content as is
I'm heading over to gabi's today to film a video, and after that has been edited, i will complete this text, and put it into a 'beautiful book'. any comments more than welcome.
Mission:
To produce media which raises awareness of deaf people in the city, represent the deaf experience, and include them in city networks.
Proposal:
I propose an installation which displays the ‘deaf experience’ in the city. Content is gathered from deaf people and formed into a piece of poetry both in Auslan and English simultaneously. It is displayed publicly through a video, in both languages. Several media projects need to be implemented beforehand to get the support, trust and interest of the deaf community.
One idea is to place large graffiti-like posters in the city, with Auslan diagrams challenging people’s perception of deaf people and publicising deaf awareness. Another is to create an open source Auslan video ‘street magazine’, which would be displayed at a monthly release at an existing deaf community gathering, and then available online and possibly on the street somewhere.
These proposals have potential to raise the hearing public’s knowledge of deaf people in the city, and provide a connection between deaf people.
Background:
I have been looking at silence in the city from the perspective of a deaf person. I believe that deaf people are largely ignored and left un-catered for in our cultural landscape. My perception of language has changed, along with my cultural sensitivity, and awareness. I believe Auslan (Australian Sign Language) has an important part to play in communication, and as a true language. I also believe that there needs to be more publicity to raise awareness of the deaf experience and of deaf people. I may not be the best person to carry this project through, as I cannot sign, and this creates communication barriers. Someone who is hearing but can sign, and has an interest in this project – would be the best candidate to follow it through.
Deaf culture, community, support
The deaf community in Melbourne (and Victoria) is tight knit in connection and physically dispersed. For instance, 300,000 of the Victorian population are deaf or have partial hearing loss, but there are only 5000 Auslan users (VicDeaf). Deaf schools, deaf classes at Kangan Batman TAFE and deaf community events are physical places for deaf people to meet.
There is an increasing trend towards using online chat, SMSing, and email. This trend worries some in the deaf community who believe that online communication diminishes signing popularity, and replaces Auslan with English. Online Video chat a compromise, combining the ease of technology with the use of Auslan. It is not the technology which some dislike, but rather the push towards assimilation of deaf people into hearing people’s culture, particularly the use of English instead of Auslan.
Capital D Deaf Culture is recognised as the active involvement in the Deaf community, usually stemming from Deaf families, where some have been born deaf. Deaf culture embraces being deaf, typically uses technology as an aid rather than dependence (hearing aids, cochlear implants etc) and maintains the use of Auslan. Little d deaf people tend to try and fit more into hearing culture. They fully embrace technology, make more of an effort to communicate in English, and are typically from families who do not have a deaf history. The difference between big D Deaf and little d deaf culture is shown vividly in the video, ‘In the land of the Deaf’. This video relates specifically to education, but shows the strengths and weaknesses of both sides of the deaf culture coin.
In Melbourne, there are many organisations which foster Deaf culture, give advice to hearing disabled people and petition for deaf rights. VicDeaf seems to be a more administrative organisation, with deaf and hearing people as employees. The Victorian Council of Deaf People relates more to community events, debate, deaf arts and awareness. Kangan Batman TAFE is a hothouse for Auslan education. I viewed an Auslan Play which brought the deaf community together and for me, brought to light the strength of the deaf community. La Trobe University also has Auslan classes. Transport Bar hosts deaf drinks on certain nights.
There is a definite disparity between the hearing and deaf communities. Deaf culture, similarly to other minority cultures, has generally been oppressed by hearing people. Alexander Graham Bell (hearing, but mother and wife were deaf) is known as the ‘father of the deaf’, but also wanted to abolish hereditary deafness, and is widely acknowledged as an Audist (one who believes that hearing people are superior to deaf people, comparable to racism or sexism etc). The AG Bell foundation ‘promotes the use of spoken language and hearing technology’ (AG Bell). In other words, AG Bell is part of the little d deaf culture, and pushes for assimilation of deaf people into hearing community. From this example of just one international organisation, it is not surprising that big D Deaf culture shies away from building bridges between deaf and hearing communities.
