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For more infomation >> A voz do Limão de PEPSI TWIST voltou! | #AVozDoLimão - Duration: 0:31. 
>> From the Library of Congress in Washington, DC.
>> Hello, everyone.
I want to thank everybody for coming.
I know a few of you were at the first luncheon that we had,
and so your support is really great and really appreciated.
This one, the Library of Congress Deaf Association sponsored this
event, so I want to thank you for that.
And this was a series -- first I do want to talk about my internship.
I'm an intern here at the Library of Congress.
During my time, I was responsible for planning events,
and these were the three that I chose.
Some of you came and some of you were actually involved in the panel
for that one, so that was really cool.
The first one was technology and telecommunications.
Today we're going to be talking about deaf art, what it looks like,
what it represented, and some of the behind meanings for deaf art.
The last one will be within two weeks, and it will be focusing
on preserving American deaf culture.
There is a fourth one, and it's not listed.
It's different than deaf culture.
It's one that's specific to my family.
I'm of Samoan heritage, and so it will delve
into the cultures of Samoa.
So now, we will be talking about De'VIA.
If you don't know this term, here it is.
Little bit of my background on how I became interested with De'VIA.
I'm a student at Eastern Kentucky University, which is where I came
from to do my internship.
And there was one art class that had such a wide range of art.
They focused on poetry, art, sculptures, and a wide range
of things, and that piqued my interest.
Before I want to show you one of these pictures
that really mean something to me,
I want to talk a little bit about my family dynamic.
And I come from a family of six brothers and sisters.
And this is my older sister --
>> Karen.
>> Karen. And she's awesome, just to let you know.
And she was older than me, and probably when I was five years old,
she had already gone to Gallaudet University,
and she was already a student there.
So we had quite an age gap.
And as I was growing up, I didn't use sign language.
>> I watched people signing.
>> But I was able to watch and be exposed to some of the letters,
some of the basic colors, and some basic language exposure
at that time.
As -- I'm trying to give a summary of what happened but --
at the school, they provided an ASL class when I was in high school,
probably around my sophomore year in high school, when I went in
and I started to take ASL courses.
At that time, my sister was teaching at San Diego State University,
and I had asked if she would sit down with me on a weekly basis
so that I could learn more and study more of her language
and could improve my skills.
She was obviously willing to do this for me, and through our lessons,
I was able to develop not only a relationship with her
but also develop my language.
We were sisters and so we had that relationship, but I realized
that through more language acquisition that our --
>> That our relationship.
>> Our relationship was surface growing
up because we didn't have the same language to use.
As I started to learn, at that time that I moved to Kentucky,
and so my language classes, they halted because I wasn't able
to work with her anymore.
But then once I got to Kentucky and settled,
then we started our courses again.
None of my other brothers and sisters knew ASL.
Still to this day they don't.
So for me, to be able to have the relationship
with my sister is great, but none
of the other family members seemed to learn.
So understanding that there were six of us, it's a lot.
How De'VIA really --
>> Impacted me.
>> Really impacted me was by Warren Miller.
This is an example and it's called Family Tradition.
And I wanted to show this because my sister is one of six.
And so you can see the whole family here,
and then down in the corner there's one that seems to be excluded.
All of them are having conversations and seem to be involved,
but then there's one that's excluded.
And it seems that that's to be characterized, that's what happens
in families, that there's always speech happening
and then there's one that's sort of neglected.
So when I first saw this, I was quite emotional.
>> I even cried.
>> And even broke out in tears seeing this because it had
such an impact and was symbolic of the family that I grew up with,
having one deaf child in such a large hearing family.
This is truly a representation of that.
Yes, I'm able to hear myself, but the relationship that I had
with my sister, I started to embody some of the --
and understand some of the oppression through her identity.
>> And understand her as a deaf woman.
>> Then to even understand her as a deaf woman.
And then everybody knows the "I love you" hand shape, and that's seen
within this fingerprint, and it shows a true embodiment
of the deaf culture and the deaf identity.
It becomes part of who you are, and that I want
to support the deaf community, I want to be involved,
I want the language acquisition.
Yes, I'm motivated to learn the language,
but it's also to become an ally, and within the community,
and to really immerse myself in the culture and the language.
So now I want to introduce the expert here
of De'VIA -- that's not me.
