Πανελλήνιος Σύλλογος Τυφλοκωφών " ΗΛΙΟΤΡΟΠΙΟ"

Πληροφορίες για τον σύλλογο

 

ΠΑΝΕΛΛΗΝΙΟΣ ΣΥΛΛΟΓΟΣ ΤΥΦΛΟΚΩΦΩΝ ,ΓΟΝΕΩΝ ,ΚΗΔΕΜΟΝΩΝ ΤΥΦΛΟΚΩΦΩΝ ΠΑΙΔΙΩΝ ΚΑΙ ΦΊΛΩΝ ΑΥΤΩΝ ΄΄ΤΟ ΗΛΙΟΤΡΟΠΙΟ΄΄


Μη κερδοσκοπικό σωματείο .Έτος ίδρυσης 1992

Αριθμός μητρώου στο Εθνικό μητρώο :09110ΣΥΕ12046Ο38Ν/0330

Αριθμός μητρώου στο Ειδικό Μητρώο :09110ΣΥΕ12046Ο39Ν/0281

Έδρα : ,Ραγκαβή 27 ,Αθήνα 11474

Τηλέφωνο –FAX :210 6440 689 /κινητό 693 6440 689

Άλλα τηλέφωνα επικοινωνίας: 210 89 50 883 ,210 61 26 345

Κινητά τηλ. επικοινωνίας :693 669 5569 , 6948878063

Email dbiliotropio@gmail.com

Email pstiliotropio@gmail.com

΄΄ΤΟ ΗΛΙΟΤΡΟΠΙΟ’’, δημιουργήθηκε από μια ομάδα γονέων τυφλοκωφών παιδιών με την στήριξη επαγγελματιών και φίλων .Αποτελεί την μοναδική οργάνωση στην χώρα μας που έχει στόχο την αναγνώριση της τυφλοκωφωσης ως ανεξάρτητης αναπηρίας, την δημιουργία εκπαιδευτικών και αποκατάστασης δομών για τυφλοκωφά παιδιά και ενήλικες όπως και την ειδική κατάρτιση επαγγελματιών .

Η Τυφλοκώφωση είναι μια διπλή αναπηρία συγχρόνως σε όραση και ακοή .Τα συνδυασμένα προβλήματα στις δύο αυτές αισθήσεις ,της απόστασης όπως αναφέρονται δυσχεραίνει την μάθηση ,την επικοινωνία ,την αυτόνομη μετακίνηση ,την κοινωνικοποίηση και την πρόσβαση στην πληροφόρηση .Με αυτές τις ιδιαίτερες δυσκολίες ,το τυφλοκωφό άτομο χρειάζεται ειδική υποστήριξη σε όλη του την ζωή για να αναπτύξει τις ικανότητές του και να κοινωνικοποιηθεί.

Ήδη ΄΄ΤΟ ΗΛΙΟΤΡΟΠΙΟ΄΄ έχει ήδη αναπτύξει σειρά δραστηριοτήτων ,τις οποίες βέβαια συνεχίζει όπως:

-έρευνα για εύρεση τυφλοκωφών παιδιών και ενηλίκων

-ενημέρωση των αρμόδιων φορέων Υπουργείων Παιδείας και Πρόνοιας ,και προώθηση αιτημάτων

-ευαισθητοποίηση του κοινού

-επισκέψεις κατ οίκον στις οικογένειες και συμβουλευτική καθοδήγηση

-οργάνωση σεμιναρίων από ειδικευμένους επιστήμονες από Ελλάδα και εξωτερικό

-οργάνωση συναντήσεων, συνεδρίων ,στην χώρα μας με Ευρωπαϊκές και Διεθνείς οργανώσεις Τυφλοκωφών

-επισκέψεις σε κέντρα τυφλοκωφών εξωτερικού για πληροφόρηση και κατάρτιση παιδαγωγικών προσεγγίσεων

-συμμετοχή τυφλοκωφών παιδιών σε κατασκηνώσεις

-συμμετοχή των τυφλοκωφών παιδιών σε προγράμματα θεραπευτικής ιππασίας και σε άλλες δραστηριότητες παιδαγωγικών προσεγγίσεων και κοινωνικοποίησης

-σημαντικός στόχος η δημιουργία Ειδικών Σχολείων ή τμημάτων στις σχολικές μονάδες, ειδικών Υπηρεσιών ενηλίκων με ειδικευμένο προσωπικό .Ιδανικό θα ήταν η δημιουργία ΄΄Στέγης ενηλίκων Τυφλοκωφών ΄΄, με ειδικές υπηρεσίες καθημερινής διαβίωσης διερμηνέων ,προσωπικού στήριξης , με τεχνολογικά βοηθήματα επικοινωνίας .