The current situation in Victoria is one of largely exclusive multiculturalism, whereby deaf and hearing communities do not generally mix. Consider that there is less movement by the dominant hearing population to cater for deaf people than there is for deaf culture to join hearing culture. That’s not to say that there is nothing being done. Tertiary Education of Auslan is in higher demand than there is supply, and basic awareness and education in primary schools is in current curriculum. Disability Liason services such as at RMIT help to educate deaf people in a hearing environment.
Debates exist as how to include hearing people into deaf culture and vice versa. My opinion is that awareness is one of the first steps which need to be made. Bridging the gap of acknowledging the deaf community is one of main priorities.
Video, technology and language
One of the basic misconceptions of Auslan is that it is purely signed or mimed English. The syntax is different to English and there are 4000 basic signs, though these can be altered to describe slightly different words. Auslan is a visual/manual language rather than oral/aural, and so video is the equivalent to recording an English voice or writing English. Signing diagrams (glosses) do not fully represent the actual signs, and so are not suitable for communicating between signers. However, diagrams can be used to learn signs, or to interpret into English – though it is a primitive method.
Consider: ‘that Sign is kinetic and three dimensional, and so enables the simultaneous representation of, for example, more than one noun, or a noun and a verb, in space. This aspect of Auslan, which lends to its concision, necessarily makes literal translation into English impossible.’ (http://members.ozemail.com.au/~gamgee/writing_handtalk.html#sign_auslan) Also, signs do not translate at all. In fact, interpreting is even a loose term. When I was interpreted myself, I used the word ‘naïve’. The sign that it was used to interpret was very representational and consisted of four fingers outstretched on the left hand and one in the right close to the body. I asked about this sign, and was told that it also relates to ignorance and abandonment. ‘Translating’ from one language into another is never easy, but signing is even more complicated. Ask hearing people to mime a scene or read a line, and they will all act differently. Similarly, signing people add their own characteristics, slang and take on the content differently.
Technology such as cochlear impants have already been mentioned as helping deaf people. Also video chat, chat rooms, email and texting are helpful. An example of new technology are PowerGloves, which are gloves that contain sensors which translate finger position and angle etc, into data which is translated into English. Simple sentences can be processed, but the language still remains in Auslan syntax, and so only the general idea can be communicated. (http://www.cse.unsw.edu.au/~waleed/thesis.html) Still, with more research, this technology could help to further bridge the gap between deaf and hearing communities.
Personal Agenda
My personal agenda started when I talked with my friend Gabi about the hearing project and she expressed what its like to be partially deaf. I found it intriguing that I couldn’t empathise with how it is to be deaf – what I call the deaf experience. I set about designing a traditional product which could translate sound tactilely. However, I felt this didn’t bring out the issues and experiences which I wanted to. I realised the best way to express how it is to be deaf is through deaf language – Auslan. I learnt a lot about how it is to be deaf; especially concerning communication, community and culture. Through this learning I recognised the need for deaf awareness and publicity and created a framework to produce a video.
Process
Pre-Projects
Firstly, support must be gained from the deaf community. It is hard for a hearing-non-signing person to get support because of understandable prejudice towards the hearing community. It wouldn’t hurt for the project manager to learn sign, or have a translator at hand. So, two major pre-projects are suggested to raise interest and trust from the deaf community:
1. A poster run which communicates deaf sentiments through glosses of Auslan. This would raise awareness of both Auslan and deaf people through its visual appeal and also content. For instance a interpretation of ‘not silent’ could be posted around walls in Melbourne, with a link to a website (possibly option 2’s website)
2. An open source ‘street video magazine’, produced monthly with articles in Auslan. The articles wouldn’t necessarily be about being deaf, or raising deaf awareness, but for the deaf community by the deaf community. The design would be purely in the technological set up, giving the opportunity to record articles, or have production of videos with Auslan narration. Below is an example of how a preliminary set up could be achieved, before a serious website is developed.
Develop 3 free tools: email, storage and a vlog. These could be done through gmail, google-video/zippy videos/you tube/our media/blip.tv and blogger/wordpress respectively.
Auslan contributors could record their own footage and upload it to the storage, or to their own storage and email the link. Or, a recording session could be set up to record an article. The magazine would be distributed once a month, launching on the first Friday of each month at transport bar (already an unofficial deaf community get-together). And then be available online (possibly with the help of Adrian Miles, RMIT). This would suit people who want to get away from relying on technology and create more of a crowd at transport. It could also be made into a DVD or video for those without internet.
