8.4 million of the total UK population have a hearing loss. It is likely that out of the potential audience for museums and galleries, 17% may have some degree of deafness. The figures for deaf museum visitors are unknown but is likely to be less than 17%; this may be at least partly be attributed to a lack of accessibility. Whilst the visual arts might appear to be an area in which a visitor would not be hindered by a lack of hearing, research and experience has proved otherwise. The majority of visitors benefit from additional interpretation aids, such as audio systems explaining the objects found in front of them, adding further meaning and understanding to the images and artefacts. This same additional explanation is also required by deaf visitors, in much the same way as hearing visitors, yet systems such as audio guides are obviously unsuitable. And it is not just in terms of providing information in a way appropriate to deaf visitors: the entire museum experience needs to be considered in terms of its deaf-user friendliness, from staff attitudes and abilities, to how the gallery is laid out, and how events are handled. With the Disability Discrimination Act 1995 (as reported by Rebecca McGinnis in issue 5), access for all is clearly a key issue to be considered (see Case Studies for details).
Making museums accessible is desirable not only because of changes in the law which make it a requirement to make buildings and information accessible, but also as it will enable museums to reach new audiences, not to mention their friends and families. However, research has shown that disability access has been primarily considered in terms of wheelchairs – ignoring not only that considerations other than the purely practical are important, but also that there are other types of disability. Deafness, in fact, is the second most common ‘disability’, after mobility disability. It, however, is often invisible (unless a hearing aid, not worn by all deaf people, is visible) and so is often overlooked. Secondly, it is important to understand that deaf people differ in the following ways:
- The amount they can hear
- The way they hear
- How long they have been deaf
- The age at which they became deaf
- The cause of their deafness
- How they communicate
- The amount of support they have
- How they view themselves and their deafness
For issues of basic communication, it is vital to be aware of these differences.
The main different groups of deaf people are as follows:
- Deaf
Deaf people are those (generally) who have been Deaf from a very early age or from birth. Often they use some form of signing, usually British Sign Language, which may be their first language. Many therefore view themselves as being part of a cultural and linguistic minority and not disabled in any way, hence the capital “D” in the adjective Deaf.
- Deafened or oral deaf
Deafened and oral deaf people usually do not use any signing, and their first language will generally be English. They may disassociate themselves from those who are part of a cultural and linguistic minority. Hearing aids may not be much help. Speech-to-text is generally more valued by this group, so transcripts may be useful.
- Hard of Hearing/Hearing aid users
A very wide age range of people within this group – from young children to elderly people. Those in adulthood tend to be losing their hearing through exposure to noise or as a result of ageing, and require hearing aids to enable them to use hearing and speech to communicate with others.
Staff
Another important consideration is staff, both in terms of:
- Their attitude towards deafness/hearing loss
- Their knowledge of and familiarity with special equipment and resources.
The first point is extremely important in making the museum or gallery deaf-user friendly so that all visitors, whatever their hearing status, feel comfortable and welcome. Research has shown that deaf and hard of hearing people report surprisingly similar responses from staff. Staff has often been found to respond negatively, with incomprehension or nervousness instead of being calm and measured. A basic amount of deaf awareness training for those staff who deal directly with the public has shown to be highly effective in correcting this, giving individuals the understanding and competence necessary to communicate effectively with a deaf visitor (see case studies). For instance, they will be made aware of simple factors which are vital for good communication which include:
- Keeping still when talking
- Being brief
- Sticking to one point at a time
- Ensuring that your face is well lit
- Maintaining eye contact
- Standing at an easy distance
- Speaking clearly without shouting
- Ensuring your mouth is not obscured – so that lip-reading is possible.
There are also a number of points, which are important to be aware of relating specifically to this last point: lip-reading:
- Facial expression is important
- Speaking too fast or slow is unhelpful
- Accents can be difficult
- Gesture is helpful
Accessibility
Making the venue practically accessible is also important. This may be in terms of technical equipment such as:
- Amplification systems which amplify the speakers voice, thus increasing the efficiency of hearing aids
Useful in lecture theatres (often as a fixed induction loop round the room). Also available in portable systems, allowing group mobility around a gallery space.
- Phones with visual text displays (textphones/minicoms)
These allow deaf people to make bookings and enquiries without using an ordinary audio phone. A very popular method of communication throughout the deaf community.
- Fax machines
As above.
- e-mail facilities
Another useful method of communication, becoming increasingly popular.
- telephone with enhanced volume
Check whether your public phone has an amplifier. (Minicom pay phones are also available.)
- fire alarm with flashing lights
Essential for the main public area. Also check that health and safety protocol includes deaf visitors.
As well as staff who are trained to use this equipment competently.
