BLISS - Jeffrey Baker
Jeffrey Baker brings the magic of dance to deaf children
Daydreaming some time ago while listening to a drum machine, Jeffrey Baker’s thoughts drifted back to something he’d read in Dance Magazine years earlier. It was an article about the Joffrey Ballet and the teaching of ballet technique to deaf children, using large speakers, high amplification and a pounding piano. Baker’s mind went to another place, though. And if you were to describe the flash in his brain as a light bulb turning on above his head, you wouldn’t be far off.
Baker’s bright idea was a visual representation of audio time signatures, using a
rhythmical sequence of lights to communicate music to the deaf and hard of hearing. Many years and $65,000 later, Baker has secured the North American patent to what he calls the Baker Light Integrated Star System – BLISS, for short.
“When you see their faces, that’s the price of admission,” Baker says of the deaf children he teaches, using his system of flashing lights. “When they smile, it’s all worth it.”
Baker is speaking at the office and small studio space at the Deaf Culture Centre, located in Toronto’s Distillery Historic District. There, children are working through a series of dance exercises as they watch Baker and his traffic-light device behind him. They skip, they pas, they plié. And as they do, Baker seems to be the happiest person in the room.
“I’m a child,” Baker says, after the dance demonstration. “I never grew up. I love to teach, and the kids relate to me.”
Baker says he’s never worked a day in his life. He’s danced with Les Grands Ballets Canadiens, the Israel Ballet and other companies, and he currently teaches ballet at
the Ernest C. Drury School for the Deaf, in Milton, Ont.
Some of the children Baker is currently working with will be a part of The Black Drum, a signed musical-theatre piece co-produced by the Deaf Culture Centre with Soulpepper Theatre that is scheduled to be performed at Soulpepper next year.
One of the supporters of Baker’s BLISS is Joanne Cripps, the Deaf Culture Centre executive director. “People think deaf children couldn’t possibly understand what music is about,” Cripps says, through a sign-language interpreter. “But that’s not true. They have a visual music inside them.”
What excites Cripps is that with his lighting system, Baker isn’t trying to make deaf children hear. “The children own the process,” she says of visual methods such as Baker’s. “It becomes theirs.”
Baker is all too willing to share the process. “I’m living my dream,” he says. “Teaching these children goes to my heart. There’s really nothing better.”
BRAD WHEELER
PUBLISHED JULY 15, 2018
Baker’s bright idea was a visual representation of audio time signatures, using a
rhythmical sequence of lights to communicate music to the deaf and hard of hearing. Many years and $65,000 later, Baker has secured the North American patent to what he calls the Baker Light Integrated Star System – BLISS, for short.
“When you see their faces, that’s the price of admission,” Baker says of the deaf children he teaches, using his system of flashing lights. “When they smile, it’s all worth it.”
Baker is speaking at the office and small studio space at the Deaf Culture Centre, located in Toronto’s Distillery Historic District. There, children are working through a series of dance exercises as they watch Baker and his traffic-light device behind him. They skip, they pas, they plié. And as they do, Baker seems to be the happiest person in the room.
“I’m a child,” Baker says, after the dance demonstration. “I never grew up. I love to teach, and the kids relate to me.”
Baker says he’s never worked a day in his life. He’s danced with Les Grands Ballets Canadiens, the Israel Ballet and other companies, and he currently teaches ballet at
the Ernest C. Drury School for the Deaf, in Milton, Ont.
Some of the children Baker is currently working with will be a part of The Black Drum, a signed musical-theatre piece co-produced by the Deaf Culture Centre with Soulpepper Theatre that is scheduled to be performed at Soulpepper next year.
One of the supporters of Baker’s BLISS is Joanne Cripps, the Deaf Culture Centre executive director. “People think deaf children couldn’t possibly understand what music is about,” Cripps says, through a sign-language interpreter. “But that’s not true. They have a visual music inside them.”
What excites Cripps is that with his lighting system, Baker isn’t trying to make deaf children hear. “The children own the process,” she says of visual methods such as Baker’s. “It becomes theirs.”
Baker is all too willing to share the process. “I’m living my dream,” he says. “Teaching these children goes to my heart. There’s really nothing better.”
BRAD WHEELER
PUBLISHED JULY 15, 2018
Baker Light Integrated Star System
(BLISS)
The Idea
In an issue of Dance Magazine, an article, “Joffrey Ballet’s New Horizons: The School You Can Hear with Your Heart,” appeared. The article addressed the teaching of classical ballet technique to deaf children. The method involved an amplifier connected to two large speakers turned to high volume within the ballet classroom. Connected to the amplifier was a microphone which was placed inside a grand piano. With the use of their hearing aids and the magnification of the pounding piano, the children responded. While I found the idea captivating, it opened the door for explorations into other possible strategies for this unique population.
One day, as I was daydreaming while listening to a computerized drum machine, my mind went back to the article which I had read in Dance Magazine years before. I realized that a rhythmical sequence of lights, could visually communicate musical time signatures to the deaf and hard of hearing. In its original form, a light bar containing four lights, mounted upon a large tripod stand, viewed horizontally and vertically, with the ability to display the time signatures, (2/4, 3/4, 4/4 and 6/8, which can be counted as a 2/4), was used. Since then, the light system has grown in leaps and bounds and now consists of over a thousand separate lights, numerous colours and geometrical shapes. It is an extremely efficient teaching tool and learning device.