I'm a student, still learning, but Lenore knows so much, and she's able
to in-depth explain about De'VIA and what it is.
She has some historical context about what the art is,
and some of the importance of it.
And --
>> Do you remember what [inaudible]?
>> Hello, everyone.
Let me introduce myself briefly.
I've worked here for quite some time, for --
>> Eight years.
>> For eight years, and many of you know me.
In graduate school, I took courses and I have a degree in art history.
>> European American art.
>> And I --
>> European American art.
>> And studied European American art.
Now, I have been here at the Library of Congress for eight years,
but I've been in Maryland for about 20 years.
I graduated from Gallaudet University, and as I moved here
from Pennsylvania, I ended up staying here.
This is my home because of a very large deaf community.
I went to Western Pennsylvania School for the Deaf in Pittsburgh,
and when I moved here, I decided to stay here,
you know, for cultural reasons.
I don't have deaf in my family as well, and in my small hometown back
in Pennsylvania there's not a deaf community.
And so this is like home for me.
So let's talk a little bit today about De'VIA.
>> And the multiple perspectives [inaudible].
>> We're going to look at multiple perspective about deaf artists.
Oh, thank you, Michaela, you're quick on the draw there.
So deaf artists have a long tradition of creating art,
both traditional and contemporary art.
And deaf art incorporates the language
and culture of deaf artists.
So there are so many different aspects of culture and history,
our bodies, our sign language, that are all included in De'VIA.
So there are many components of De'VIA, and these are listed here:
high contrast colors and images, facial expressions,
[inaudible] the movement of our hands, our eyes, our mouths.
You'll see so many different things incorporated in our art.
And oftentimes, you'll see us talking
about other people's focus on our ears.
But deaf art, it's focus is on American Sign Language.
>> Hello again.
This is kind of a short timeline that depicts De'VIA
from its original start until today.
So the first box, it talks about the time in the 1960s when they started
to realize that there was a divergence and kind
of a difference in the art in that time.
It was in the '60s, and there wasn't too much of an established
and announced culture at that time.
So there was one group, the deaf art movement,
and a group of deaf students came together and they started to analyze
and look at what is art and what is the impact?
And that's where they came up with De'VIA.
A few years later, a person --
a woman named Betty Miller, and that was in 1972,
Betty Miller, she was known as the grandmother of De'VIA.
And the reason for that was it was the first all-deaf art exhibit
that she had curated.
And it was called The Silent World.
And that was in 1972.
Then in '89, in deaf art, there were a group of nine artists
that came together, and they really wanted to look at,
how can we make this more profound?
How can we make this have more of a movement?
They looked at what the manifesto was, what the murals and what kind
of impact that they wanted De'VIA to have on the overall culture.
Another organization, Deaf Artists of America, DAA,
they created an entire exhibit --
>> Gallery.
>> It was a full gallery of different --
>> Artists.
>> Art, different preservations and different exhibits
that were curated at that time.
And then the big celebration came at the 25th anniversary.
What I was really excited about, though,
was this, the Kentucky Deaf Fest.
And so like I said, I was from -- I am from Kentucky,
and I was there during this year.
So the Kentucky Deaf Fest, it's a biannual festival,
and when I saw De'VIA, I didn't really know what it meant
at that time, that it was so all-encompassing of other facets.
It also had skits with different artists, there were comedians,
they told stories, and they had different child exhibits as well.
So it was a full range of activities for all of the participants.
So if you ever have a chance to go, they have food as well.
So. So the 2012 was two years prior, and then --
>> In 2014.
>> Then they had the next event which was in 2014.
And this is where it continued to grow into numerous other events
and continued to celebrate the culture.
There was one example at this event is when they highlighted De'VIA,
and it was a true festival at that time, and they really were able
to spread the word about De'VIA and what the arts impact was.
>> If you wouldn't mind, I'd like to talk
about the timeline a little bit.
The curator of De'VIA and the different exhibits, it's hard --
you know, time has flown over the years.
I don't have exact dates and times in mind,
but I went to a deaf De'VIA.
Within three years, folks are hoping
to organize another De'VIA exhibit in the next three years.
So hopefully the timeline will continue.
>> I know it's a lot, but if you want to go ahead and read this,
this was really important about who Dr. Betty Miller was
and the creation of De'VIA.
