How to Hear and Feel a Ballet Performance

On three dates this spring, Aalto Ballett Essen is offering, among other things, a pick-up and chaperone service as well as live audio description via headphones. The three audio describers, Jutta Endes, Johanna Krins and Felix Koch, prepared a script for the performance in advance, which describes to the audience what is happening on stage. Jutta Endes will read it out during the performances. She will have a clear view of the stage from a commentary box. Should something untoward occur or the normal program be disrupted – for example, if a dancer takes a fall – she can react spontaneously and adjust the audio description accordingly. This allows partially sighted or blind people to participate in the events happening on stage. Two hours before the performance, they can participate in a touch tour and walk around on the stage. During the tour, they can run their hands over props, parts of the set or costumes such as Carmen’s red dress or ballet shoes. In addition, tactile floor plans give them an impression of the stage design. 

To assess how well the inclusive concept is received by the target group, Aalto Ballett Essen is collaborating with the research unit “Vision, Visual Impairments & Blindness” at TU Dortmund University, where Dr. Regina Moritz is conducting research within the KUBUS project on cultural participation among blind and partially sighted people: “In the past, we primarily looked at access to culture in museums,” she reports. Then she read in a newsletter about the production at Aalto Ballett Essen and asked herself: “If we’re already conducting studies on museums, why not in the performing arts as well?”

Expectations were surveyed using a questionnaire

To find out what blind and partially sighted balletgoers want and expect, the researchers developed a questionnaire. In it, they ask whether and how the touch tour and audio description services made the ballet experienceable for them. At present, there is still little research on blind and partially sighted visitors in a cultural context that incorporates the perspectives of the people concerned. “In the future, such standardized surveys could help cultural institutions to systematically review their services in terms of barriers and accessibility and to adjust them in the best and most efficient way,” explains Dr. Regina Moritz.

The joint project with Aalto Ballett Essen will run until the final performance with audio description in June. “Above all, I’m hoping for answers to the questions: Are these services worthwhile – for everyone involved? And what else can be done to make sure they are worthwhile?” explains Dr. Regina Moritz. In her opinion, there is currently still little awareness of how simple and straightforward it is for cultural institutions to put inclusive services into practice and that these services can also offer added value to other people. “In fact, creating access via several sensory channels appeals to everyone and vastly expands an institution’s cultural offering,” she says in conclusion.

Further information about the ballet “Carmen” (in German only)

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