of the Deaf, the comparison tests. Write toHousing Needs, ;CIInformation Charles Burdett, Coordinator,Centre, Fack, S-161 03 Bremma,814 Thayer Avenue, Silver Spring, MD 20910. Buffalo Philharmonic Orchestra, Sweden, December 1975. Alexander Graham Bell Associa- Philharmonic House, 26 Richmond Barone, L., and Wood, Lyn, An tion for the Deaf, 3417 Volta Place, Avenue, Buffalo, NY 14222. Introduction to Design For The Deaf. Butand thereis a outarts NW, Washington, DC 20007 An Information Center, Design Gallaudet College Alumni administrators should be wary ofCenter for the Deaf, Environmental salesmen who tell them that all theirDesign Department, RocnesterAssociation, Gallaudet College, Kendall Green, Washington, DC compliance problems in assuring Institute of Technology, 1976. access to the arts for the hearing im- Designing for Deaf and Hearing 20002. Registry of Interpreters for the paired will be solved by purchasingImpaired People, Gentle on Environ- an audio amplification system.ment for the Handicapped, 125 Deaf, PO. Box 1339, Washington, DC These systems are virtually useless Albert Street, London, England. 2001:4. for the profoundly deaf. For these ,;lhnson, Donald D., Ph.D., and National Fraternal Society of the three million people, nothing can William E. Castle, Ph.D, Eds., INFO Deaf, 1300 Webt Northwest Highway, replace a sign language interpreter. Series 2, Equipment Designed toMt Prospect, IL 60056. Improve the Communication Skills Design Inform:lion of the Deaf. Department of Health Sources Education and Welfare, May 1976 Two organizations provide informa-(Available through Public Informa-HOW TC LOCATE tion about specific design optionstion Office, Rochester Institute ofDEAF ARTISTS that will accommodate the needs ofTechnology, One Lomb Memorial American Deaf Dance Company, deaf people. Drive, Rochester, NY 14623). The Design Center for the Deaf, Morgan, Michelle, Notes on P.O. Box 339, Austin TX 78767. Rochester Institute of Technology, Design Criteriafor People viithOffice of Public Sen.es, Gallaudet Rochester, NY 14623. Deafness, Yearbook of SpecialCollege,KendallGreen,VVashington, Breaking Through the Deafness Education, 1977-78, pp. 271-290. DC 20002. Barrier Advisory Committee, Dick P. Wadsworth, Raymond H. AV Beyond Sound Production Unit, Hoke, Coordinator, GallaudetTechnology Abounds in New Facil- National Communications Founda- College, Washington, DC 20002. ity for Deaf, AS&U, July 1975, pp.tion, 6253 Hollywood Boulevard, I- addition, current information 43-46. Suite 1019, Hollywood, CA 90028; on audio-visual warning systems for Wood, Lyn, and Barone, Larry, (213) 4:718181. buildings that serve handicapped Educational Facilities for the Hear- The New York Deaf Cultural Arts people can be obtained from. ingImpaired: Considerations for Community, c/o Ann Silver, 112 East The Compliance Director, Architec-Plannings and Design, Design 19th Street, New York, NY 10003. tural and Transportation BarriersCenter for the Deaf, Environmental Two nonprofit agencies will put Compliance Board, Washington, DC Design Dept., National Technicalyou in 'ouch with deaf performing 20201. Institute for the Deaf, 1976. artists.

22 23 March 1981 Arts Accessibility for the Deaf The National Access Center

Elizabeth House, Actor's Ad- vocate, The National Theater of the MATERIALS Deaf, 305 Great Neck Road. Water- AVAILABLE FROM ford, CT 06385, telephone (203) 443-5378 The NTD publis,nes the THE NATIONAL Deaf Players' Guide, $3. A=MICIMM ACCESS CENTER Betsy Fcrd, D.E.A.F. Media, 401 East 21st Street. Oakland, CA 94606. E 504 and the Visual Arts Li 504 and the Ferforming Arts CI Arts for the Blind and Visually Impaired Funding Sources HOW TO REACH New Programs and Facilities DEAF AUDIENCES 0 Access (newsletter) Pubiications read by deaf people For copies: National Access Center, and newsletters of deaf clubs can be 'ME D 1419 27th Street, NW, Washington, used for arts programs. Local and state associations of the deaf will DC 20007; telephone (202) 3311712, r TTY (202) 333-1712. provide information and addresses of these publications. Project...m...IM D.A.T.E. at the Mark Taper Forum offers consultation on advertising dit7P CCP and building an audience in deaf Ca> CZCP. communities. The major publications andb 413214 402' audience-building resources are: Timothy Johnson, Director, Project D A.T.E., Mark Taper Forum, 135 North Grand Avenue, Los Angeles, CA 90012 The Silent News (national periodical), 193 Main Street, Lincoln Park, NJ 07035. The Deaf American (national periodical), 814 Thayer Avenue, Silver Spring, MD 20910. Gallaudet Today (alumni publica- tion), Alumni/Public Relations Office, Gallaudet College, Kendall Green, Washington, DC 20002. The American Annals of the Deaf, 5034 Wisconsin Avenue, NW, Washington, DC 20016. 504 and the Performing Arts and 504 and the Visual Arts (the National Endowment's free publications on accessibility), National Access Center 1419 27th Street, NW, Washington, DC 20007; telephone (202) 333-1712. Access (newsletter, every This report is supported by a second month) National Access contract from the National Endow- m...... "'''...... nter, 1419 27th Street, NW, Wash- ment for the Arts in Washington, ington, DC 20007. DCa federal agency.

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