And then --
>> The quote from her.
>> This is the quote from her, and it really talks about her art.
So this was who we had referred to previously
as the grandmother of De'VIA.
And I also wanted to mention that she did just recently pass.
>> So I'd like to expand on De'VIA through looking at actual artwork.
Here you see two hands that are chained
and fingers that are mangled.
And this was about the prohibition of American Sign Language.
For so many years, American Sign Language even
in deaf schools had a focus on oralism --
people learning to hear and to speak -- and not on sign language.
And Betty Miller, remember her age and at her time,
this was a very prevalent --
>> And unfortunate experience.
>> And unfortunate experience in the deaf community --
not one that I have experienced.
Now, in deaf schools it's very common for folks to --
teachers and audiologists to focus on our ears and on our speech,
and so hearing tests were a daily part of life
and speech training was a daily part of life.
But it was very arduous, because the sense was that if you're going
to out in the big wide world, you need to be able to speak,
you need to be able to use your hearing.
And I have, you know, education in math and all of my regular studies,
and I enjoyed those classes but I hated going to speech training.
I just -- I can't tell you what that experience is for me.
>> I can't imagine her experience [inaudible].
>> And I can't imagine Betty's experience at that time.
Now, this is Chuck Baird.
He's a deaf artist and one of the founders of De'VIA.
He passed away two years ago.
So here's his All-American Breakfast.
Can you see it here?
Now, some deaf people -- I think you can see this and you'll catch
on pretty quickly, but the syrup is in the shape of a hand.
>> De'VIA is about showing the sign language.
>> De'VIA incorporates sign language into the artwork itself.
And so, when we sign "syrup,"
the artist actually depicted the hands as the bottle.
Now, in this one, art number two, again, a focus on sign language.
You'll notice that it's backlit by the heart, and it's focusing on art.
These are -- you may not be able to see them, but they're paint brushes
and pencils and so forth.
Now, this is artwork by Paul Johnston.
He's a professor at Gallaudet University and one
of my professors, and a great teacher.
I really enjoyed him as a professor and also as a friend.
And he'll be retiring this May, and he is thrilled to start travelling
and now being able to focus on his one art in retirement.
So this piece, Poetic Hand, shows the expression
of American Sign Language in not just conversation but poetically
and musically and rhythmically.
And I think you can see the movement in the picture itself.
It really focuses on the beauty of American Sign Language.
In this piece, the Theory of Language,
there are five factors that are included --
>> Features of De'VIA.
>> As features of De'VIA.
So the hands, and of course your mind,
your eyes because it's a visual language and a visual art form,
and of course we all still have this struggle with speech
that often gets represented in the artwork itself.
But mostly the incorporation of hands and not focusing on the ears
but focusing on the eyes.
And so these are the kind of the building blocks,
the features of De'VIA, the theory of language itself using the eyes,
the ears, the hands, the mouth, and the brain.
>> And they all [inaudible].
>> And they all come together in a theory of language, all right?
This is Susan Dupor.
She lives in Wisconsin and she's an artist there
at a deaf school in Wisconsin.
>> Teacher [inaudible].
>> And as a teacher, she thinks and incorporates the experiences
of children in her artwork.
This is Deaf American.
And you'll notice what's in her hand.
She doesn't look really happy.
She says, "I don't know.
This is what it have, a hearing aid."
And it shows her contempt for the hearing aids being forced.
And that was a similar experience for me for so many years.
Everyone was focused on me wearing hearing aids that were just noise
to me, and I really have enjoyed the day that I was able to get rid
of my hearing aids and enjoy peace and quiet.
Now, this is entitled The Family Dog.
Now, this is maybe her view of her family or maybe cousins or being
at a family gathering that she feels fenced off
and not a part of the family.
And Susan depicted herself as a dog while everyone else
in the family is participating in conversation and the business
of the family, and she had felt left out and ignored.
And this is her stark portrayal of feeling like the family pet.
And I need to say that this was an experience that I had in my family
as well because my family had no experience
with deaf people nor the language.
My mom would finger spell and she had home signs.
For example, [inaudible] she would --
in ASL, this is the sign for school.
My mom's version of it was this because she thought, "Oh,
you go to the place where you hold books."
So that was her sign.
And so at Christmas or at Thanksgiving, you know,
the family is all there together but it was still a lonely time for me.