If it becomes successful, a domain name would be purchased (i.e www.deafstreetmag.com.au) and then forwarded onto the vlog address. This would save time by not having to design a website. Initial advertising can be through email, word of mouth (figuratively), and the first project posters. Later, an RSS feed could be set up to be posted on the websites of VCOD, VicDeaf etc. to alert them to new instalments.
The website could also be used to publicise the major project, and to publish it (and an English transcript) after it has been completed.
Major Project
The Major Project will follow the framework outlined in Fig1.
(Where the Project Manager is myself, and the poet: Kate Middleton)
In explaining the steps which should be followed, I may describe actions I have already taken, and the shortfalls I have found. As mentioned, support from the community has been a major setback, but I believe the pre-project actions will stir more interest.
The first step is to gather a group of deaf people, to relate their experience of being deaf in the city. To make this easier I posed several questions:
Can you describe broad or common experiences in the city?
Are there any specific examples of experiences you have? (i.e There was this one time….)
What emotions do you feel in the city? Are any of these emotions more characteristic of a deaf person?
How do you believe being deaf (in the city) affects you?
What is being done/needs to be done for deaf people in the city?
How does a deaf person experience what a hearing person experiences as sound? (etc, vibrations of trams) And how could this translate into something a hearing person experiences? (i.e getting a hearing person to empathise more with deaf people.)
Is the city dangerous, likeable, intriguing etc?
How can hearing people accommodate better for deaf people?
What do you think your experiences in the city have in common with other deaf people’s?
Can you think of metaphors or similes which describe your experience or emotion (in English or Auslan)?
From my experience in receiving response from these questions, I felt like the person responding was treating the questions like a census or survey. I think it is important to build vivid emotions, romantic ideals and bring together common ‘magic’ experiences to make a special poem – not just a list of complaints. To solicit this, I wrote an abstract of the kind of responses I would write, if these questions were posed to me (as a hearing person):
‘like a little ant farm or rabbit warren, with people coming and going. Riding through the city with the wind rushing past, dodging trams, the blip blip of the green walking man buzzer, street sellers, hawkers, music from cafes, dank alleys, exploring new things, finding cafes and galleries never seen before, stealing a smoko on an upturned milk crate, sifting through dumpsters for gold.’
A discussion group would provide for the best content. If a group could be formed, and posed discussion questions, then the results of the process would be verified by the fact that there were lots of people discussing it. It would verify whether what is said is shared by the wider community. This discussion should be videoed. Along with this discussion, interviews could be filmed.
These Auslan described experiences should be coupled with responses from email, letters, forums and chat, in an English form. This content is then reviewed by a team of a deaf representative, interpreter, and an English Poet as the poem should be written simultaneously in English and Auslan.
If the poem were to be produced in English only, it would be completely inappropriate, as English is not necessarily the first language of deaf people. It would be better expressed in Auslan, but then would have no impact on hearing viewers. This is why the one poem should be written at the same time it two languages. A small blurb could accompany the video installation and the English version never published. A better solution would be for the English poem to be performed on video in a similar format, and displayed at a different time or place.
Kate Middleton is a poet who I approached to take the position of an English speaking poet. She has a background in music, and writes with spoken word and timing in mind. Her experience is essential in combining the subtleties of a new language (Auslan) with her knowledge of English. She also seemed keen on the project and had some ideas straight away.
This is the point where I got with my project. I didn’t get any feedback from the deaf community, which stopped me from going further. Therefore, everything from here on is an idea, and is flexible in the way it comes together.
Following the diagram outlined previously (fig 1), the content would be shaped into a piece of language in English and Auslan simultaneously. Issues of length, exact content, tone etc, are negotiable. The most effective content would be one rich in emotion and intrigue. A basic level of experience does not justify an intriguing poem. For example, simple ‘I did’ statements are not useful.
This poetry should be videoed and written down, and reviewed with consultation from both sides. The poetry should accurately reflect the feelings of the deaf community. Finally, the poetry should be placed in-situ and reviews taken, and fed back into the content.