Ο Σύλλογος συνεργάζεται με οργανώσεις εσωτερικού και εξωτερικού και είναι μέλος:

- Της Πανελλήνιας Ομοσπονδίας Γονέων –Κηδεμόνων Ατόμων με Ειδικές Ανάγκες (Π.Ο.Σ.Γ.Κ.Α.Μ.Ε.Α.)

-Της Ομοσπονδίας Εθελοντικών Μη Κυβερνητικών Οργανώσεων

Της Διεθνούς Οργάνωσης Τυφλοκωφών,Deafblind International (DbI),όπου ο Σύλλογος εκπροσωπεί την χώρα μας.

Της Eucounit

Της Διεθνούς Ομοσπονδίας Τυφλοκωφών ,World Federation of Deafblind (WFDb)

Ο Σύλλογος στηρίζεται οικονομικά στις συνδρομές των μελών ,σε χορηγίες και δωρεές προς το παρόν.

Μέλος μπορεί να εγγραφεί κάθε ενδιαφερόμενο άτομο προς τους στόχους του Συλλόγου .

PANHELLENIC ASSOCIATION OF DEAFBLIND,PARENTS -TUTORS OF DEAFBLIND CHILDREN ,AND FRIENDS ‘’THE HELIOTROPE’’

The Association is founded in Athens in 1992.This organization is the only one dealing with deafblind people. Its objectives are the education and rehabilitation.

The Association is member of Deafblind International ( DbI ) ,and of the World Federation of Deafblind ,(WFDb) .

Some of the activities are

-Identification of Deafblind people all over Greece

-Awareness of the society on deafblind problems

-Visiting and counseling families of deafblind people

-Staff training in special centers abroad

ΔΟΜΕΣ & ΦΟΡΕΙΣ που στηρίζουν τα Τ/Κ άτομα, στην Ελλάδα.

Πανελλήνιος Σύλλογος Τυφλοκωφών-Γονέων, Κηδεμόνων Τυφλοκωφών Παιδιών και Φίλων αυτών: «ΤΟ ΗΛΙΟΤΡΟΠΙΟ»

Ραγκαβή 27,ΤΚ 11474, Γκύζη, Αθήνα, Αττική,

Email: diamatsa@gmail.com

Τηλ: 210 6440689

1/θ Ειδικό Δημοτικό Σχολείο Τυφλοκωφών Καλλιθέας και Ειδικό Νηπιαγωγείο Τυφλοκωφών Καλλιθέας.

Ελευθερίου Βενιζέλου 210 & Σπάρτης, Καλλιθέα, 17675, Αττική (στεγάζεται μέσα στο ΚΕΑΤ), τηλ: 210 9588137

Email: dimektkal@sch.gr

http://dim-eid-keat.att.sch.gr/index.php/el/

ΚΕΑΤ (Κέντρο Εκπαίδευσης & Αποκατάστασης Τυφλών), Ελευθερίου Βενιζέλου 210 & Σπάρτης, Καλλιθέα, 17675, Αττική,

τηλ: 210 9595880 - 210 9595846

http://www.keat.gr/index.php/gr/

ΦΑΡΟΣ ΤΥΦΛΩΝ ΕΛΛΑΔΑΣ, Αθηνάς 17, 17673 Καλλιθέα, Αττική

τηλ: 210 9415222

https://www.fte.org.gr/index.php/el/

Ε.Ε.Ε.Ε.Κ. μαθητών με προβλήματα όρασης και πολλαπλές αναπηρίες,

Δ/νση: πάροδος οδού Μίνωος, 12241, ΑΙΓΑΛΕΩ, Τηλ: 2105623560

http://www.smeae.gr/

Αμυμώνη, Πανελλήνιος Σύλλογος Γονέων, Κηδεμόνων και Φίλων ατόμων με προβλήματα όρασης και πρόσθετες αναπηρίες

Λ. Βουλιαγμένης (πρώην Αμερικάνικη Βάση), Τ.Θ. 73842

Τηλ.: 210 9631441, 210 9630244

 

Πανελλήνια Ένωση Αμφιβληστροειδοπαθών (Π.Ε.Α.)