And you know, I would talk to the family and say, "Hey,
what are you guys talking about?
Could you tell me?"
And it was really hard for them.
And even to this day, you know,
families that don't sign don't understand that experience.
>> [Inaudible] we'll tell you later.
>> Oh yeah, tell about the whole, "We'll tell you later,
we'll tell you later" concept.
>> Right. I think that's an important thing, Michaela.
Oftentimes deaf people in a family or group will say, "Hey,
what are you talking about?"
They're like, "Oh, don't worry.
We'll tell you later."
And that's such a common experience that often happens to us
in hearing families, and you know --
now, Pete, you all know Pete Richey here.
He is really fortunate.
He comes from a family where his father is deaf --
you know Alex Richey, and his mother is deaf,
and they come from a deaf family.
And there are hearing people in the family who do sign.
But as a deaf person, Pete never would have had this concept
of a family because he comes from a deaf family
with a full language intact.
So you know --
>> I wish my parents were deaf.
>> I wish my parents were deaf.
Now, let's talk about the history
of deaf education in Milan in the 1880s.
American Sign Language was under scrutiny.
There was an announcement in the education world
that sign language would forever be forbidden
in the education of deaf people.
And that was the theory that was being promoted at that time,
that the best thing for deaf people was to hear and to speak,
and not to use sign language that separated them from the world.
And so there was a large educational influence at that time
by Alexander Graham Bell, and I'm sure you know of him.
Now, let's look over at this painting here.
Do you Goya's painting, The Third of May?
Okay, and this is an actual event.
This is the depiction of an actual event tht happened
where people were being murdered, and you understand that history.
And this deaf artist incorporated that,
said that this was almost the murder of ASL.
It was almost the time that American Sign Language had its demise.
And this is by artist Mary Jane Thornley.
She has seen that artwork and she got the idea of, "Wow,
I could portray something like that using American Sign Language
in my art."
Now, this is Nancy Rourke.
She's a well-known artist and she lives in Colorado,
and she and I are good friends.
And I have much of her artwork in my house.
I have some of Chuck Baird's pieces as well.
And I really value those because since he has passed.
But this is Nancy Rourke's artwork.
So this one on your left says The Fifth Grade Experience.
>> It's a portrait.
>> It's a self-portrait.
And the artist is portraying herself as a doll with the eyes crossed
out with a large box, which is her hearing aid.
Her --
>> Button eyes.
>> With button eyes, and a mouth that's closed in stitches as well.
And the focus was for her not to see but to actually focus on hearing.
>> Big FM systems.
>> And these FM systems, the phonic ears, they were so bulky.
Can you imagine being a little kid out in the playground,
and trying to play ball with the other kids
and having this phonic ear on you, bouncing around
and the ear piece is falling out?
So this is her depiction of the hearing community.
Now, she was in a mainstream school, meaning that she was a deaf person
in a regular classroom with all hearing people,
and this was her identity that the other kids would make fun of her
because she had to wear this big plunky hearing aid,
and she had really felt alone and depressed,
even being in a mainstream school.
Now this piece is called Coalition Peak.
And Coalition Peak is a concept about De'VIA.
And in France, they also had --
>> Sortiss [phonetic] in France.
Sortiss.
>> They have a movement of the sortiss
in France, the deaf community.
And so they were talking about the deaf art movement
and the American art movement being in coalition.
And so they took an image here of V-ditz [phonetic] who was
from the National Association of the Deaf and their view
of American Sign Language as showing, needing to survive.
And so here's the word "defend," and portraying that we need
to defend American Sign Language from the waves
of oralism and depression.
And those waves, for so many years, often affect the deaf community
and continue to affect the deaf community, and it's the work
of artists to build a mountain that protects the deaf community
from these waves of oppression and oralism.
And so, again, that's the word "defense," preserving our culture,
defending our culture and cherishing it as a value of ours.
Oh, okay.
This is Tony Landon McGregor, a deaf artist who is also Native American.
He incorporated not only his deaf experience
but his Native American experience in his artwork.
His art is so beautiful, it's hard
for this PowerPoint to show this to you.
This is a gourd, and he has decorated it
in the Native American style and themes
with American Sign Language incorporated into the images.
>> [Inaudible] animals.
