Tag: ASL

Multidisciplinary approach – When the Walls Come Down

Racheal Prince, left, and Caroline Hébert in When the Walls Come Down, which is at the Rothstein Theatre Nov. 8 and 10. (photo © iiiiportraits)

“I think the performance is a really fun way to learn a little bit about Deaf culture,” Caroline Hébert, the lead actor and inspiration for When the Walls Come Down, told the Independent. “I hope people can make the time to try something different and I look forward to meeting some new people at the Chutzpah! Festival.”

When the Walls Come Down (WTWCD) will see three performances at the Rothstein Theatre next month, as part of the festival. A collaboration from Vancouver’s Dance//Novella, led by Racheal Prince and Brandon Lee Alley, the work highlights moments in Hébert’s life, “shed[ding] light on stereotypes and difficulties faced by many Deaf Canadians and tell[ing] a story of resilience and love,” according to the press material. It is performed with movement, music, projections and lighting, and in ASL with English voiceovers.

“Racheal and Brandon and the WTWCD team have been learning ASL,” said Hébert. “It’s really inspiring to me to see a group of people who want to create an environment where we can share ideas and our culture. I want to participate in more collaborations as I continue my journey as a Deaf actor. This is my first time stepping into a leading role for a one-hour show. I think, at first, I wasn’t really sure if this is something I could do. Over time, I realized that I can do it, and I can connect to many different people through my art form.”

The creation of WTWCD began in 2020, said Prince and Alley, when “our curiosity led us to explore the fusion of ASL and dance, with a strong desire to collaborate with a Deaf actor and blend their creative ideas with ours. Caroline was recommended to us by Chis Dodd, director of SOUND OFF. What intrigued us further was her last name, Hébert, which happened to be the maiden name of Racheal’s grandmother. This unexpected connection felt like a sign. After a video-translated conversation with Caroline, we realized that she possessed a compelling story that needed to be shared, so we quickly chose her as the central character for the work.”

As for her decision to be that central character, Hébert said, “I was interested in trying something new and I thought why not!? I did dance a little when I was a child so maybe that was also part of the reason?”

WTWCD debuted as a live-streamed performance during the 2021 Vancouver International Dance Festival (VIDF), which made it “challenging for us to establish a direct connection with the audience and gauge their reception of the work,” said Prince and Alley. “However, we knew this work had the potential of uplifting and illuminating a traditionally marginalized community, so we kept refining and building upon our initial ideas.”

In 2022, they received an invitation to perform WTWCD in Edmonton at the SOUND OFF festival, the first time the piece was presented in a live setting. “To our astonishment, the audience responded with thunderous stomps and a standing ovation. It was truly incredible to witness the profound connection the work had with the Deaf community,” they said.

In addition to that positive reaction, the pair won the 2023 VIDF Emerging Choreographic Award. “To us,” they said, “this award emphasized the collaborative and harmonious aspect of the work’s creation, transcending our roles as individual choreographers.”

Both creatives multitasked to make WTWCD. Prince and Alley choreographed the work; they played a part in the storyline creation and development with Hébert and her daughter, Anna-Belle Hébert, all four of whom perform the piece; Alley composed the music and Prince did the costume and set design. Other key contributors are lighting designer James Proudfoot, assistant lighting designer Chengyan Boon, and mentors and coaches Chris Dodd and Landon Krentz.

“Being a contemporary dance company, one of our goals was to find innovative ways to convey the music to a Deaf audience,” said Prince and Alley. And it was Alley who “came up with the idea of using a playful animation to advance the storyline and evoke the emotional essence of the music.

“To realize this vision, we collaborated with the Vancouver Film School,” they said. “We pitched our ideas to them, leading to the organization of a competition involving five different groups. Each group listened to our concepts and then presented us with small animations. After careful consideration, we selected the group that we believed best captured the essence of the work and the nuances of the music. They went on to create the animations that will be showcased during the performance.”

Listed on Dance//Novella’s website are producer Jill Tao, designer/animators Kanako Takashima and Cecilia Cortes, animation lead Arturo Acevedo and storyboard artist/designer Heena Yoon.

An integral part of this project has been Anna-Belle Hébert.

“She is a CODA (child of Deaf adult), fluent in ASL, QSL, English and French,” explained her mother. “Anna-Belle understands who I am and the story I want to share because it’s partly her story too. In the beginning, I recommended that Racheal and Brandon reach out to Anna-Belle to see if she would like to join the process, which they enthusiastically agreed to. In the performance, she is my voice over actor, but has also been a huge part of the creative process. She really helps bridge the gap between our ideas and how they can connect to hearing and Deaf people at the same time.”

Both Prince and Alley talk about how much they have learned while creating WTWCD. “One significant revelation for us,” they said, “was the realization that ASL and English are two distinct languages. Initially, we attempted to transcribe everything in an effort to ensure clarity, but this approach only seemed to confuse Caroline further. With the guidance of a specialized ASL coach, Caroline developed a unique method for documenting the script on paper. This breakthrough allowed her to memorize and retain everything effortlessly while making it her own.”

Prince and Alley had nothing but good things to say about Hébert.