Alternative Outcome
An alternative, easier, but less desirable outcome is to write a piece from the perspective of one deaf person. Perhaps this should take the form of one piece within a framework of many personal videos produced by deaf people. The most difficult part of the original project is imposing an idea on a community and vying for their support. With this method, a more accurate idea of an individual’s viewpoint can be ascertained, as one gained from a community will never reflect the views of all. This individual video also effectively raises awareness of the deaf community and Auslan. However, it is not as powerful as a group voice.
With this idea in mind, I set up a meeting with my partially deaf friend Gabi (who is learning to sign, and can sign well), Scarlette (a hearing friend of Gabi’s who has deaf friends and can sign fluently) and myself.
Content here
Production and Site placement
The production and placement of the video are some of the most important aspects of the project. Depending on the final content of both the Auslan and the English, it may be appropriate to do one of the following options:
1. Create a video of the Auslan, with an English blurb describing the project at the site and an online interpretation. This is one of the favoured options as it makes the poem mysterious to non-signers. However, the content could be lost by those not bothering to find it online.
2. A method similar to the first option, but create a video of the poem in English instead of displaying it online. The poem should not be shown in the same vicinity and time as the Auslan version, because hearing people will divert attention to the one they can instantly recognise. It could be put on the same reel and played after the Auslan version. Preferably, it would be displayed somewhere else, and directions would be published in the blurb.
3. Perhaps the reel could contain several versions of the poem: one in Auslan, one in English, one simultaneously read/performed, scrolling text, Auslan with subtitles and English with Auslan interpretation. This option would not be as hard hitting, but would be more educational. One could observe the video and compare the languages, and the content would be more up front.
As mentioned earlier, the video(s) should be installed publicly and available online on the pre-project website. It may also be launched at a deaf awareness week or at a regular deaf event. As with the online magazine event, it would be available on DVD or video for people with no internet access. However, by far the most exposure should be through a public installation.
When installing publicly, issues of vandalism and theft come into play. Equipment used to play a video (screens, media player etc) are valuable, and would need to be protected or installed out of reach. To overcome this problem, existing media players and video screens could be used to play the video. Building a new housing or position for a screen would add considerable cost to the project, and would not attract more attention than existing screens which already have an audience and prime position. The video needs to fit in with the current framework of the city. Business people bustle along king street, students scurry around RMIT and shoppers clog Bourke Street. It would be inappropriate to dump this sensitive material on the NIKE store screen, but would find its niche on a retro TV in a café in Degraves Street. The video must be placed to appeal to appropriate people; otherwise this project is without an audience.
With this in mind, the following sights would be suitable for the spectators which visit them:
1. ACMI – could be entered into an exhibition or permanent collection. ACMI tends to like ‘Melbourne’ oriented projects.
2. Federation Square video tower – excellent coverage, large visiting audience, attracts people visiting for the first time, admiring the architecture, would enhance the experience of the space, would not be hindered by the poor sound quality.
3. Small exhibition – placed tastefully and intriguingly in a popular café (Degraves), bookshop (Readings) or gallery (McCulloch, first site) to attract a small targeted audience.
4. In an existing media friendly environment such as Loop Bar or Horse Bazaar. Both have infrastructure which allows for the showing of the video. However, would be treated more as video art, not a poem with a message.
5. Transport bar initially (perhaps coupled with fed square), as this is already a deaf hangout at regular times.
6. Shop window – may not relate to the content of the store, but provides a piece of art for the window, which is safe. Could be part of Retail Art Walk (fashion week).
7. A public booth available during a festival. Funding could be sought to hire infrastructure to show the video within. May require more work, but would advertise to and bring in an interested audience.
Sites will need to be reviewed at the time of installation. If the original brief of sites of respite is relevant, then this will also need to be taken into account. In this case, perhaps a personal booth is more appropriate; moving into a permanent installation after the festival has ended.
Conclusion
This project has a lot of potential to bridge between hearing and deaf communities. I think this should be its main aim, together with raising awareness of deafness and Auslan. It is imperative though, that it still remain an art-form, not a preaching video, or a complaint. When both hearing and deaf people can recognise the major project (and its pre-project or alternative project phases) as important for both communities, the bridges in individuals’ minds will be built.