Αλληλογραφία: Π.Ε.Α. Τ.Θ. 8159, Τ.Κ. 10210, Αθήνα.
Postal Box:   8159, Postal Code: 10210, Athens, Greece

Γραφεία:      Βερανζέρου 14, Τ.Κ. 10432, 2ος όροφος, Ομόνοια.
Tel.:     + 30 210 5238389

Email:        pea@retina.gr
Web:         
http://www.retina.gr/
Facebook: 
http://www.facebook.com/greek.retina.society

 

Ευστράτιος Χατζηχαραλάμπους-Efstratios Chatzicharalampous
Πρόεδρος της Π.Ε.Α. - President of H.R.S.
κιν./mob + 30 6972 550577

Τρίτη 12 Μαρτίου 2024

τα βιντεο για την προαπτική επικοινωνία ..στο YOU TUBE

 

Module 1

https://www.youtube.com/watch?v=lytnqOH5HuY

https://www.youtube.com/watch?v=Sh1fFMhdV0M

https://www.youtube.com/watch?v=8ac6OLfsiuc&t=3s

https://www.youtube.com/watch?v=D0XLMymB01k&t=2s

https://www.youtube.com/watch?v=wesUg9Iv1a8&t=1s

 

Module 2

https://www.youtube.com/watch?v=O904zJlv5VA

https://www.youtube.com/watch?v=1ImYnq7HlB0&t=1s

https://www.youtube.com/watch?v=8_iaRfXKQ7I&t=2s

https://www.youtube.com/watch?v=SZ4MAR_ftas&t=1s

https://www.youtube.com/watch?v=9XZOGWHM97o&t=1s

https://www.youtube.com/watch?v=loZX8e8qV4w&t=3s

https://www.youtube.com/watch?v=WfU1eDoug_w&t=1s

https://www.youtube.com/watch?v=0HsrWn3LQcQ&t=1s

 

Module 3

https://www.youtube.com/watch?v=DMyfXbEvQaU&t=1s

 

Module 4

https://www.youtube.com/watch?v=mzkkIOJbLnc

https://www.youtube.com/watch?v=spzXdTix590

https://www.youtube.com/watch?v=9q5oZOEtzoM&t=252s

 

Module 5: co-presence

What is co-presence?

https://www.youtube.com/watch?v=thJ5FTjJVBA

https://www.youtube.com/watch?v=v8etqIUn1qA

co-presence at the coffee house

https://www.youtube.com/watch?v=dpqiIlVbZJc&t=3s

https://www.youtube.com/watch?v=VmlbavsCcmk&t=3s

co-presence at the Christmas tree

https://www.youtube.com/watch?v=XRa_Tu5DGzE&t=4s

co-presence with interpreters

https://www.youtube.com/watch?v=kABcbz7u0XI

co-presence at the coffee machine

https://www.youtube.com/watch?v=bdp2lSfu75E&t=4s

Co-presence at the coffee shop

https://www.youtube.com/watch?v=VmlbavsCcmk&t=21s

 

Module 6

SSP and CN

SSP vs CN module

https://www.youtube.com/watch?v=BXhuvD2mUpM

autonomy

https://www.youtube.com/watch?v=InXOaifHI3U

https://www.youtube.com/watch?v=o26kdMpTKhU

https://www.youtube.com/watch?v=jOxXyD5j-YQ

 

Module 7

Co-navigation

https://www.youtube.com/watch?v=y0P-aCuVAAo

https://deafblind.ufl.edu/topics/interveners-interpreters-ssps/

 

Module 8

The evolution of protactile-language

Four Hands of Protactile Language

https://www.youtube.com/watch?v=j4r3DLRVpYs

backchanneling

https://www.youtube.com/watch?v=OVEXIRgU8Oo

Critical Conversations About Language

https://www.youtube.com/watch?v=Q9G8vx3-qVQ

Against Access by John Lee Clark

Click

https://audio.mcsweeneys.net/transcripts/against_access.html

link to open resource.

