Checklist aftercare and feedback

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Do curso por Universitat Autònoma de Barcelona

Accessibility to the Scenic Arts

1 classificação

Universitat Autònoma de Barcelona

Accessibility to the Scenic Arts

1 classificação

Is your show accessible? When we ask about accessibility to shows, most people think about access for wheel chairs: the sitting arrangements and where their WC is accessible. When we ask for more details, people usually think about producing a show where persons with disabilities are performing, for example producing a show where there is some dancing with people on wheel chairs. Accessiblity for us is a comprehensive concept that goes from purchasing a ticket through an accessible website to catching the bus back home after the performance on accessible public transport. Accessible webs, accessible web content, accessible transport, subtitling, audio description... the possiblities are endless. Why is this course useful? To make the venue and the production accessible to all citizens, and specially to persons with disablities. The course will go through the many accessible services you can offer, and how to implement them in your venue or your production. The final aim is to mainstream accessibility so all people have equal access to culture.

Na lição

MANAGEMENT

In this unit, the participants learn about managing accessibility in a cultural venue or on a cultural event. They learn to plan and coordinate, they learn to communicate about accessibility and gather user feedback to be able to look into some aftercare. While managing these things they also think about solving conflicts and managing a team of coworkers. In the different learning materials of which the unit is composed, the participant is presented with charts to help managing the accessibility and with tips and tricks to do so via reading materials and video lessons.

Introduction2:05

Organization chart3:38

Checklist select production3:28

Checklist external arrangements5:13

Checklist internal arrangements5:30

Checklist communication3:35

Checklist aftercare and feedback4:29

Collecting and analyzing feedback5:12

Coordination and unexpected problems8:11

Examples of add-ons4:24

Managing a heterogeneous team2:44

Training your team1:44

Conheça os instrutores

Pilar Orero
Titular de universidad
Área de Traducción e Interpretación
Sharon Black
Research Fellow and Tutor in Translation and Interpreting
Queen's University Belfast
Anna Matamala
Profesora
Dept. de Traducción e Interpretación y de Estudios de Asia Oriental

Up till now, in our organizational roadmap,

the focus aimed at arranging accessibility behind the scenes of your venue and making

arrangements with professionals outside and colleagues

inside of your organization to ensure full accessibility.

We also focused on communicating to an audience that

your cultural organization is putting up a fully accessible production or event.

We also read about the procedures.

The box office has to keep in mind when booking tickets for the people with a disability.

Of course, it is also necessary to pay attention to

some aftercare and to ask feedback from your audience,

especially the target audiences that were present at your production or event.

From your external and internal colleagues,

the following plan helps to organize this aftercare.

Firstly, you can get or ask feedback from the audiences you reached.

Don't overlook feedback received from the general audience.

They can provide you with interesting information from their point of view.

As for your target audiences,

actively ask them to evaluate the performance or event.

With the help of this feedback,

you can improve your future fully accessible productions or events.

Next important part of the aftercare,

you can inform target audiences when new accessibility initiatives pop up in your venue.

Secondly, you could actively ask for feedback from the external people you worked with.

Think of the personal or group companions,

the audiodescribers, the surtitles,

the supplier of the hearing loop,

the sign language interpreters,

the supplier of the vibrating chairs,

and the supervisor of the people who are mentally challenged,

and the people with an autism spectrum disorder.

Of course, you have to make arrangements to follow up

the invoices from the external professionals and make sure these are getting paid.

Finally, you can end with

an internal evaluation of the fully accessible production or event.

Do this with all the colleagues you collaborate with.

Think of the box office,

the front of house manager,

the education department or public outreach department,

the production manager, the stage manager,

and the colleagues from the communication department.

All the information you got from the general and

target audiences and the external colleagues can be

discussed with your internal colleagues to improve

future fully accessible productions or events.

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