Mission:
To produce media which raises awareness of deaf people in the city, represent the deaf experience, and include them in city networks.
Proposal:
I propose an installation which displays the ‘deaf experience’ in the city. Content is gathered from deaf people and formed into a piece of poetry both in Auslan and English simultaneously. It is displayed publicly through a video, in both languages. Several media projects need to be implemented beforehand to get the support, trust and interest of the deaf community.
One idea is to place large graffiti-like posters in the city, with Auslan diagrams challenging people’s perception of deaf people and publicising deaf awareness. Another is to create an open source Auslan video ‘street magazine’, which would be displayed at a monthly release at an existing deaf community gathering, and then available online and possibly on the street somewhere.
These proposals have potential to raise the hearing public’s knowledge of deaf people in the city, and provide a connection between deaf people.
Background:
I have been looking at silence in the city from the perspective of a deaf person. I believe that deaf people are largely ignored and left un-catered for in our cultural landscape. My perception of language has changed, along with my cultural sensitivity, and awareness. I believe Auslan (Australian Sign Language) has an important part to play in communication, and as a true language. I also believe that there needs to be more publicity to raise awareness of the deaf experience and of deaf people. I may not be the best person to carry this project through, as I cannot sign, and this creates communication barriers. Someone who is hearing but can sign, and has an interest in this project – would be the best candidate to follow it through.
Deaf culture, community, support
The deaf community in Melbourne (and Victoria) is tight knit in connection and physically dispersed. For instance, 300,000 of the Victorian population are deaf or have partial hearing loss, but there are only 5000 Auslan users (VicDeaf). Deaf schools, deaf classes at Kangan Batman TAFE and deaf community events are physical places for deaf people to meet.
There is an increasing trend towards using online chat, SMSing, and email. This trend worries some in the deaf community who believe that online communication diminishes signing popularity, and replaces Auslan with English. Online Video chat a compromise, combining the ease of technology with the use of Auslan. It is not the technology which some dislike, but rather the push towards assimilation of deaf people into hearing people’s culture, particularly the use of English instead of Auslan.
Capital D Deaf Culture is recognised as the active involvement in the Deaf community, usually stemming from Deaf families, where some have been born deaf. Deaf culture embraces being deaf, typically uses technology as an aid rather than dependence (hearing aids, cochlear implants etc) and maintains the use of Auslan. Little d deaf people tend to try and fit more into hearing culture. They fully embrace technology, make more of an effort to communicate in English, and are typically from families who do not have a deaf history. The difference between big D Deaf and little d deaf culture is shown vividly in the video, ‘In the land of the Deaf’. This video relates specifically to education, but shows the strengths and weaknesses of both sides of the deaf culture coin.
In Melbourne, there are many organisations which foster Deaf culture, give advice to hearing disabled people and petition for deaf rights. VicDeaf seems to be a more administrative organisation, with deaf and hearing people as employees. The Victorian Council of Deaf People relates more to community events, debate, deaf arts and awareness. Kangan Batman TAFE is a hothouse for Auslan education. I viewed an Auslan Play which brought the deaf community together and for me, brought to light the strength of the deaf community. La Trobe University also has Auslan classes. Transport Bar hosts deaf drinks on certain nights.
There is a definite disparity between the hearing and deaf communities. Deaf culture, similarly to other minority cultures, has generally been oppressed by hearing people. Alexander Graham Bell (hearing, but mother and wife were deaf) is known as the ‘father of the deaf’, but also wanted to abolish hereditary deafness, and is widely acknowledged as an Audist (one who believes that hearing people are superior to deaf people, comparable to racism or sexism etc). The AG Bell foundation ‘promotes the use of spoken language and hearing technology’ (AG Bell). In other words, AG Bell is part of the little d deaf culture, and pushes for assimilation of deaf people into hearing community. From this example of just one international organisation, it is not surprising that big D Deaf culture shies away from building bridges between deaf and hearing communities.