 

Module 9

Evolving principles of protactile

Contact space

https://www.youtube.com/watch?v=j-7ATThK6AQ&t=2s

role shift

https://www.youtube.com/watch?v=j-7ATThK6AQ&t=2s

reference markers

https://www.youtube.com/watch?v=DvvGBvun-iE&t=1s

point to point

https://www.youtube.com/watch?v=50Q1GQPb0uw&t=3s

emphasis and emotions

https://www.youtube.com/watch?v=J9Uqt8LGiNU&t=1s

reciprocity

https://www.youtube.com/watch?v=P9QNIdKVatw&t=2s

classifiers

https://www.youtube.com/watch?v=o0h_HqmMIFY&t=1s

demonstration

https://www.youtube.com/watch?v=yiG9IJLc-yc&t=2s

mapping

https://www.youtube.com/watch?v=VB2evSJCaqg&t=1s

shape and size specifiers

https://www.youtube.com/watch?v=IqBDv-mn8J8

exceptions

https://www.youtube.com/watch?v=ULprClgxOS8&t=3s

information source

https://www.youtube.com/watch?v=P5IaagrIYnc&t=16s

tactile imagery

https://www.youtube.com/watch?v=25sLphCcu_s&t=1s

module 10

https://www.youtube.com/watch?v=B-9h68uhF1g&t=881s

module 11

prompt, adopt, touch

https://www.youtube.com/watch?v=i-ScKxjeONM&t=1s

https://www.youtube.com/watch?v=BNVN5MgKl3A&t=1s

module 12

protactile alphabet and numbers

https://www.youtube.com/watch?v=8nHwSFYViJY&t=3s

module 13

https://www.youtube.com/watch?v=0yowi1Jb-Mo&t=6s

https://www.youtube.com/watch?v=4Z3s6ucwLU8

https://www.youtube.com/watch?v=1AZOwYqjCm0

https://www.youtube.com/watch?v=j_XEosAg-D4&t=1s

https://www.youtube.com/watch?v=04VnQ73anYc

 

moving forward https://www.youtube.com/watch?v=qgmY8p6UOoI&t=5s

 

Oregon State Hospital

By Roberto Cabrera

Wandering in the museum

I came across a woman’s story.

Let us conjure her up
in the form of a fist.

First, they knocked her head
and they said, Tsk-tsk.

 

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Next, they zapped her
and they said, Huh.

Next, they shone lights in her face
and they said, Phooey.

Finally, they bored a hole here
and another here.

Her head tilted gently to the side
and they said, Aha.

Translated from the Protactile by John Lee Clark

Solace

by Rhonda Voight-Campbell



The wind. The wind

is throttling. Is throttling

your slender. Your slender

arm swaying. Arm swaying 

back and. Back and 

forth in. Forth in

agony holding. Agony holding

on until. On until

warmth comes. Warmth comes

to climb. To climb 

and caress. And caress

your calm. Your calm

all the. All the

way up. Way up

to your. To your

budding fingertips. Budding fingertips

 

Translated from the Protactile by John Lee Clark

The Rebuttal

By John Lee Clark

An erasure of Lydia Huntley Sigourney’s “On Seeing the Deaf, Dumb, and Blind Girl, Sitting for Her Portrait”

Guide, passion, catch what

Hath no speech. Unknown

Joys, power, and meditation’s

Unfolding sky. Feeling draws

Heart and wildering language

Still without speech to

Mind. Philosophy fails to

Sway this future child.

Last modified: Sunday, October 29, 2023, 4:37 PM

The Lumberjack Story by Oscar Chacon

The Lumberjack Story

By Oscar Chacon

So the lumberjack has a hat like that, with a button right on top of your head. And they have suspenders over your shoulders going down to here at your belt. Nice! Give me your hand like this. Good. So they have this axe, solid wood going up your forearm, and the metal part tapers off like your fingers. Sharp! And they have this device clipped onto your belt here. I will explain later what it’s for.

On this particular day the lumberjack sweeps their cane across your leg. Foliage brushes past your arms. Give me your forearm, fingers spread. So their cane goes up against your forearm. They feel it all around and slap the trunk approvingly. They unshoulder the axe and make three crisp cuts on your forearm. Good. Their cane goes up your upper arm, away from the tree.

Remember the device on your belt here? Well, they press it and it makes a noise. Your forearm falls down. That’s perfect! They come back down your upper arm and feel the fallen tree all over. Whoo!

The lumberjack goes bushwhacking again across your leg. More leaves and branches pass by. Give me your forearm, fingers spread. So their cane snakes down your upper arm and encounters your forearm. They feel around the trunk. Impressive! Three crisp knocks with the axe. They go snaking back up your upper arm. They press the device and it makes a noise.