>> So you can see the animals,
and this is very typical of Native American Art.
Here's another depiction entitled ASL Eagle Painting.
Again, a Native American experience of incorporating animals
and nature, natural themes.
He now lives in Texas.
>> This is a landscape in Texas.
>> And you'll see the landscape here, and then these are hand shapes
that show not the word "eagle" but the forms of the wings, the claws,
and the head and the beak and the eye.
Mary Rappazzo grew up in California,
and a lot of her artwork is shown in many galleries.
She's hard of hearing but she has an experience of being deaf,
and she considers herself a person who lives in two worlds.
So she talked here about deaf people in a march and coming together
as one voice to support and to speak out about the diversity
of deaf culture, and to relinquish oppression.
[Inaudible]
And so this was one of the marches.
And the deaf community has marched so often
in its history for its rights.
So this is something that talks about the importance
of people coming together and speaking up with one voice
for issues they believe in.
This one is called the Learning Circle.
And here are people that are talking as they're studying.
But if you'll notice here, the other person is reading,
and there's a person outside of the window, and they want to be involved
but they can't be involved in the educational experience.
And so they feel -- this is artwork that depicts someone feeling
as an outsider, [inaudible] and it's similar to the other theme
that you saw earlier in the family dog painting.
>> One voice [inaudible].
And how also talking about like DPN,
the Deaf President Now, and how that relates.
[Inaudible]
>> So people may not know about DPN, Deaf President Now,
and that was what -- in '88, '89?
The spring of -- right.
And if you were here in D.C. at that time,
you knew about the Deaf President Now.
So a little bit of history about that is that there was a president
of Gallaudet who was a person who is hearing and not a deaf person.
And when they were electing a new president,
they decided to hire a hearing person.
And the deaf people were enraged, and there was a huge protest covered
in national and international news.
And the deaf people had to speak
up with one voice to get what they wanted.
They wanted a deaf person to lead a deaf institution.
And so Deaf President Now prevailed, and I.
King Jordan was named as president of Gallaudet University.
And so that was definitely one great example in the history
of the deaf community of people coming together with one voice.
This is Ellen Mansfield.
She lives nearby in Frederick, Maryland.
She graduated from New York Art College and had moved here
and has lived here, continuing [inaudible],
working in various art forms and art genres.
She knows that some deaf schools, the education --
or a mainstream school puts a person out on the streets
if they don't get a quality of education.
And so she has really been a proponent
of using American Sign Language as a way to teach deaf children.
Not to use what's called TC -- total communication --
where you sign and speak at the same time.
And so what she's saying is that this is the result of oppression,
that over time, you can actually be out on the streets
and end up being a beggar.
And that's one of the effects that deaf people do know in society.
And the goal, from this artist's view,
is to have American Sign Language for full inclusion
and education of deaf people.
>> This is her self-portrait.
>> So this is her self-portrait, I Will Never Forget.
>> She was going to mainstream school and --
>> She went to a mainstreaming school and it was --
and she was a product of oral education.
She terms itself here, the victims of oral education.
It was an experience that was engrained on her,
that Sign Language was not valued --
that only speaking and only hearing was valued in society.
>> It wasn't until way later --
>> And it wasn't until many years later, where she learned
about American Sign Language.
Now, she had the experience --
and other deaf people have had the experience of being wacked
on the hands with wooden spools and things, rulers, to
>> For signing.
For signing.
>> To punish them for signing.
Now, at Western Pennsylvania School for the Deaf in Pittsburgh,
that I went to, I heard that there were the days
where classes before me had gone
through that kind of corporal punishment.
And when I came along much later, fortunately for me,
they used American Sign Language in deaf education.
>> So this is the last slide and the last art that we had.
But I really wanted to focus on this and to really look at the art here
and to see the multiple perspectives,
to figure out what the feelings are when you look
at this type of painting.
When you look at this hunger for ASL,
when you hear about the Milan conference in Italy from 1880,
and you really see the emergence from where ASL was previously banned
to now an inclusion in education.
So you see how it's affecting getting jobs,
how it's affects everything.
And the oppression of the language really affects your life
and pursuit of happiness.
The language and the culture is everything and understanding,
for so many, culture is their life.
So now would be a great time.
We can field some questions if anybody has any.
