Sonification Suite and activities with SEND Audiences

This guide offers recommendations on how to help you develop and deliver Sonification content, Sonfication-based shows and any supplementary multi-sensory workshops to be enjoyable and accessible for SEND audiences.

We recommend you also read our more general good practise guide about developing, marketing, and using multi-sensory activities.

Successful preparation is essential for developing resources and hosting events catering to SEND audiences.

Most of our guides focus on using sounds in an educational context; i.e., if you want to use the sounds to communicate information. However, remember you can also use the sounds to create a sensory experience without needing to explain everything. This could be particularly relevant for very high levels of additional need. For example, in a planetarium context, we have had success playing stars appearing sequences (i.e., the Night Sky tab in the Sonification Suite) and have objects like the Moon orbiting (visually and audibly) around the dome with very high additional needs groups. 

When inviting a SEND group to your venue, liaison with a key contact person from the institution is vital to gather as much information as possible about your participants. Share risk assessments once the group’s needs have been identified and complete an environmental audit according to the information and advice gathered. 

• Ensure clear and predictable spaces, keeping walkways clear and a space to keep belongings and bags. This will help those who are visually impaired, wheelchair users, and others who rely on easier navigation.

• Are there any allergies or toileting requirements? Ensure ample space for wheelchair users and ideally close proximity of accessible toilets. Discuss how many of the group have these access needs with the group contact.

• If possible, have a quiet area where people can go if they feel overwhelmed.

• Transitions between activities can cause anxiety. As well as limiting these transations, ideas to mitigate this potential stress is a preparation of a visual timetable; ‘now and next’ cards in a clear large font on yellow card; clear verbal communication of the next activity.

• If possible, a space for lunch and comfort breaks that is not too far away from the activities will happen to minimise challenging ‘travel time’. Ideally there is a quick and easy access to an accessible toilet from all locations the participants will be in.

• Having staff with an understanding of Sighted Guide is useful https://www.guidedogs.org.uk/how-you-can-help/sighted-guide-training/ 

• Manage expectations about hearing loops. Wherever possible, use a microphone for presenting, and make use of available hearing loops. Work with the contact person to discuss the need for captions and/or sign language interpreters, and where these are a possibility (or not). 

• Consider seating arrangements including provisions for those using wheelchairs who may have a limited field of vision. This necessary information should be obtained through communication with the group's liaison.

When delivering live, or pre-recorded educational shows consider your audience carefully. Based on our main experience, this guide focusses on the planetarium setting, but is likely applicable for multiple venue where you expect to give a show.

Preparation

• Ask the contact of the group for any particular sensory needs the group members have. Where possible, allow the group contact to see/hear the content you want to show them in advance so that they can advice on any appropriate adaptations. 

• For some SEND audiences, they may appreciate experiencing some/all of the content in their own familiar environment before they arrive at the unfamiliar venue of the planetarium. For example, listening to the sounds they will experience in the planetarium during school lessons. Discuss this with the group contact (when possible). 

Environment

A planetarium is a strange environment and some groups may find it very unsettling (at least to begin with). Other venues can also be strange and unsettling. Therefore, you are likely to need to make adjustments compared to regular shows. For example:

• Schedule plenty of time for the group to adjust to the environment and get settled. 

• Use more lighting that you may usually do during entry and exit. For partially sighted audience members, and those with mobility issues, only low level lighting can be very troublesome. 

• Make it possible for group members to be able to leave and return if they wish (along with one of their accompanying persons). 

• Expect to have more background venue lighting that you might normally use, even during the show itself.

• Expect to reduce the audio system volume, especially for any shows containing loud sounds.

Delivery

Some general guidelines for delivering planetarium content would be:

• A clear introduction to what is about to be seen and heard, avoiding surprises and reducing anxiety. 

• Introduce the concept. Explain what is going to be heard before the sequence begins. This is relevant for educational shows, but not so relevant for sensory shows (but still give warnings when sounds are going to be played). 

• Avoid talking over the sounds.

• If using combined visuals and sounds, for some audiences, it might be a good idea to introduce one of these modalities at a time before combining them. 

• If using a more complex sound (with different layers), introduce these one at a time. Generally avoid playing too many sounds at once. 

