Participatory accessibility:  Creating audio description with blind and non-blind children

Giovanni, Elena Di

doi:10.47476/jat.v1i1.50

Cited by 13 publications

(8 citation statements)

References 5 publications

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“…More specifically, we can state that MAR within translation studies has recorded a departure from privative, or even segregationist (Gossett et al, 2009) notions of accessibility: this can be traced in the writings of Gian Maria Greco (2016) where accessibility is seen as a basic requirement for the respect of human rights, in those of Remael and Reviers, where media accessibility is related to accessible design (2019), but also in the notions of coaccessibility (Okyayuz & Kaya, 2020), participatory accessibility (Di Giovanni, 2018) and creative media access (Romero Fresco, 2021). Although applying various methodologies and using slightly different terminology, all these writings converge on the move from traditional accessibility to inclusion and inclusive practices, where people are at the core, with their host of diverse sensory abilities that thus become assets, not barriers.…”

Section: The (R)evolution Of Accessibility: From Barrier-centred Appr...mentioning

confidence: 99%

“…In the past decades, theatre studies, as well as the very practice of theatre-making, have moved rather steadily towards audience participation at numerous levels (Di Giovanni, 2018). This participatory thrust has many reasons behind it: to expand audiences and boost outreach, to diversify and innovate productions, to stimulate new forms of engagement and reception.…”

Section: Introductionmentioning

confidence: 99%

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Inclusive Theatres as Boosters of Well-being:

Giovanni

Raffi

2022

JAT

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With the surge in media accessibility studies, researchers have explored the possibility of using psychological indicators to study modes of production, consumption, and reception of audiovisual and accessible media texts. However, most of the methodologies and measures applied so far tend to evaluate perception and/or reception in the short term, i.e., immediately after viewing media texts or attending live performances. This article moves from previous articles on inclusive theatres (Di Giovanni, 2021; Raffi, 2021) and sets forth to evaluate individuals’ reactions to inclusive activities in the medium to long-term. To this end, the concept of well-being becomes central, along with some of the measures and tools so far employed to measure it outside the realm of accessibility studies. Lay summary Media accessibility is the research area dealing with the theories, practices, and instruments that provide access to media products, services, and environments for people that cannot, or cannot properly, access that content in its original form. Media accessibility research has truly blossomed in the past years and has welcomed new, often not-so-close theoretical and methodological approaches. More recently, researchers have explored the possibility of using psychological indicators to evaluate perception and/or reception in the medium to long-term, i.e., the medium to long-term effects of inclusive practices in theatre and other media experiences. To this end, the concept of well-being becomes central, along with some of the measures and tools so far employed to measure it outside the realm of media accessibility studies. This article moves from previous studies on inclusive theatres, which place the people and their diverse abilities at the core, to prove that it is time to move beyond the well-established practices of feedback collection immediately or soon after a performance or event. By reporting on a two-month experiment with young people with sensory disabilities who were trained to be inclusive guides in theatres, our aim is to reflect on the impact of such events, and of participation, on people’s lives in the medium to long-term.

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Section: The (R)evolution Of Accessibility: From Barrier-centred Appr...mentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Inclusive Theatres as Boosters of Well-being:

Giovanni

Raffi

2022

JAT

Self Cite

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“…Indeed, as we indicated above, MA has seen a shift from maker and accessibility expert-centred approaches to a user-centred approach (Greco, 2018;Greco & Jankowska, 2019). Users have been increasingly involved in the production of accessible services in the scope of participatory accessibility (Di Giovanni, 2018) and accessible filmmaking (Romero-Fresco, 2019), although these approaches are not entirely new nor exclusive to academic contexts. Fels' early academic writings (2009, 2010) already promoted the involvement of both the creative teams and the users in theatrical productions on which they based their research.…”

Section: From Universal Design To Accessibility Consultancy and Valid...mentioning

confidence: 99%

Designing, Making, and Validating Accessible Products and Services

Arias-Badia

Bestard-Bou

Hermosa-Ramírez

2022

JAT

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Participatory accessibility, i.e., the involvement of users in the design, making, and validation of accessible products and services, has been encouraged under the premise that it would ultimately prove beneficial both in terms of usability and user satisfaction. This article examines the role of users and Disabled People Organisations (DPOs) in the design and validation of access services by providing the results of four in-depth interviews with representatives of non-profit organisations active in Catalonia. The main topics covered in the interviews include users’ views on design, production, and validation processes, the training and professionalisation of user consultants and validators, and users’ input on standards. The results show that users are mainly involved in validation actions today. They are only rarely considered in early stages of the production chain. DPOs see the occasional exceptions to this trend as a positive indicator that processes may change in the near future. They demand the true integration of persons with disabilities in all the links in the production chain and, crucially, in management positions, as the only way to effectively cater for users’ needs. Lay summary It is commonly agreed that end users, including persons with disabilities, need to be involved in the creation of products or services that aim to be accessible. This is because nobody is more familiar with their specific needs than themselves. This article presents results of four interviews with representatives of non-profit organisations in Catalonia who actively work with persons with disabilities. To begin, we ask them to offer their definition of accessibility as end users. After that, we ask them to what extent they think users are involved in the design of new products and services, as well as on their role in validating such products and services once they are made available to the general public. They explain that the participation of persons with disabilities often comes too late, i.e., when products are already designed, and that there is still a big task to do in terms of truly integrating persons with disabilities in management positions, which they see as the way to improve the present situation.

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“…From the field of media accessibility, Benecke (2014) described the production approach for audio description where a blind person always collaborates in the production process. This is borrowed by Di Giovanni (2018), who coins the term «participatory accessibility», defined as: Hikma 21 (2) (2022), 41 -63 Thus, participatory accessibility refers to the design, creation, revision and consumption of access services in an inclusive way: the blind, partially sighted and non-blind; the deaf, hard of hearing and non-deaf; children and adults; they can all work together in the making of truly shared access services for the media, for live performances, for museums. In fact, when referring to participatory accessibility, even the word 'services' becomes inappropriate: what is created and enjoyed should rather be seen as an inclusive experience, not merely a service (Di Giovanni, 2018, p. 158).…”

Section: Participatory Translation In Audiovisual Translation and Med...mentioning

confidence: 99%

Opera co-creation: from collaborative translation to artistic co-creation in audiovisual translation and accessibility

Matamala

Orero

2022

hikma

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Research on collaborative translation has expanded in recent years, with a variety of terms such as community or volunteer translation being used to refer to these practices. This article focuses on the Traction project as an instance of artistic co-creation between professionals and non-professionals in opera, and it suggests that the Traction approach could be usefully utilised in the context of audiovisual translation and media accessibility. After an introduction to the challenges of 21st century opera and their quest for new audiences, the article discusses the concept of artistic co-creation. It also presents how opera co-creation is being assessed in Traction. The co-creation process and its evaluation are then related to translation and accessibility to propose artistic co-creation as a new approach to collaborative practices which can benefit both professionals and non-professionals. Keywords: Traction project, Opera co-creation, Evaluation, Audiovisual translation, Accessibility

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Participatory accessibility: Creating audio description with blind and non-blind children

Cited by 13 publications

References 5 publications

Inclusive Theatres as Boosters of Well-being:

Inclusive Theatres as Boosters of Well-being:

Designing, Making, and Validating Accessible Products and Services

Opera co-creation: from collaborative translation to artistic co-creation in audiovisual translation and accessibility

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