And we would ask that if anyone is going to use Sign Language,
that they could come up to the front of the room.
[Inaudible]
Hello, everyone.
My name is Lacorum [phonetic],
and I am from South San Diego here in California.
I was really excited to be a part of this and to --
it was a great presentation.
But I was really excited.
What does it mean here, to see the black hands at the bottom?
What is your take on that?
What do you think that means?
>> Well, these are hands -- the hands of oppression and --
oh, and I'm sorry, I need to be over a little bit better for the filming.
Thank you.
All right.
Let's see.
So these images show the [inaudible] depression,
the anger -- the negative aspects.
Because they weren't allowed to sign.
They were starved for ASL.
>> And it's almost like [inaudible] dead.
>> And it's almost like the hands are dead,
that they don't -- they're lifeless.
[Inaudible] And you'll notice again this other image is framed
in darkness as well.
>> Yeah, I did notice that dark at the side.
Thank you very much.
Other questions?
If anybody -- I know there are several members of the audience
that are deaf, so if anybody wants to comment, they could.
Fred, you want to come up?
Yeah, please.
Hello, everybody.
You know, as I'm looking at this art, I think this is really great.
I know there was the one with the family
that showed everybody was just talking while this deaf person
stands at the sidelines and isn't included.
And that happens when people, as I was born --
I was born deaf, and I was a military brat.
And I tell you what, that experience was even more incredible.
So it was --
>> And I was a brat --
>> Really, and speaking of military brat, I was a brat.
You know, I often spoke out and was in New York and when my mom --
when we got there, it was in Ellis Island and the family,
we were in New York and we tried to go out --
my whole family's excited to go out one day and do something.
But I was deaf and so was my brother.
And so what I would do, I would start to pick
on people to get attention.
You know, it was the way that I had to act out so
that I could get attention.
And so every member of my family -- that was my way to get attention.
I would just pester and pester and pester,
until I could finally get attention and get access
to what people were saying.
[Inaudible] You know, no one enjoyed that, but it was only way
that I could get attention.
In Providence, Rhode Island my experience for education
with signing was banned as well.
It was all speech-focused.
It was -- it's called an oral approach,
and so we had to just put your hands down and practice speaking.
And people often said, you know,
I had a deaf voice and things like that.
But I learned Sign Language way later, probably --
>> Not until I was 14 or 15 --
>> No sign language exposure until I was 14, 15 years old.
And so thank God for Kendall School for the Deaf,
which is in Washington, DC, near Gallaudet.
So happy that, you know, I could finally embrace
and find peace with a deaf identity.
Like Lenore said about this FM system,
this big box with these bulky ear things,
to finally just get rid of that.
And to see -- I don't know how you hearing people deal
with the sounds every day.
But you know, I am deaf, I am proud deaf and I was born deaf,
and so I know how happy I am.
So thank you.
Other comments?
Yeah, come on up.
[ Inaudible ]
Hello, everybody.
I'm Alex Richey, and I was born and raised in a deaf family.
I went to a school for the deaf, and it was in the '50s.
I was six at the time when I was in first grade.
And we were able to sign at the deaf school.
We did practice speech reading every day
and we did do the headphone things,
but there was one teacher specifically that I remember
that really struggled with me on how
to pronounce the L. I just couldn't get it.
And she would get mad at me,
and we would fight, and I would get spanked.
I got pulled over the knee so many times, and I would sob
until the two chairs would go together.
They would get all of the students together and throw all
of their clothes in together and would cover me
with all of these clothes.
And that was really traumatic for me.
And I could never still forgive that teacher
for the humiliation at that time.
And that was one of the really negative experiences that I had.
Still to this time -- I know every once in a while,
over all of these years, I still feel, you know, humiliated.
What she did to me in front of all of the other students and how
that has still affected me.
And so, you know, I never wanted to tell my parents about that,
because I knew that my father would go after that teacher.
But I never told, never did anything.
But that was one of my bad experiences
of growing up, learning oral.
Other comments?
Or does anybody want to share anything else?
Is there --
I'm curious if everybody understands what -- I'm sorry.
Make sure I'm in the right place.
It's interesting, deaf culture, right?
How we have to figure out where to stand, how the lights go.
So I was wondering if people understood when --
if the interpreters, when the sign for TC, total communication,
if the interpreters really portrayed what that means.