The current situation in Victoria is one of largely exclusive multiculturalism, whereby deaf and hearing communities do not generally mix. Consider that there is less movement by the dominant hearing population to cater for deaf people than there is for deaf culture to join hearing culture. That’s not to say that there is nothing being done. Tertiary Education of Auslan is in higher demand than there is supply, and basic awareness and education in primary schools is in current curriculum. Disability Liason services such as at RMIT help to educate deaf people in a hearing environment.
Debates exist as how to include hearing people into deaf culture and vice versa. My opinion is that awareness is one of the first steps which need to be made. Bridging the gap of acknowledging the deaf community is one of main priorities.
Video, technology and language
One of the basic misconceptions of Auslan is that it is purely signed or mimed English. The syntax is different to English and there are 4000 basic signs, though these can be altered to describe slightly different words. Auslan is a visual/manual language rather than oral/aural, and so video is the equivalent to recording an English voice or writing English. Signing diagrams (glosses) do not fully represent the actual signs, and so are not suitable for communicating between signers. However, diagrams can be used to learn signs, or to interpret into English – though it is a primitive method.
Consider: ‘that Sign is kinetic and three dimensional, and so enables the simultaneous representation of, for example, more than one noun, or a noun and a verb, in space. This aspect of Auslan, which lends to its concision, necessarily makes literal translation into English impossible.’ (http://members.ozemail.com.au/~gamgee/writing_handtalk.html#sign_auslan) Also, signs do not translate at all. In fact, interpreting is even a loose term. When I was interpreted myself, I used the word ‘naïve’. The sign that it was used to interpret was very representational and consisted of four fingers outstretched on the left hand and one in the right close to the body. I asked about this sign, and was told that it also relates to ignorance and abandonment. ‘Translating’ from one language into another is never easy, but signing is even more complicated. Ask hearing people to mime a scene or read a line, and they will all act differently. Similarly, signing people add their own characteristics, slang and take on the content differently.
Technology such as cochlear impants have already been mentioned as helping deaf people. Also video chat, chat rooms, email and texting are helpful. An example of new technology are PowerGloves, which are gloves that contain sensors which translate finger position and angle etc, into data which is translated into English. Simple sentences can be processed, but the language still remains in Auslan syntax, and so only the general idea can be communicated. (http://www.cse.unsw.edu.au/~waleed/thesis.html) Still, with more research, this technology could help to further bridge the gap between deaf and hearing communities.
Personal Agenda
My personal agenda started when I talked with my friend Gabi about the hearing project and she expressed what its like to be partially deaf. I found it intriguing that I couldn’t empathise with how it is to be deaf – what I call the deaf experience. I set about designing a traditional product which could translate sound tactilely. However, I felt this didn’t bring out the issues and experiences which I wanted to. I realised the best way to express how it is to be deaf is through deaf language – Auslan. I learnt a lot about how it is to be deaf; especially concerning communication, community and culture. Through this learning I recognised the need for deaf awareness and publicity and created a framework to produce a video.
Process
Pre-Projects
Firstly, support must be gained from the deaf community. It is hard for a hearing-non-signing person to get support because of understandable prejudice towards the hearing community. It wouldn’t hurt for the project manager to learn sign, or have a translator at hand. So, two major pre-projects are suggested to raise interest and trust from the deaf community:
1. A poster run which communicates deaf sentiments through glosses of Auslan. This would raise awareness of both Auslan and deaf people through its visual appeal and also content. For instance a interpretation of ‘not silent’ could be posted around walls in Melbourne, with a link to a website (possibly option 2’s website)
2. An open source ‘street video magazine’, produced monthly with articles in Auslan. The articles wouldn’t necessarily be about being deaf, or raising deaf awareness, but for the deaf community by the deaf community. The design would be purely in the technological set up, giving the opportunity to record articles, or have production of videos with Auslan narration. Below is an example of how a preliminary set up could be achieved, before a serious website is developed.
Develop 3 free tools: email, storage and a vlog. These could be done through gmail, google-video/zippy videos/you tube/our media/blip.tv and blogger/wordpress respectively.
Auslan contributors could record their own footage and upload it to the storage, or to their own storage and email the link. Or, a recording session could be set up to record an article. The magazine would be distributed once a month, launching on the first Friday of each month at transport bar (already an unofficial deaf community get-together). And then be available online (possibly with the help of Adrian Miles, RMIT). This would suit people who want to get away from relying on technology and create more of a crowd at transport. It could also be made into a DVD or video for those without internet.