They return to your forearm. What is the tree doing there, still standing? Scratching head. Oh yes! They hurry back up your upper arm, turn around, and take the device off your belt here. Give me your hand. So they aim this at the tree and press it. Its screen shows a hand spelling the word TIMBER. Give me your forearm, fingers spread. It shakes, wobbles, and falls, bouncing off the ground twice. The lumberjack returns to inspect your fallen forearm. Whoo!

The lumberjack is back on your leg, forging ahead in the forest. Give me your forearm. Snaking their way down your upper arm, they bump into your forearm. Immediately, they know this one is special. They caress the trunk and their heart leaps like your heart is leaping here. They almost swoon. Unshouldering the axe, they give your forearm the three most loving taps. Tap. Tap. Tap.

They go back up your upper arm, turn around, and press the device on your belt here. It makes a noise. They run down but find the tree still standing. They scurry back up, turn around, and take the device off your belt. Give me your hand. So they aim it and press it. TIMBER.

At the base of your forearm, the lumberjack is surprised. Still standing! What’s going on? Rubbing chin. Could it be? Could it really be? Only one way to find out.

The lumberjack starts climbing up your forearm. They reach your leafy hand. They straddle your thumb and put out their hand into the mass of leaves to spell TIMBER.

Your hand convulses in recognition. Your forearm shakes and wobbles. It begins to swoon. The lumberjack stays nested in your hand until the mighty trunk nears the ground. They leap out and land on your leg as your forearm crashes and bounces off the ground. Whoo!

Translated from the Protactile by John Lee Clark

 

My Dream Play by John Lee Clark

My Dream Play

By John Lee Clark

The other day I asked my Braille student at the beginning of our session how she was doing. She said she was still grumpy after what had happened the previous evening at her church. Once a month her church hosts a DeafBlind group service, with plenty of volunteer tactile interpreters. On this particular occasion, the Deaf pastor thought he was presenting the group with a treat: A performance by a touring Deaf Christian theatre company. As soon as my student mentioned “theatre,” I squeezed her hand to signal a gasp, and said, “Say no more, say no more.”

“Right, that,” she said. “Afterwards, we were gritting our teeth and had our claws out!”

We shared a moment of patting understanding before agreeing that the pastor meant well and didn’t know how much DeafBlind people hated theatre.

That is, traditional theatre, the kind that involves multiple characters performing on a stage. A one-person show might be OK; poetry and storytelling are nice. But there’s nothing more alien to DeafBlind culture than a play on a stage. Sighted Deaf people love Deaf theatre, of course. Some, though not many, enjoy ASL-interpreted performances—they can view the hearing actors and stage sets. They can see an actor whip out a gun in anger and see from the interpreter why. Hearing blind people may derive pleasure from listening to the dialogue while receiving audio description. They’d hear the actor yell, “You stole my money!” and know from the description that a gun has now come into play. For DeafBlind people, there is no direct connection. It all comes through an interpreter, secondhand, in a jumble, and you’re lost.

Is it any accident that the worst thing that’s ever happened to the DeafBlind community is a play, William Gibson’s “The Miracle Worker”? Not only does it portray the young Helen Keller as a savage, thus gratifying the public’s need for monsters and their eventual taming, the play is most responsible for extending Keller’s problematic legacy to such a point that her name is a stand-in for the entire global deaf-blind population.

Another social reason for distrusting traditional theatre is that many DeafBlind people have been put on display ever since Samuel Gridley Howe pushed his pupil Laura Bridgman to perform her tongue-aided needlework every Saturday. And often when DeafBlind people find themselves on the stage, presenting or sitting on a panel, they don’t have access to the event itself before or after their bit. 

One picture of how deeply wrong mainstream public performance customs are for tactile people comes from Jack Clemo, a deaf-blind Cornish poet. On his wedding day, he was led to the altar and waited until someone tapped him on the shoulder before uttering his vows. He did not know what the minister was saying and did not have access to his hearing-sighted bride’s vows. He was there, but was he part of his own wedding? While culturally DeafBlind events (such as weddings) are much better and inclusive, and the Pro-Tactile movement has given DeafBlind presenters unprecedented access to audience feedback, Clemo’s experience still serves as a thumbnail of what theatre means to both DeafBlind people on display and those who are in attendance. They’re there, but they’re not part of it.

