On October 22, 2023, I was once again invited to provide a training session for trainers at Danssport Vlaanderen on the topic of "dance for the blind and visually impaired." I was unable to lead the training myself. However, I thought it was very important to make sure it still took place. The fact that I couldn’t be present wasn’t an issue for me; on the contrary, I saw it as an opportunity to reach one of our objectives. What if Manuel Delaere, my assistant trainer in training, went in my place? What if we actually show that “dance for the blind and visually impaired” can be supported by blind and visually impaired people themselves? Because who better than a blind dancer can provide us with information about "dancing with a visual impairment"?
In the past (see previous articles), we split the information transfer into two important tools.
1. Hearing
2. Tactile
These two main tools for people with a visual impairment are therefore a part of our quest to create the first real accessibility in dance for the blind and visually impaired. I refer to it as "first," because the topic “dance for the blind and visually impaired” is literally still in its infancy.
The purpose of this work is therefore twofold: to open dance through the provision of dual information: namely auditory and haptic information. Last year, I published an article "tips for instructors and trainers." In the article, I describe a to-do list of what an instructor must take into account for their dance lessons. A year later, new elements have been added. For convenience, I either refer to the past (in parentheses: tips for instructors and trainers) or to the present with the term NEW.
1. Verbal Information
1. Attention to the sound environment
See article: tips for instructors and trainers
Additional points to that article:
a. NEW: Eliminate unnecessary background music.
b. Informing participants has already been described, but now also: request silence at certain moments (see article tips for instructors and trainers)
c. Feedback on your exact position (see article tips for instructors and trainers)
d. NEW: Keep the contrast between the music and the explanation sufficiently large, in other words, work with sound volume.
e. NEW: Discuss the microphone and speaker setup in advance (the speaker and microphone should be aligned, e.g., the speaker behind the instructor).
2. Explanation from the instructor
a. Clear language (brief and to the point) (see article tips for instructors and trainers)
b. Feedback on your exact position (see article tips for instructors and trainers)
c. NEW: Reference point in space: where am I: mat, bar, wall…
d. NEW: First explain the general outline of the figure and then go into detail
e. NEW: A reference framework within the lesson plan: set up reference points so the blind dancer can use it as a kind of hook or building blocks
f. NEW: Dance technique: analogy with elements from everyday life, e.g., "You position your foot as you walk" or by analogy with previous figures or figures they've already seen.
g. NEW: Phrasing (don’t give too much information at once)
h. NEW: Emphasis on crucial intermediate steps: hand position, orientation: starting position, intermediate orientation, ending position (e.g., explanation of the evolution of orientation relative to the starting position)
i. NEW: Speed-time coordination and musicality
j. …
a. Haptic (touch) information
1. Space – reference points (see article tips for instructors and trainers)
a. The space itself – wall, floor (see article trainer's day dance sport Flanders 2021)
b. Materials: bar, stick, ropes (see all previous articles)
c. The importance of the stick will be explained at a later stage.
2. Dance partner – reference points (we do partner dancing, and as a blind person, this is actually comfortable)
a. Dance partner in space
b. Dance partner in the figure/exercise
3. The instructor or experienced dance partner guides part of the body (arm, leg, torso, head) into the desired position
4. …
Both verbal and haptic information transfer requires further research. However, in this writing, we are discussing a part of it, namely the dance tools themselves.
Our dance tools are a collection of tactile objects designed to make dancing and sports for people with a visual impairment more interpretable (tactile sense). Each dance tool has its own function. The tactile objects are divided into functions for the entire body: for the legs, arms, torso, and head. In addition, they are used in relation to the spatial arrangement of the blind dancer or athlete relative to another person or object (floor, wall, table, stairs...). The tactile objects are based on the execution of feeling and touching, forming the basic component of their use. The management of these tools is currently handled by Michèle Martens, the founder of danceorientation.eu, and is described as a guide for the use of the tools. DanceTools is a design by Michèle Martens, where dance knowledge is transformed into tangible materials for the blind and visually impaired. Initially, she receives help from Manuel Delaere, who thinks in terms of the blind. DanceTools is thus made by and for blind and visually impaired people. The dance tools can be used anywhere in an inclusive or exclusive exercise and in any field. All dance tools have one thing in common: they are based on touch and feeling. The goal is for blind and visually impaired people to use these tools so they can replicate the movements.