And if not, I want to go through a little bit of that
to explain what this means.
This total communication.
It means that the voice -- you're trying to speak,
while you're signing, at the same time.
So you're liked focusing on your vocal cords, the mouth patterns.
And so there's a situation where you're trying to --
>> The voice always dominates --
>> Your voice always dominates the Sign Language,
and so the signing is no good.
It's lax.
>> It's muddled.
>> So the person that can sort of hear, you know, I can do that.
There are other people that are similar to me --
you know, if they have a hearing aid or they consider themselves hard
of hearing, I can lip read and look very closely,
but once I turn my head, I have no access to that information.
And so that specifically only works for that situation.
So for this total communication approach, you have to meet people
that are exactly similar in that mode of communication.
If a deaf person is on the sidelines watching us,
they have no idea what's going on.
And they have a very hard time understanding.
So that's why that mode isn't effective,
and ASL is something that I cherish as well.
Taking off those hearing aids is fantastic for ASL.
And you must, because once I take my hearing aids off, I'm out as well.
You know, I have to think, what happens if my battery dies?
Then I have to write back and forth, and I struggle with communication.
And it's the same people that I communicate with fine today,
tomorrow I could be completely in the dark.
So just try to imagine that, with these deaf children in schools,
and most of the teachers that they're growing up with --
even if they were at a deaf school --
that approach of total communication and their signing and trying
to speak at the same time, these children are not able to hear.
You have to be able to hear some and have some hearing ability for that,
as well as English awareness.
>> And other people won't have the exact same experience
as you as well.
Let me add to that.
Total communication, TC,
was a method of education that was used in deaf schools,
but you really didn't get an education.
There were signs, but it was still following English word order
and word structure.
And it was still left to the deaf person to do all the work.
>> And so understanding that we have organizations that are out there
that are really supporting and advocating for deaf children
as they're born to right away give them access to a visual language.
Imagine being -- and I know I already explained some of that --
there was a workshop with Craig Anderson that had happened before.
I know [inaudible] there was one PowerPoint
that explained that -- a baby is born.
They immediately have access to language, so imagine a deaf child --
and other members of the family are all hearing, and they're all talking
and communicating, while this baby has no absorption of any language.
They're not able to pick up anything from them.
So there are years of miscommunication.
And that's why there's such a delay in education for deaf,
as well as the development of language.
These skills that we're noticing in language are so behind
and when they're able to get into a school, they finally are able
to start learning and have exposure to education and the way
that things around them work.
[Inaudible] And notice they're here, they're starving for communication,
and it's because of the void that they've had for so long.
Often we see that the English skills --
we notice it looks like a second language learner.
And like, oh, this person who is deaf is writing in broken English,
and that's not proper grammar.
Well, because they didn't learn it until way later in life.
They didn't have access to it until they were five, six years old.
So it's terrible when we see that.
So I just wanted to mention that, so that's all.
We got an applause --
>> So we need to close.
>> One last comment.
Sorry. It will be real short, real short.
So as we watched what she just said --
did you see her facial expressions and the way that Ellie was
when she was talking, you can look and see how animated she really is.
That right there is the portrayal of deaf culture.
You know, when you can point -- some parents are like, oh,
don't point at me like that, you know.
That seems to be a faux pas in hearing culture.
But there's the directness that happens within
and the facial expressions and the animation that happens
within the deaf culture, that that's how we portray things,
and that's how things go.
And when a hearing person is not animated, we see no gesture.
We miss out on some of that communication,
because it's within the voice.
And a lot of people misunderstand deaf when we are really animated.
But that's part of the language.
Sorry. We have to wrap up.
There's other people that are trying to use this room.
[Inaudible] Because it's --
their was a topic from the audience that --
>> Would be a whole new discussion.
>> Needed a whole bunch.
So okay. I wanted to cite my sources.
There was no plagiarism.
And so remember I told you that there were other upcoming events?
There was one more that is deaf culture-focused.
And the person that's coming here will be Max Williamson,
and he will be coming and helping with the presentation and be talking
about the past and other movies and the preservation
of the language, as well as deaf culture.
So thank you so much.
That is it.
And hopefully see you at the next one.
Thank you everybody.
Bye-bye.
>> This has been a presentation of the Library of Congress.
Visit us at LOC.gov.
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