So I propose that a true Pro-Tactile theatre is, first of all, for a DeafBlind audience and is not meant to be viewed from a distance. This means there’s no stage. No rows of chairs. And it must be a theatre where DeafBlind people themselves can be directors, actors—all personnel. Hearing or sighted people who can speak Tactile ASL can be involved or attend, but my point is that no part of it would be out of reach.

My thoughts on what a DeafBlind-friendly theatre experience might be like began to form in 2008 when I attended Louisiana Acadiana DeafBlind Citizens’ annual April crawfish fundraiser. The event featured a DeafBlind clown from Georgia named Mark Gasaway, who, as it happens, is the current president of the American Association of the DeafBlind. He was the ILLY Clown, “ILLY” being a spin on the classic I Love You handshape and short for “I Love Loving You.” He did what hearing-sighted clowns often do: mingle. In this context, it made something click in my head. Of course! Take the act to everyone.

He dressed in an outlandish and a very tactile costume, with huge boots and a hat with a ski jump for its bill. He went around teasing and playing pranks on everyone, showing them things from his many pockets. We felt him making balloon animals and swords and hats. He had a dog puppet in one hand, and we felt his other hand scolding it and the dog tucking in his head, begging forgiveness. He made contact with every DeafBlind person there at least twice. 

Soon after that memorable weekend in the heart of Cajun country--which could be said to be DeafBlind country too, for Louisiana has the largest DeafBlind population in the United States—Seattle’s Deaf-Blind Service Center hosted a fashion show in partnership with a local boutique, the Fashion Bug. Instead of having a runway, they had a banquet. The models, some of them DeafBlind, approached everyone. They interacted with each DeafBlind patron, showed off their outfits, pointed out interesting features, and often engaging in discussions about the fabric and prices. Yes, the models allowed themselves to be touched, but those unfamiliar with the community can be assured that we have our own etiquette concerning permissible touch. The staff from the Fashion Bug also matched each patron with an accessory or a hat they could take home. They may not have realized it then, but something historic had happened.

These two events suggested to my mind one kind of play—the mingle. What you have is a social event and you let everyone eat and have a good time while a play unfolds in their midst. The actors are like out-of-state visitors or, if they’re historical characters, they are like they’ve just been dropped off by a time machine. The actors’ task is to build the same basic story in the minds of everyone they meet. They have a set of messages to get across while working the room. Say you have a love-triangle story. We get to meet all three parties, listen to them rationalize or wax lyrical or bad-mouth another party. We get conflicting stories. We are asked what we think, to take sides, to give advice, even to intervene. “If you see Jean, tell her I never did it!” I’m sure we’ll gossip with our fellow attendees in between our turns with the actors. There could be all sorts of formats. For example, there could be three very brief acts, which might mean the actors each do three rounds, while the attendees experience nine interactions with the story as it mounts toward its climax.

I think it’s important to note here that the attendees would know that there’s a play, and that Bill, Jean, and poor Luke are not real people. Theatre should never be about fooling people completely. There needs to be an element of cooperation from the audience, where the audience can choose to be drawn into the experience. Isn’t theatre an instrument of self-deception on the part of the captivated? Yes, collusion is the key to illusion.

However, we do need assistance in fooling ourselves. But traditional theatrical illusion is very visual and almost never holds up to touch. I remember being invited backstage one time to feel the props. The experience was underwhelming. Everything felt worse than fake. I couldn’t tell what half of the things were supposed to be. Take a knight’s suit of chain mail. It was a piece of cloth with shiny paint on it. The costumes and props used in Pro-Tactile theatre would need to be tactilely appropriate. The chain mail doesn’t have to come from the British Museum’s Second Crusade collection, but it better be chain mail!

When the Pro-Tactile movement blossomed, I was thrilled with the possibilities it added to my dreams of DeafBlind theatre. There are now presentations, workshops, and staff meetings being conducted without interpreters, following patterns of small group discussions and rotating people around so that everyone gets the same information directly. This spring, Gallaudet University has two classes that are done in this way, without the traditional set-up of a professor lecturing in front of students. I hope this means we’ll have various Pro-Tactile plays soon!

To explain a simple version: It would be like a series of monologues, which do occur in traditional theatre. Only there would be a room with the actors arranged around the room, ideally sitting on chairs with two chairs near each one of them. Tactile ASL allows for speakers to “double” what they’re saying by having both hands function as dominant hands. Thus, two tactile listeners can take in the message at the same time. If the order of interactive monologues isn’t essential, the DeafBlind attendees can go ahead and sit with all of the performers and rotate from there. If the order is important, then there is a queue.