“Caroline is an incredibly generous and patient collaborator,” they said. “During our rehearsals, we frequently paused our creative process to listen to stories from Caroline’s life. Each story offered us a glimpse into the experiences of a Deaf child, mother and student, which ultimately became the core of our creative journey. The exchange of knowledge and personal narratives became the driving force behind our work, giving it profound meaning for our team.”

When the Walls Come Down is at the Rothstein Theatre Nov. 8 and 10, at 8 p.m., and there is a special matinée for school groups grades 6 and up on Nov. 9, 11 a.m. (contact [email protected] for more information about that). The show runs 60 minutes with no intermission. For tickets, visit chutzpahfestival.com.

E-books for deaf kids

A person – as opposed to an avatar – signs American Sign Language in the eMotion Stories app.

It is hard to beat the pleasure of sitting down with your children or grandchildren and reading them a bedtime story, whether that story is a classic like Goldilocks, a Yiddish folktale or even a book written by someone you know. This simple pleasure was not even an option until recently for families with deaf kids, as Israeli American, Eyal Rosenthal, 34, discovered.

While visiting family in New York, Rosenthal had a chance to read a bedtime story to his nephew before heading out to visit with a friend over coffee. Rosenthal told his friend about his nephew, and she told him about her niece, who was born deaf.

“I asked her how she reads to her niece,” said Rosenthal. “She said, ‘We don’t…. We can go to Barnes and Noble across the street and you can find some books with baby sign language or whatever, but you won’t find any actual story to read to a deaf child.’”

Learning of this inspired Rosenthal to look for a solution. “Being an Israeli, we tend to think we can solve everything,” he noted. And, in this case, he could – he created an app called eMotion Stories.

Coming from a high-tech background and being an investor/developer of apps, Rosenthal initially mulled over the idea of creating an avatar to sign the books for eMotion Stories, but found that it was much simpler and less costly to have a live person do it.

“It’s the placement of a sign, the body language within that,” said Rosenthal. “To try to get an avatar to do that is incredibly difficult and costly, and probably something that’s 10 years down the road.”

The other problem Rosenthal encountered was that sign language varies from country to country. “It’s not a universal language,” he said. “Each country, each region, actually develops on its own.”

While Rosenthal was able to overcome most obstacles by himself, there were two that stumped him – the sign language itself, as noted, and the development work of the videos. “One of the good things about being in Israel, especially in Tel Aviv, is there are developers everywhere,” he said.

Rosenthal found Go UFO, a company that was just getting started at that time. On connecting with the Go UFO team, Rosenthal said, “It was like two minds meeting. The moment they heard the idea, they were like, we love this, we love your passion for it, we want to help you create it.”

Choosing the stories to feature was the next challenge. Rosenthal decided to start with the Brothers Grimm.

Since the whole concept began with Rosenthal wanting to enable his friend to share a story with her niece, he opted to do the stories in American Sign Language (ASL). And, to find a signer for the e-books, he went to New York Deaf Theatre. As for the illustrations, a Go UFO team member’s father was an illustrator, and he offered to have some of his friends help out (making it possible for Rosenthal to afford the illustrations).

“It was interesting convincing people to help when you don’t have the money to pay them what they want and you have to successfully convince them to do it anyway,” said Rosenthal. “That took some learning.”

As of now, five e-stories have been created for the iPad. When downloading the free app, the e-book of The Ugly Duckling is included. Each additional story is $4.59. The stories available are The Ugly Duckling and Goldilocks and the Three Bears so far, with Little Red Riding Hood, Cinderella and The Three Little Pigs coming soon.

Rosenthal would like to produce five more books.

“The classic stories are ones that a parent can relate to because he/she read that story as a child and they can read it to their child,” he said. “One of the unfortunate facts I uncovered in the research is that the level of comprehension for deaf children is several levels below that of [hearing] children. This is a gap that widens through the years. One thing I was hoping was, at least, to be able to bridge that gap. When you’re 6 years old and you’re one year behind, it’s not the same as when you’re in high school and you’re … behind.”

One of the goals Rosenthal has for this coming year is to create a version in another language, one similar to ASL, the simplest example of which would be Canadian Sign Language.

“The guys at Go UFO are trying to create more of a platform where any country can simply add its sign language videos or an individual can add videos to a particular story and modify the text, since the illustrations already exist, to make it more broad,” said Rosenthal.

So far, the app has been downloaded 3,000 times.

“I’ve gotten emails from parents saying that they love it and when are more stories going to come out,” said Rosenthal. “Some were asking when an android version would come out.”

Rosenthal would like to create an android version, but that will require more funding, which he hopes to raise with a Kickstarter or Indigogo campaign.

Many people have been helping move the project along, such as members of the Israeli Society for the Deaf and the Hard of Hearing. Rosenthal has also been recently approached by a deaf Israeli actor who asked Rosenthal to let him know when things proceed on the Israeli front because he would like to help.

Rosenthal said that without the Go UFO programmers eMotion Stories would never have come to fruition. “I’m incredibly indebted to those guys,” he said.

For more information about the app, visit emotionstories.com.

Rebeca Kuropatwa is a Winnipeg freelance writer.