In addition to tactile objects, as often described, auditory input plays an important role. This role is filled by the sighted or non-sighted trainer. Here we are not talking about verbal information transfer (see above), but about the auditory component of the tool itself. The verbal becomes a dance tool in itself. But this requires a new chapter.
The tactile objects can be used by anyone, and there is no classification regarding use based on the degree of blindness. For each dancer and in a broader sense, we provide a handy bag containing all the objects. For example, I think of two Playmobil figures where their positions relative to each other can be determined.
All tools are welcome and useful. DanceTools are literally part of dance because, just like in any dance form, there is no unanimous classification. Everything that is useful helps. However, it is our task to search for fixed universal models based on research. Research is essential and should involve seeking and describing within a set quality standard. Think, for example, of the established norms for classical ballet, modern dance, jazz, competitive partner dances, and further for sports: dance sports in general. The basis and knowledge are determined by established know-how.
Virtualization
Recently, an exhibition organized by the Braille League and the French association Valentin Haüy took place, where 12 famous artworks were converted into a 3D version so they could be felt and touched. Several organizations and companies are focusing on tactile objects as interactive signage for routes, buildings, public spaces… Tactile as part of information transfer will also play a role in the future of dance.
A magnetic board for dance we called magnetic steps (Manuel came up with the idea for this name):
Magnetic Steps: a magnetic stepping board
What? A magnetic board with engraved feet. Use of two colors: walnut and maple to indicate the difference between leaders and followers. For the blind, the difference is felt with or without an engraving. The magnetic board is a square 20 cm by 20 cm made from lightweight material that fits comfortably in the hand. The magnetic board is made of eco-friendly material (wood). After contacting several blind people, including those from the accessibility advisory group of the city of Ghent, I concluded that the engravings need to be made deeper.
1. The board is the abstract space:
The board is the reduced space within an abstract concept. We speak of an abstract space created by the guide lines and the position of the feet within the board.
The top has a ring in the left corner.
The top line is the mirror.
The ends of the board are the frame in which the sport takes place and are the guide lines.
The abstract orientation runs vertically from bottom to top, from left to right, diagonally upwards to the left and right.
Additionally, we can define spatial orientation using terms like front, back, beside, on, under, to, through, close, far, diagonal, left, and right.
It is important for the blind person to form an idea of where they are in the space.
Dots and squares; others, for foot positioning – toes / heels / full soles... to be developed.
Convenient: the board can also be used to indicate obstacles and define the entire space.
2. The board becomes a working tool for the reproduction of movement and can be used across sports disciplines.
Application of the board:
0. In dance
1. In aerobics
2. In gymnastics
3. Walking and running
4. Other: orientation runs, games, ...
5. Miscellaneous: general locomotor skills (walking but also jumping, hopping...) and orientation (equal footwork, balance exercises, support exercises, orientation and space determination – e.g., distance to something)
Goal:
1. Discover movement with the board (perception), replicate (memorize), verbalize (master and reproduce verbally)
2. Perceive and connect – each foot represents a step – by using different steps, you create a connection, and the figure or motion can arise.
3. Bottleneck: balance – balance shifts (to be explored)
Examples:
1. Setup of foot gymnastics – strengthening foot muscles with objects: triangles, circles, squares explained with the board (also use of other elements like sticks and rings in activities such as passing, tug-of-war)
2. Gymnastics mat exercises – setting foot positions with objects: feet
3. Stimulate body awareness of the lower limbs: straight lines / setting footwork – are they walking straight – direction or orientation
4. Aerobics: steptouch