That’s the bare-bones version. But this template can be built on in any number of ways. For example, there can be parts where, instead of having two tactile listeners following a single actor, an attendee can take in two actors talking primarily to each other or having a fight or romancing each other. There can be acts. Act One, attendees go into the room in turn, come out and socialize until Act Two opens, and they go in there again to find out what happens next. You can go anywhere with the costumes and props, from minimalist to elaborate. Unlike the mingle, the theatre room allows for more complex productions, such as Shakespeare adapted to suit a fixed number of turns round the room.

If I could have my dream play become reality, as it were, I’d like it to extend beyond just one room. Why not a house, especially an old house? If it’s a murder play, we attendees would be arriving at the house as if we were the detective. We meet the cop first, who briefs us on the situation. With our cop as our partner, ready to ask the right questions or offer safe speculations if our own faculties fail us, we meet the weeping father, and then the mother, who is cooler. We inspect the corpse, which is still warm, and we ignore the fact it’s still breathing. We handle the murder weapon, which isn’t made of cardboard. During the intermission in the dining room, while we’re enjoying refreshments and debating which suspect killed the gardener, there’s a crash and the plot thickens. As we interview the suspects a second time, it dawns on us who did it.

In other words, my dream play would make me part of it. The wily playwright has decided who the audience is to be, and the audience, who is I, suddenly becomes an actor.

Last modified: Sunday, October 29, 2023, 2:31 PM

 

 

 

conclusion

 

Δευτέρα 27 Νοεμβρίου 2023

ΣΤΑΜΑΤΩ ΤΙΣ ΑΝΑΡΤΗΣΕΙΣ ΚΑΙ ΣΥΝΕΧΙΖΟΥΜΕ ΣΤΗΝ ΙΣΤΟΣΕΛΙΔΑ ΤΟΥ ΣΥΛΛΟΓΟΥ ΜΑΣ

 Αγαπητά μέλη και φίλοι

με την δημιουργία της ιστοσελίδας του συλλόγου ,ο ρόλος του μπλογκ δεν ειναι αναγκαίος.Το μπλογκ δημιουργήθηκε για να καταγράφει τις δράσεις του Συλλόγου σαν απόδειξη οτι υπάρχει και δρατηριοποιείται συμφωνα με τους στόχους του . Στόχος ηταν η καταγραφή  εκδηλώσεων και δράσεων σε πιθανή ζήτηση απο αρμόδιους φορείς για την πιστοποίηση του ΗΛΙΟΤΡΟΠΙΟΥ.

Πάντα βέβαια μπορεί κανείς να ανατρέχει στο περιεχόμενο για πληροφορίες 

ευχαριστουμε ολα τα άτομα οπου συνεβαλαν στις αναρτήσεις 

για το μπλογκ 

Φρόσω Ζαφείρη

Κυριακή 2 Ιουλίου 2023

Διεθνης εβδομάδα ΤΥΦΛΟΚΩΦΩΣΗΣ...Ιη παρουσίαση για το ΑΣΕΡ -Συνεργασία με το ''κινηματογραφος και αναπηρία''


 


