Hello everyone and welcome to this video tutorial on the practical steps involved in providing sign language interpreting at arts events. The general steps already outlined in the two videos you watched at the beginning of this unit on ensuring inclusion for all apply to events with sign language interpreting and are therefore not repeated in this video. As with the other access facilities already presented, the tasks outlined in this video fall into five general categories: scheduling, working with sign language interpreters, fulfilling the technical requirements, spatial organisation and navigation, and communication and training. Firstly, when booking dates for your show with sign language interpreting, it�s important to make sure that the sign language interpreters will have the opportunity to see the production at least twice in advance and with sufficient time to prepare and do script checks. Your next task will be to book the sign language interpreters at least six months in advance of the show. You will need to think about how many interpreters you will need and whether you will need to provide sign language interpreting in more than one language, such as British Sign Language and Irish Sign Language in Northern Ireland. It is essential that you send the sign language interpreters a script and a DVD of the show and arrange dates for them to see the production at least twice in advance of the event. You could also arrange to record a video of the sign language interpreter signing information related to the event and then post the video on the event or venue website. As regards spatial and technical considerations, make sure the sign language interpreters, technical staff, particularly the lighting technicians, and creative team, in particular the performers, know where the interpreter or interpreters will be positioned on the stage, and whether they will need to step back or forward at any point during the performance avoid collision with the performers. If the interpreters are positioned close to a small group of audience members, they should not be seated alongside them in fixed seating, but rather they should be able to face audience members when signing. In addition to identifying the seating areas with the best view of the sign language interpreters and the stage, you should also be aware that patrons with hearing dogs may prefer an aisle seat. It is crucial to make sure that the lighting technicians know that the audience needs to see the sign language interpreter clearly, particularly their face and the top half of their body, and that they may need a spotlight, including on occasions when the rest of the stage is in darkness but if there is speech which needs to be interpreted. It is also essential that the stage managers, production team and performers know that the sign language interpreter will be on the stage and may require a spotlight. Lastly, a technical requirement for patrons who are deaf or hard of hearing is to ensure that you have a hearing loop system installed in your venue, that it is checked regularly and that signs informing patrons of the hearing loop system are displayed prominently. As for communication and training, in addition to the steps outlined in the first video on ensuring inclusion for all, it�s good practice to reach out to people who are deaf or hard of hearing by promoting your event using a range of media, such as social media, TV, the press, via user associations, online groups, and printed on tickets. Bear in mind that you should provide accessible information on alternative methods for patrons to contact you other than by telephone. Moreover, it is important to provide information and assistance on getting to the venue. When it comes to training, why not arrange for venue staff to learn some basic sign language so you all can communicate directly with your customers who are sign language users? For guidance on what to do on the day of the performance refer back to the second video on ensuring inclusion for all.