If it becomes successful, a domain name would be purchased (i.e www.deafstreetmag.com.au) and then forwarded onto the vlog address. This would save time by not having to design a website. Initial advertising can be through email, word of mouth (figuratively), and the first project posters. Later, an RSS feed could be set up to be posted on the websites of VCOD, VicDeaf etc. to alert them to new instalments.
The website could also be used to publicise the major project, and to publish it (and an English transcript) after it has been completed.
Major Project
The Major Project will follow the framework outlined in Fig1.
(Where the Project Manager is myself, and the poet: Kate Middleton)
In explaining the steps which should be followed, I may describe actions I have already taken, and the shortfalls I have found. As mentioned, support from the community has been a major setback, but I believe the pre-project actions will stir more interest.
The first step is to gather a group of deaf people, to relate their experience of being deaf in the city. To make this easier I posed several questions:
Can you describe broad or common experiences in the city?
Are there any specific examples of experiences you have? (i.e There was this one time….)
What emotions do you feel in the city? Are any of these emotions more characteristic of a deaf person?
How do you believe being deaf (in the city) affects you?
What is being done/needs to be done for deaf people in the city?
How does a deaf person experience what a hearing person experiences as sound? (etc, vibrations of trams) And how could this translate into something a hearing person experiences? (i.e getting a hearing person to empathise more with deaf people.)
Is the city dangerous, likeable, intriguing etc?
How can hearing people accommodate better for deaf people?
What do you think your experiences in the city have in common with other deaf people’s?
Can you think of metaphors or similes which describe your experience or emotion (in English or Auslan)?
From my experience in receiving response from these questions, I felt like the person responding was treating the questions like a census or survey. I think it is important to build vivid emotions, romantic ideals and bring together common ‘magic’ experiences to make a special poem – not just a list of complaints. To solicit this, I wrote an abstract of the kind of responses I would write, if these questions were posed to me (as a hearing person):
‘like a little ant farm or rabbit warren, with people coming and going. Riding through the city with the wind rushing past, dodging trams, the blip blip of the green walking man buzzer, street sellers, hawkers, music from cafes, dank alleys, exploring new things, finding cafes and galleries never seen before, stealing a smoko on an upturned milk crate, sifting through dumpsters for gold.’
A discussion group would provide for the best content. If a group could be formed, and posed discussion questions, then the results of the process would be verified by the fact that there were lots of people discussing it. It would verify whether what is said is shared by the wider community. This discussion should be videoed. Along with this discussion, interviews could be filmed.
These Auslan described experiences should be coupled with responses from email, letters, forums and chat, in an English form. This content is then reviewed by a team of a deaf representative, interpreter, and an English Poet as the poem should be written simultaneously in English and Auslan.
If the poem were to be produced in English only, it would be completely inappropriate, as English is not necessarily the first language of deaf people. It would be better expressed in Auslan, but then would have no impact on hearing viewers. This is why the one poem should be written at the same time it two languages. A small blurb could accompany the video installation and the English version never published. A better solution would be for the English poem to be performed on video in a similar format, and displayed at a different time or place.
Kate Middleton is a poet who I approached to take the position of an English speaking poet. She has a background in music, and writes with spoken word and timing in mind. Her experience is essential in combining the subtleties of a new language (Auslan) with her knowledge of English. She also seemed keen on the project and had some ideas straight away.
This is the point where I got with my project. I didn’t get any feedback from the deaf community, which stopped me from going further. Therefore, everything from here on is an idea, and is flexible in the way it comes together.
Following the diagram outlined previously (fig 1), the content would be shaped into a piece of language in English and Auslan simultaneously. Issues of length, exact content, tone etc, are negotiable. The most effective content would be one rich in emotion and intrigue. A basic level of experience does not justify an intriguing poem. For example, simple ‘I did’ statements are not useful.
This poetry should be videoed and written down, and reviewed with consultation from both sides. The poetry should accurately reflect the feelings of the deaf community. Finally, the poetry should be placed in-situ and reviews taken, and fed back into the content.