Το Σάββατο 1η Ιουλίου 2023 και ώρα 12:00πμ-15:30μμ θα υλοποιηθεί η 11η Συνάντηση του σεμιναρίου ‘Κινηματογράφος και Αναπηρία’ 2ου Κύκλου με θέμα 'Ζώντας παρέα με το Σύνδρομο Usher', στο Κινηματογράφος Ίριδα, Ιπποκράτους 15 & Ακαδημίας 55, ολοκληρώνοντας το σεμινάριο για αυτό το ακαδημαϊκό εξάμηνο.
Θα ξεκινήσει με τη παρουσίαση ‘30 χρόνια ΗΛΙΟΤΡΟΠΙΟ’ απο τη κ Μπεζεριάνου Κατερίνα, κοινωνική λειτουργός, Πρόεδρος του Πανελλήνιου Συλλόγου Τυφλοκωφών “ΗΛΙΟΤΡΟΠΙΟ”. Στη συνέχεια θα ακολουθήσει εισήγηση για το σύνδρομο Usher & Ανάλυση ταινίας απο τη κ Φρόσω Ζαφείρη, Ψυχολόγος - Μουσικοθεραπεύτρια με ειδίκευση στη Τυφλοκώφωση. Μετά θα προβληθεί η ταινία ‘Stilte in de Nacht’ (Σιωπή στη Νύχτα) της Lisanne van Sponsen και Milou op ten Berg. Μετά τη προβολή, θα χαιρετήσει η σκηνοθέτιδα Lisanne van Sponsen και θα γίνει εισήγηση ‘Ζώντας παρέα με το Σύνδρομο Usher’ από τον κ Γιάννη Παϊναρλή, Αρχιτέκτονας Μηχανικός.
Μετά το διάλειμμα, θα γίνει ανάλυση ταινίας από τη κ Γεωργία Παππά, Εργοθεραπεύτρια με ειδίκευση στη Τυφλοκώφωση, Αντιπρόεδρος του Πανελλήνιου Συλλόγου Τυφλοκωφών “ΗΛΙΟΤΡΟΠΙΟ”. Θα προβληθεί η ταινία ‘Deaf and Blind : Being Me Heather’ (Τυφλοκωφή: Ζώντας με τη Χέδερ) της AttitudeLive. Θα ακολουθήσει η εισήγηση με θέμα ‘Εκπαίδευση τυφλοκωφών ατόμων’ από τη κ Κυριτσοπούλου Γεωργία, Εκπαιδεύτρια Κινητικότητας στο ΚΕΑΤ Αθηνών.
Οι ταινίες έχουν ελληνικούς υπότιτλους βάσει διαλόγων.Η κ Νατάσα Πλεμένου, ανάπηρη με βλάβη όρασης και ακοής θα παίξει Polonaise & Double from Orchestral Suite No.2 in B minor για φλάουτο, Johann Sebastian Bach. Θα ακολουθήσει συζήτηση .
Θα υπάρχει εκπαιδευόμενος διερμηνέας ΕΝΓ. Ευχαριστούμε πολύ την ΟΜΚΕ.
Για την εύρυθμη λειτουργία του σεμιναρίου, παρακαλείστε να είστε στο χώρο 15 λεπτά νωρίτερα από την ώρα της έναρξης.
Η είσοδος είναι ελεύθερη για όλους.
Περιγραφή αφίσας :
Αφίσα χωρισμένη σε δυο φωτογραφίες πάνω και κάτω. Στο πάνω μέρος αναγράφεται 'Κινηματογραφικός Τομέας Π.Ο.Φ.Π.Α. Κινηματογράφος και αναπηρία'. Στη πάνω φωτογραφία της αφίσας βλέπουμε νεαρό ζευγάρι μπροστά σε θάλασσα με ελαφρύ κυματισμό. Ο άνδρας έχει γυρισμένη τη πλάτη στο φακό, κοντά μαλλιά και μακρυμάνικο χακί τζάκετ. Κρατάει στην αγκαλιά του γυναίκα νεαρής ηλικίας με μακριά καστανά μαλλιά, η οποία τον κοιτάει και χαμογελά. Η γυναίκα φοράει πράσινη σκούρα μπλούζα. Στη φωτογραφία διαβάζουμε με άσπρα γράμματα : ‘Stilte in de Nacht’ (Σιωπή στη Νύχτα) της Lisanne van Sponsen και Milou op ten Berg . Από κάτω αναγράφεται : Σάββατο 1η Ιουλίου στις 12.00πμ στο Κινηματογράφο Ίρις. Δεύτερη φωτογραφία από κάτω, βλέπουμε δυο γυναίκες καθισμένες με ενωμένα τα χέρια τους νοηματίζουν τη γλώσσα των τυφλοκωφών, η πρώτη νεαρή γυναίκα απο αριστερά, έχει ξανθά μακριά μαλλιά στο ύψος των ώμων, και φοράει μαύρο σακάκι. Η δεύτερη γυναίκα, μέσης ηλικίας, καθισμένη σε μια πολυθρόνα, έχει καστανά μαλλιά με αφέλειες, φοράει γκρι μπλουζάκι μακρυμάνικο. Στο αριστερό της χέρι φοράει ρολόι. Από πίσω τους μικρή βιβλιοθήκη με διάφορα βιβλία και φωτογραφίες σε μικρά κάδρα. Με άσπρα γράμματα διαβάζουμε στο πάνω μέρος της φωτογραφία : ‘Deaf and Blind : Being Me Heather’ (Τυφλοκωφή: Ζώντας με τη Χέδερ) της AttitudeLive. Κάτω με λευκά γράμματα αναγράφεται: https://kinimatografiko.gr