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Zoo Co

5 things we learnt...

Nine creatives are sat in a semi circle on a black stage. There is a white curtain in the centre at the back of the stage. In front of the stage, there are four rows of seats half filled with audience members.

What we learned from Memories of the Marshland R&D - Zoo's first collaboration with blind & VI creatives


When we were first approached by Jack Norris with Memories Of The Marshland, a project which called (organically and artistically) for VI and blind artists to join our process, we were excited by the new challenge of exploring VI creative access. This Creative Access Lab was a valuable learning experience for us as a company and we were incredibly lucky to be collaborating with such experienced, talented, generous and kind VI and blind artists. So, what did we actually learn from this project?


  1. Valuable lessons on trust building with blind and VI artists 

There are things that we do in every room that we work in- access check ins with each artist, creating accessible welcome information based on the various access needs in the room, providing the wider team with disability awareness training. Those ‘access basics’ remain useful when working with blind and VI artists, with some adjustments. We took on advice from the brilliant VI consultant Yusuf Osman (who also joined us on day one of the project) and built in ample time for orientation around our rehearsal and performance spaces, supported by VI Awareness & sighted guide trained members of our team. We also welcomed sighted guides onto the team for the whole process.


  1. Accessible design ideas

Working with blind & VI collaborators allowed us to play around with and explore accessible design ideas that were new to us. We explored DIY tactile flooring (so performers could feel where they were in the set with their feet) and set out to make moving around the space more accessible for our blind and VI cast members. In our deaf and hearing work, we spend a lot of time focusing making sure that lighting states match the music, developing creative captioning etc, so it was so valuable to explore a new side to accessible design.


  1. Different approaches to audio description

We learnt a lot about different approaches to audio description - both ‘traditional AD’ and more creative options. As with everything in art, there are different preferences for audio description within the blind and VI community, so it was important for us that we collaborated with a range of people with different thoughts and ideas around AD. The main takeaway for us was that both kinds of AD are valuable and serve different purposes. We chose to focus on creative audio description during this R&D, which leads me onto the next learning point…


  1. The sky's the limit with different types of creative audio description 

We had a workshop with Amelia Cavallo from Quiplash before the R&D, who gave us a quick tour of the huge variety of creative audio description and the artistic possibilities it brings. We watched videos of their cabaret work, and gained an understanding of how different artists are playing around with AD- even writing it into the lyrics of background music!


Our Creative Lab team included the incredible Sam Brewer as Co-Director, and Benjamin Wilson as AD consultant. We played around with different narrative devices that could be used to deliver audio description, like giving the wind, a recurring presence in the play, a voice. The cast played with different pitches, tones and words to create an ethereal wind sound that could provide clear yet magical instructions. 


  1. Time! 

We already knew this, but it was definitely confirmed to us in this process… exploring, developing and learning about creative access takes time. This level of new learning was ambitious to try during a short period; we could have spent double the time creating and exploring with our collaborators and still would not have scratched the surface! 


Overall, the project presented an immense learning opportunity for Zoo Co. We gained so much from our collaborators and also learnt that, with the right pre-planning, the right lived experience within the team and the right team members, that our process can apply to many different accessible rooms and provide a safe foundation from which to thrive creatively.



Fleur & Hannah



Find out more about the project here.

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