Alternative Outcome
An alternative, easier, but less desirable outcome is to write a piece from the perspective of one deaf person. Perhaps this should take the form of one piece within a framework of many personal videos produced by deaf people. The most difficult part of the original project is imposing an idea on a community and vying for their support. With this method, a more accurate idea of an individual’s viewpoint can be ascertained, as one gained from a community will never reflect the views of all. This individual video also effectively raises awareness of the deaf community and Auslan. However, it is not as powerful as a group voice.
With this idea in mind, I set up a meeting with my partially deaf friend Gabi (who is learning to sign, and can sign well), Scarlette (a hearing friend of Gabi’s who has deaf friends and can sign fluently) and myself.
Content here
Production and Site placement
The production and placement of the video are some of the most important aspects of the project. Depending on the final content of both the Auslan and the English, it may be appropriate to do one of the following options:
1. Create a video of the Auslan, with an English blurb describing the project at the site and an online interpretation. This is one of the favoured options as it makes the poem mysterious to non-signers. However, the content could be lost by those not bothering to find it online.
2. A method similar to the first option, but create a video of the poem in English instead of displaying it online. The poem should not be shown in the same vicinity and time as the Auslan version, because hearing people will divert attention to the one they can instantly recognise. It could be put on the same reel and played after the Auslan version. Preferably, it would be displayed somewhere else, and directions would be published in the blurb.
3. Perhaps the reel could contain several versions of the poem: one in Auslan, one in English, one simultaneously read/performed, scrolling text, Auslan with subtitles and English with Auslan interpretation. This option would not be as hard hitting, but would be more educational. One could observe the video and compare the languages, and the content would be more up front.
As mentioned earlier, the video(s) should be installed publicly and available online on the pre-project website. It may also be launched at a deaf awareness week or at a regular deaf event. As with the online magazine event, it would be available on DVD or video for people with no internet access. However, by far the most exposure should be through a public installation.
When installing publicly, issues of vandalism and theft come into play. Equipment used to play a video (screens, media player etc) are valuable, and would need to be protected or installed out of reach. To overcome this problem, existing media players and video screens could be used to play the video. Building a new housing or position for a screen would add considerable cost to the project, and would not attract more attention than existing screens which already have an audience and prime position. The video needs to fit in with the current framework of the city. Business people bustle along king street, students scurry around RMIT and shoppers clog Bourke Street. It would be inappropriate to dump this sensitive material on the NIKE store screen, but would find its niche on a retro TV in a café in Degraves Street. The video must be placed to appeal to appropriate people; otherwise this project is without an audience.
With this in mind, the following sights would be suitable for the spectators which visit them:
1. ACMI – could be entered into an exhibition or permanent collection. ACMI tends to like ‘Melbourne’ oriented projects.
2. Federation Square video tower – excellent coverage, large visiting audience, attracts people visiting for the first time, admiring the architecture, would enhance the experience of the space, would not be hindered by the poor sound quality.
3. Small exhibition – placed tastefully and intriguingly in a popular café (Degraves), bookshop (Readings) or gallery (McCulloch, first site) to attract a small targeted audience.
4. In an existing media friendly environment such as Loop Bar or Horse Bazaar. Both have infrastructure which allows for the showing of the video. However, would be treated more as video art, not a poem with a message.
5. Transport bar initially (perhaps coupled with fed square), as this is already a deaf hangout at regular times.
6. Shop window – may not relate to the content of the store, but provides a piece of art for the window, which is safe. Could be part of Retail Art Walk (fashion week).
7. A public booth available during a festival. Funding could be sought to hire infrastructure to show the video within. May require more work, but would advertise to and bring in an interested audience.
Sites will need to be reviewed at the time of installation. If the original brief of sites of respite is relevant, then this will also need to be taken into account. In this case, perhaps a personal booth is more appropriate; moving into a permanent installation after the festival has ended.
Conclusion
This project has a lot of potential to bridge between hearing and deaf communities. I think this should be its main aim, together with raising awareness of deafness and Auslan. It is imperative though, that it still remain an art-form, not a preaching video, or a complaint. When both hearing and deaf people can recognise the major project (and its pre-project or alternative project phases) as important for both communities, the bridges in individuals’ minds will be built.
posted by ben at 8:34 AM
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