Adjustments can also be made to the museum or gallery building to make it more deaf user-friendly:
- Good lighting
to enable easy lip-reading, a good, even and diffuse lighting without shadows is best
- Blinds at windows
these cut out dazzling sunlight without making the room dark, giving good
lighting conditions for lip-reading
- Clear labels, unambiguous signs and arrows
easy-to-comprehend signs help support customer flow round the venue
- Colour schemes
good backgrounds are important to lip readers
- Acoustics need to be considered – and the possibility of sound proofing
As many of these factors are primarily visual many museums may already have incorporated these elements into their displays. Alternatively, galleries may have quite a specific visual conditions which do not meet the needs of a deaf audience yet suits a particular exhibition. In cases such as this it may be possible to focus on ensuring a deaf user-friendly reception area.
Permanent and Temporary Displays
Whilst the points above should be taken into consideration for all parts of the museum or gallery, the factors which follow are specifically useful to incorporate in both permanent and temporary displays:
- Ensuring the exhibits are interactive and visual
- Making the sound systems audible for hard of hearing people
- Subtitles for a picture or video show
- Transcripts made available for the spoken programmes on hand-held phone sets (elaborating a particular exhibit or display)
- Details available of sound effects and sound tracks used to “bring to life” certain rooms or displays. (This could take the form of a handout given at the beginning of an exhibition covering all the audio elements, which a deaf person may miss.) The availability of these last two interpretation materials should be clearly advertised within the museum entry space, to ensure that they do not go unnoticed by deaf visitors who may benefit from them.
Events
As well as making adjustments and improvements to the more permanent features of museum life – staff, the building, equipment – many venues have found that introducing specifically deaf events have proved invaluable in actively encouraging in this new audience. Issues to be considered when organising an event include:
- Organising a sign language interpreter
- Providing a “welcomer” who can communicate comfortably with all types of people
- A lipspeaker or a speech-to-text screen, if the event is aimed to include deafened and hard of hearing people
- Adequate lighting to be able to see the guide or the interpreter, whilst not damaging the exhibits
- Managing the customer flow so that the group of Deaf and hard of hearing
- People are not intruded upon or are not intrusive themselves
- Ensuring that the Deaf group have clear, uninterrupted sight-lines to enable them to see the Guide
- Synopsis or script available for talks or lectures
Special events for specific groups, such as an organised trip for deaf school children, may be encouraged and catered for. However, when organising special events (a signed interpreted talk, for example), it is important to consider which type of deaf-user group is being targeted in order that those specific needs can be met effectively. For instance, a BSL (British Sign Language) interpreter is most appropriate for a Deaf group (see definitions above), whilst transcripts or loop system (see Accessibility section above) are a better choice for hard of hearing visitors. (To find out more about how to find out which group is best to target in your area, contact Deafworks for advice – see address below.)
Publicity for the Event
Publicity is obviously needed as for any event. For specifically deaf events, ways of reaching potential deaf visitors should be considered.
- Advertising in the Teletext magazines, such as Channel 4’s “Deafview” (p685) or BBC2’s “ReadHear” (p641 – 645)
- Advertising in specialist magazines like the British Deaf News and One in Seven
- Joining MAGDA (Museum and Gallery Disability Association) for information
- Developing a mailing list of regular Deaf patrons
- Creating a network of Deaf influencers to pass on the word
- Setting up consultations with Deaf and hard of hearing people, using an external Deaf consultant, to achieve changes with the minimum of expenditure.
Outline for proposed Case Studies
National History Museum
Deaf Awareness for all staff as part of consumer care programme.
Serpentine Gallery
BSL interpreted talks.
Issue of mixing deaf and hearing audiences.
Contact: Vivien Ashley, Education Officer.
Royal Academy
BSL interpreted talks.
Exclusive deaf-only evenings.
Contact: Lucy
Whitechapel Gallery
Deaf Artists and Practitioners Group.
Contact: Kate Griffin.
British Museum
Adapting “Eye Opener” talks for both deaf and hard of hearing visitors with interpreter and loop. Tourist talks on permanent exhibition.
Contacts: Susan Harrison/Joan Cook.
National Maritime Museum, Greenwich
Lively, hands-on approach for deaf-only audience.
Contact: Jane Dewy.
Victoria and Albert Museum
Deaf artists invited to give talks related to their specialist interest/knowledge.
Conclusion for Case Studies…
- The deaf-friendly policy generally reflects the overall policy of the museum/gallery. For example, the RA having exclusive evenings, the V&A inviting artists to speak.
- Main lesson to learn: do not adopt a policy or type of event that you do not feel comfortable with.
- Whatever approach is adopted must be appropriate to the venue as well as to the deaf audience.
Overall Conclusion
Claire Callow is a freelance arts journalist, here writing on behalf of Deafworks, an organisation which provides a wide range of services including deaf awareness training and advice on access for arts venues. For further details contact Nicholas Callow.
Deafworks Director, Laraine Callow, is currently compiling a Deaf Awareness Guide.
For details of how to contact interpreters (for gallery talks) see the CACDP directory. Also contact RNID Head Office for your local communication unit. Also check out your local independent interpreting service, via Social Services.