This light system offers deaf and hard of hearing children a new and innovative strategy to perform classical ballet in the classroom as well as in a theatrical setting. It can be used for virtually any form of dance that uses time signatures as well as movement games and improvisation, which provides children with important opportunities for exploration, expression and just plain fun. This new lighting system opens the door for deaf and hard of hearing children with aspirations to become professional dancers, to follow their dreams and dance their way into a classical ballet company of their own or to integrate themselves into other hearing dance companies all over the world.
About the Light System
In its simplest form, the light grid visually represents predetermined musical time signatures. The grid is designed in such a way to make possible the demonstration of any ballet exercise facing any wall or corner of the classroom. It visually maps out ballet exercises and positions of the body as it relays; time signature, tempo and note articulation. The articulation of each light's illumination communicates the quality of that note. A short flash would indicate a staccato sound where as a long flash would indicate a legato sound. A single flash of a light, can represent either a beat or an entire bar of music. Four quick (beats) flashes equals four quarter notes, one bar of 4/4, whereas a much longer sustained flash, equal to the 4 quick flashes, would equal one bar of 4/4 or a whole note.
Colour Code: A colour code has been designed to identify individual body parts and specific movements. The system can isolate, head, shoulders, arms, torso, hips, legs and feet. If a teacher first wants to work on a specific part of an exercise, i.e. arms, they can do this, then later, they can combine any or all parts of the body together. Also, parts of individual steps can be broken down and demonstrated in slow motion, i.e. beats, showing exactly the path that the legs take to complete their task.
Light Ways: The system offers extremely precise and detailed visual information, through its use of a full complement of lights, to demonstrate classical technique. The number of lights and colours used in a specific exercise, (referred to as light ways), depends upon the technical proficiency of the student, and how much visual information needs to be communicated. There is a pedagogical lessening of dependence upon the lights and their colours, until only the original four horizontally placed lights, (producing time signatures and other set cues) are needed. The light system provides precise visual time markers of where a dancer should be in space.
Internalization of Timing: When a dancer is performing on stage or in class, they are not listening for the beats of the music. If they did, they would be behind it, because there is a slight delay of about a quarter second response time from the time the dancer hears the music. The dancer must learn to anticipate the beat, to be with the music. The question arises, “Does the dancer always have to be looking directly at the lights?” Peripheral vision allows the dancer to look away from the lights and still see time signatures and other light cues accurately. In fact, the very act of looking away from the lights creates a unique learning situation. It causes the dancer to internalize tempo and use the lights as, sign posts to where they need to be.
The simplicity of the system can be best demonstrated using the following example; if a Deaf or Hard of Hearing ballet company was performing the Waltz Of The Flowers from the Nutcracker Suite, all that would be required for the dancers on stage, is one single flashing light representing all the first beats of the ¾ time signature.
Ballet Notation: The light system also has the ability to visually notate virtually all ballet exercises at the barre, positions of the body and complete adages. It also notates ballet steps and enchainments.
In the Classroom
In a classroom of deaf and hard of hearing students, the teacher programs exercises into the computer and teaches class using the lights. When the class is composed of both deaf and hard of hearing and hearing students, lights can be used or a combination of lights and music. The accompanist synchronizes both lights and music using a miniature light bar mounted on their piano indicating all tempos. The light configurations are displayed on monitors throughout the classroom, so they can be seen with ease. It should be noted, that a successful ballet class can be conducted with only one light monitor, positioned front and centre facing the student’s in the class. As to the size of monitors needed, this is dependent upon the size and shape of the classroom. Since ballet exercises are performed on both the right and left side, the teacher will easily be able to transfer the exercise to the other side, as well as modify or set a new exercise at any time.
In the Theatre
When dancing in the theatre, the lights take their original form of four lights viewed horizontally and positioned directly behind the audience. They can also be mounted in the front part of a balcony in a larger theatre in certain situations or just off to the sides of the stage for the dancer’s to easily see. Light bars would also be positioned in the wings on stage as required.
When using live music, the conductor would have a small light bar mounted upon his/her musical stand communicating the same visual light cues which the dancer’s see. The conductor can simultaneously make any adjustments needed, synchronizing the orchestra with the lights or the lights with the orchestra.
Once the light system is programmed and up and running, its’ use will be efficient and user friendly for both teacher and student.
Our ultimate dream is the creation of the world’s first National Ballet School of the Deaf and the Deaf National Ballet of Canada.
(BLISS)
The Idea
In an issue of Dance Magazine, an article, “Joffrey Ballet’s New Horizons: The School You Can Hear with Your Heart,” appeared. The article addressed the teaching of classical ballet technique to deaf children. The method involved an amplifier connected to two large speakers turned to high volume within the ballet classroom. Connected to the amplifier was a microphone which was placed inside a grand piano. With the use of their hearing aids and the magnification of the pounding piano, the children responded. While I found the idea captivating, it opened the door for explorations into other possible strategies for this unique population.
