Disney Animation to Reimagine Recent Hit Musical Numbers with American Sign Language

The newly reimagined sequences feature entirely new animation.

Walt Disney Animation Studios is celebrating National Deaf History Month with an incredibly unique venture that will feature characters performing ASL in newly reimagined song sequences from recent hits.

What’s Happening: 

  • In celebration of National Deaf History Month, Disney+ will proudly debut Disney Animation’s Songs in Sign Language, three animated musical sequences from recent Walt Disney Animation Studios features, newly reimagined and animated in American Sign Language (ASL). 
  • Directed by veteran Disney animator/director Hyrum Osmond, the featured songs are: 
    • “The Next Right Thing” from Frozen 2
    • “We Don’t Talk About Bruno” from Encanto 
    • “Beyond” from Moana 2 
  • Osmond, along with producers Heather Blodget and Christina Chen, worked in collaboration with DJ Kurs (artistic director) and the team at Los Angeles’ Tony Award-winning Deaf West Theatre to create the new versions of these beloved songs. 
  • A special behind-the-scenes featurette will accompany the songs, taking viewers into the collaboration that made these reimagined songs possible.
  • Osmond led a team of more than 20 animators who worked with sign language reference expressly created for Disney Animation’s Songs in Sign Language. DJ Kurs, artistic director for Deaf West Theatre, working with sign language reference choreographer Catalene Sacchetti, and a group of eight performers from Deaf West Theatre, carefully reimagined and choreographed lyrics into ASL by focusing on concepts and emotion instead of a word-for-word transcription.
  • Songs in Sign Language will arrive on Disney+ on April 27. 

What They’re Saying: 

  • Hyrum Osmond: “In the majority of cases, we created entirely new animation. There were a lot of adjustments that we had to do within the animation to be true to the original intention… sign language is one of the most beautiful ways of communication on Earth. If ever there was a medium to showcase sign language, it was animation. The other big reason for doing this project is to connect with the Deaf community. Growing up, I never learned sign language, and that barrier prevented me from really connecting with my dad (who is deaf). This reimagining of Disney Animation musical numbers helps bring down barriers and allows us to connect in a special way with our audiences in the Deaf community. I’m grateful that the Studio got behind making something so impactful.”
  • DJ Kurs: “When Hyrum approached me with a potential collaboration involving the integration of ASL into the fabric of Disney storytelling, it was an immediate ‘yes’ for us. Disney stories are the universal language of childhood. The chance to bring our language into that world was a historic opportunity to reach a global audience. Working on this project was very emotional. For so long, we have known and loved the artistic medium of Disney Animation. Here, the art form was adapting to us. I hope this unlocks possibilities in the minds and hearts of Deaf children, and that this all leads to more down the road.”

Hands On Animation: 

  • Animating ASL is a unique challenge, but not entirely unprecedented.
  • While not necessarily Walt Disney Animation Studios, back in 2020 Disney TV Animation ventured into the foray of animating ASL with a special episode of Big City Greens
  • In the episode, “Quiet Please,” which was a masterful parody of the film, A Quiet Place, the Greens brought their personal brand of wackiness and served up a high level of authenticity. 
  • The team at that time consisted of members from nonprofit organization, RespectAbility, who spoke with creators Chris and Shane Houghton to make sure that the animated portrayal of ASL was authentic and accurate. 
  • The trio of consultants from RespectAbility offered suggestions, positive feedback, and helped the Greens avoid any faux pas, or possibility of a misinterpretation.

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Tony Betti
Originally from California where he studied a dying artform (hand-drawn animation), Tony has spent most of his adult life in the theme parks of Orlando. When he’s not writing for LP, he’s usually watching and studying something animated or arguing about “the good ole’ days” at the parks.