• If showing something on the dome, take the time to explain what is being presented visually as well as audibly. This will be crucial for some audiences who are not able to see or process what is on the dome, but will also help all your audiences. Remember not to assume they can see what is going on. Whilst it is useful to consider analogies that are not entirely visual (especially for low vision audiences), you are more likely to cause offense, or come across as awkward, if you try too hard to modify your language; a lot of visual language are truly embedded in the way we talk and everyone is used to this. 

• Allow time for processing. Sometimes a longer and repetitive sequence is more productive than going through lots of sequences. This allows the audience to become absorbed in the show and have time to process fewer bits of information. After a sequence/excerpt, allow time (and possibly repetition of the sequence) for the audience to process what they heard before moving on.

• For more interactive sessions, use enabling language, rather than directional language, wherever possible. For example, ask the audience what can they hear rather than telling them what they should be hearing. Again, tailor any such interaction to your audience by working with a contact person, as some may not communicate to you through language.

• In general: your audiences themselves, and/or their teachers/carer/leaders, know best what works for them and can let you know if another approach or additional explanation would be better. Do not be afraid to ask! 

It is important to remember that different audiences with different needs may have had a very different learning experience to yourself. These can have huge implications. For example, some of the fundamental concepts that you take for granted have not been part of their learning experience (such as what does the night sky even look like!). An interesting summary for concept development of learners with a vision impairment is provided at this link. It is important to be patient and not to make the audience feel stupid if they ask questions which highlight a fundamental miss-conception. 

We've provided some general guidelines on how to use sounds effectively in shows based on our group's research. Please take these into account. In addition to these general guidelines, SEND audiences may have some particular additional considerations. For example:

• Surprises with sounds can be particularly distressing. Therefore it is very important to provide an expectation of what is about to happen. 

• Constant pure tone sounds, or any sounds containing a lot of high frequencies, are uncomfortable for all audiences, but can be particularly distressing from some SEND audiences. 

• Expect to play all sounds at a lower volume than you might for general audiences. You can obtain guidance from the group leaders. For example, they could test this in advance before the group has the experience.  

• Multiple sounds that are in conflict with one another can be very difficult and can cause sensory overload. Avoid too many sounds occurring simultaneously. 

• Hearing impaired audiences may not obtain the full sound experience. An example could be if they are hard of hearing in one ear, they may not obtain a full spatialisation experience. Therefore, consider what visual and narrative can be used in compliment to any sounds produced. 

• Keep visual sequences simple and avoid a sensory overload. Strong flashing sequences should be avoided, even a bit of flashing should come with plenty of warning. 

• It is good practise offer to let the group leaders experience the content before their group arrives so they can let you know if they think there is any unsuitable content.

It is likely you will want to run multi-sensory workshops alongside any shows. To ensure a smooth and pleasant experience for everyone, some preparation and planning should be completed before the activities begin. Knowledge of the needs of the group involved is paramount (see advise above about liasing with the group's contact point to understand the individual group's needs). 

Preparation

• Have somewhere for participants to go who need a relaxing and calm space if they get overwhelmed in the workshop environment. This should be as close to the workshop room as possible.  

• Ensure that there are plenty of models or activities for all to work on something simultaneously. Participants are likely to quickly become frustrated if they are not engaged in an activity or have to wait to take turns.

• Be prepared for a mess! Have disinfectant wipes for hands and tables. Remain vigilant as some participants with complex needs may wish to explore with their mouths.

• Be aware that individuals will not work at the same pace. Have some written information (clear and in a large, uncluttered format) and other items to explore for those who finish an activity earlier.

• Larger models and bigger (tactile) materials are useful for all learners as they are easier to handle and understand especially for those with a visual impairment or with limited fine motor skills.

• Create high-contrast, structured tasks. Mounting items on contrasting backgrounds, using trays which can also be placed on a wheelchair, and modelling (prepared earlier) can be useful. 

Delivery

• Provide context for the activities, ideally linking to anything from shows or perhaps classroom learning content that the participants may have seen.

• Provide clear instructions about what that activities are, and what the participations should be doing. If the participants have low vision, explain what objects you are passing to them.

• If working on an interactive workshop it could be helpful to support the participants by guiding their hands over an object (for example). However, ensure that you have permission before you touch them.

• Use enabling language, rather than directional language, wherever possible. For example, ask the audience what can they feel rather than telling them what they should be feeling, when interacting with tactile activities. 

• Allow for processing time by keeping a slower pace than you may be used to when enabling an activity.