One day, as I was daydreaming while listening to a computerized drum machine, my mind went back to the article which I had read in Dance Magazine years before. I realized that a rhythmical sequence of lights, could visually communicate musical time signatures to the deaf and hard of hearing. In its original form, a light bar containing four lights, mounted upon a large tripod stand, viewed horizontally and vertically, with the ability to display the time signatures, (2/4, 3/4, 4/4 and 6/8, which can be counted as a 2/4), was used. Since then, the light system has grown in leaps and bounds and now consists of over a thousand separate lights, numerous colours and geometrical shapes. It is an extremely efficient teaching tool and learning device.
This light system offers deaf and hard of hearing children a new and innovative strategy to perform classical ballet in the classroom as well as in a theatrical setting. It can be used for virtually any form of dance that uses time signatures as well as movement games and improvisation, which provides children with important opportunities for exploration, expression and just plain fun. This new lighting system opens the door for deaf and hard of hearing children with aspirations to become professional dancers, to follow their dreams and dance their way into a classical ballet company of their own or to integrate themselves into other hearing dance companies all over the world.
About the Light System
In its simplest form, the light grid visually represents predetermined musical time signatures. The grid is designed in such a way to make possible the demonstration of any ballet exercise facing any wall or corner of the classroom. It visually maps out ballet exercises and positions of the body as it relays; time signature, tempo and note articulation. The articulation of each light's illumination communicates the quality of that note. A short flash would indicate a staccato sound where as a long flash would indicate a legato sound. A single flash of a light, can represent either a beat or an entire bar of music. Four quick (beats) flashes equals four quarter notes, one bar of 4/4, whereas a much longer sustained flash, equal to the 4 quick flashes, would equal one bar of 4/4 or a whole note.
Colour Code: A colour code has been designed to identify individual body parts and specific movements. The system can isolate, head, shoulders, arms, torso, hips, legs and feet. If a teacher first wants to work on a specific part of an exercise, i.e. arms, they can do this, then later, they can combine any or all parts of the body together. Also, parts of individual steps can be broken down and demonstrated in slow motion, i.e. beats, showing exactly the path that the legs take to complete their task.
Light Ways: The system offers extremely precise and detailed visual information, through its use of a full complement of lights, to demonstrate classical technique. The number of lights and colours used in a specific exercise, (referred to as light ways), depends upon the technical proficiency of the student, and how much visual information needs to be communicated. There is a pedagogical lessening of dependence upon the lights and their colours, until only the original four horizontally placed lights, (producing time signatures and other set cues) are needed. The light system provides precise visual time markers of where a dancer should be in space.
Internalization of Timing: When a dancer is performing on stage or in class, they are not listening for the beats of the music. If they did, they would be behind it, because there is a slight delay of about a quarter second response time from the time the dancer hears the music. The dancer must learn to anticipate the beat, to be with the music. The question arises, “Does the dancer always have to be looking directly at the lights?” Peripheral vision allows the dancer to look away from the lights and still see time signatures and other light cues accurately. In fact, the very act of looking away from the lights creates a unique learning situation. It causes the dancer to internalize tempo and use the lights as, sign posts to where they need to be.
The simplicity of the system can be best demonstrated using the following example; if a Deaf or Hard of Hearing ballet company was performing the Waltz Of The Flowers from the Nutcracker Suite, all that would be required for the dancers on stage, is one single flashing light representing all the first beats of the ¾ time signature.
Ballet Notation: The light system also has the ability to visually notate virtually all ballet exercises at the barre, positions of the body and complete adages. It also notates ballet steps and enchainments.
In the Classroom
In a classroom of deaf and hard of hearing students, the teacher programs exercises into the computer and teaches class using the lights. When the class is composed of both deaf and hard of hearing and hearing students, lights can be used or a combination of lights and music. The accompanist synchronizes both lights and music using a miniature light bar mounted on their piano indicating all tempos. The light configurations are displayed on monitors throughout the classroom, so they can be seen with ease. It should be noted, that a successful ballet class can be conducted with only one light monitor, positioned front and centre facing the student’s in the class. As to the size of monitors needed, this is dependent upon the size and shape of the classroom. Since ballet exercises are performed on both the right and left side, the teacher will easily be able to transfer the exercise to the other side, as well as modify or set a new exercise at any time.
In the Theatre
When dancing in the theatre, the lights take their original form of four lights viewed horizontally and positioned directly behind the audience. They can also be mounted in the front part of a balcony in a larger theatre in certain situations or just off to the sides of the stage for the dancer’s to easily see. Light bars would also be positioned in the wings on stage as required.
When using live music, the conductor would have a small light bar mounted upon his/her musical stand communicating the same visual light cues which the dancer’s see. The conductor can simultaneously make any adjustments needed, synchronizing the orchestra with the lights or the lights with the orchestra.
Once the light system is programmed and up and running, its’ use will be efficient and user friendly for both teacher and student.
Our ultimate dream is the creation of the world’s first National Ballet School of the Deaf and the Deaf National Ballet of Canada.