CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

A CULTURAL EVENT FOR THE DEAF

A graduate project submitted in partial satisfaction of the requirements

for the degree of Master of Arts in

Art

by

Robert Irwin Roth

May, 1983

The Graduate Project of Robert Irwin Roth is approved:

California State University, Northridge

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Copyrighted by Robert Irwin Roth

1983

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ACKNOWLEDGMENTS

My sincere appreciation and thanks to Paul Kravagna

and Phil Morrison for their persistence and patience in

guiding this paper to its completion.

A special note of appreciation goes to Theresa B.

Smith for her support during the Deaf Arts Festival, and

since; and to my personal friends and family for their

encouragement.

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TABLE OF CONTENTS

ACKNCMLEDGMENTS . iv

LIST OF TABLES vii

LIST OF ILLUSTRATIONS . • • viii

ABSTRACT ix

Chapter

I. INTRODUCTION • • 1

II. PLANNING AND PROCEDURE 8

Brainstorming • 10 Research • • • • 14 Time Line . • • 18 Event Content • • • . .. 18 Contract Persons, Places, and Ideas • 23 Finalize Activities . • • • 25 Delegation of Responsibilities • • • • • • 25 Installation • • • • • • • • • • • • • • • 26 Clean-Up • • • • • . • • • • • • • . • • 26 Evaluation • • • • • • • • • • 26

III. THE CULTURAL EVENT: 1980 DEAF ARTS FESTIVAL • • • • 28

Publicity and Participants • • • 28 Educational Components • • • • 29 Art Exhibition • • • • • • • • • • 29 Performances • • • • • • • • • • • • • • • • • 31 Special Photograph Exhibit • • • • • • • 31 Workshops . • • • • • • 32 Lectures and Panel Discussions • • • 32 Special Performances • • • • • 34

IV. CONCLUSION • • • • 35

REFERENCES • 42

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APPENDICES

A. PUBLICITY MANUAL AND OTHER PRESS RELEASES • • • • •

B. REPRINTS OF NEWSPAPER CLIPPINGS

. . . . . . . . .

C. SPECIAL EXHIBIT HANDOUT • • • • • •

D. APPLICATION FORMS AND MATERIALS

E. EVALUATION LETTERS FROM GUEST SPEAKERS

F. EVALUATION QUESTIONNAIRE

G. STUDENT MERIT CERTIFICATE . . . H.

I.

1980 DEAF ARTS FESTIVAL SCHEDULE (in back pocket)

MAY 1980 SPECIAL ISSUE OF

. . . . . . . . . . . THE TRUMPET (in back pocket)

J. SLIDES OF THE 1980 DEAF ARTS FESTIVAL • • • • . . . . .

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TABLES

1. Planning Flow Chart . . . . . . . . . . . 8

2. Sample of Identified Audiences and Their Needs/Objectives . . . • . . • . . • . . . . . . . 11

3. Sample of the Translation of Program Objectives to Program Concepts • • . . . . . . 20

4. Sample of Breakdown of Program Concepts to Basic Components . • . . . . . . . . . . . 21

5. Sample of Planning Diagram For a Deaf Cultural Event: From Proposed Audience to Basic Components . . . . . . . 22

6. Sample Evaluation Form for Speakers . . . . 41

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ILLUSTRATIONS

Figure

1. Center House Conference Rooms Layout • • • • • • • 30

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ABSTRACT

A CULTURAL EVENT FOR THE DEAF

by

Robert Irwin Roth

Master of Arts in Art

The building of knowledge and pride in the uniqueness of

one's culture is important to the development of positive self­

concepts within any minority group •. For too long, deafness has

been considered a medical condition: a loss of hearing. This

paper argues for the need to recognize and document the unique

qualities of Deaf culture and heritage.

The 1980 Deaf Arts Festival, designed and organized by

Robert Irwin Roth, is the basis for this project. The Festival

was the first Deaf event to combine art exhibitions and perfor­

mances by deaf people with lectures and discussions in Deaf

culture: Deaf history, Deaf art history, Deaf theatre history,

Deaf literature, and the development of American Sign language.

This event was extremely successful in providing knowledge and

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understanding of Deaf culture to the deaf community and to the

larger hearing community.

This graduate project is presented as a documentation of

the planning, coordination, and evaluation procedures used for

the 1980 Deaf Arts Festival; and as a manual in the planning and

organization of similar Deaf cultural events. It is the hope of

the author that this paper will assist and encourage the

development of such events in the future.

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I. INTRODUCTION

In recent years, various minorities have begun to

discover themselves as a cultural entity. This process of dis-

covery manifested itself through events, seminars, lectures, and

parades. Members of these minority groups were being educated

about their culture and heritage, their literature, art, and

drama. For many, it was the birth of a keener awareness and

pride in themselves.

According to a survey taken in 1974, of a total American

population of 20 million, there were 13,362,842 individuals that

were classified as hearing-impaired. 1,767,046 were deaf. 1

Deafness, in this survey, was defined as persons with the

"inability to hear and understand speech."2

Deafness, currently and historically, has been defined

as a medical condition. Usually, this is described in negative

terms, e.g., "inability to hear," "hearing-impairment," or

"hearing affliction.• "Professionals in the physical sciences

1Jerome D. Schein and Marcus T. Delk, The Peaf Population of the United States (Silver Spring, Md.: National Association of the Deaf, 1974), p. 16.

2 Ibid., p. 133.

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and education of the deaf typically describe deaf people in

terms of their pathological condition: hearing loss."3

A different approach to defining the deaf was chosen by

authors Stokoe, Croneberg, and Casterline in their book,

A Dictionary of American Sign Language. 4 The text of their book

was divided into two sections. One defined Sign language based

on linguistic principles1 the second was a

description of the "social and "cultural" characteristics of Deaf* people who use American Sign Language.S

* I will use here a convention adopted by a number of researchers where the capitalized "Deaf" is used when refer­ring to cultural aspects, as in the culture of Deaf" people. The lower case "~eaf," on the other hand, refers to non­cultural gspects such as the audiological condition of deafness.

Carol Padden noted that this latter description was unique in

defining deaf people as a "cultural group" as early as 1965.

She commented that

• • • rarely had these professionals [in the physical sciences and education of deaf people] seriously attended to other equally important aspects of Deaf people1 the

3carol Padden, "The Deaf Community and the Culture of Deaf People," Sign Language and the Deaf Community: Essays in Honor of William C. Stokoe, Charlotte Baker and Robbin Battison, eds. (Silver Spring, Md.: National Association of the Deaf, 1980), p. 90.

4William c. Stokoe, Dorothy c. Casterline, Croneberg, A Dictionaey of American Sign Language: guistic Principles, new ed., (Silver Spring, Md.: Press, 1976).

5Padden, p. 90.

and Carl G. On Lin­

Linstock

6Tbis paper will follow the same convention as described by Padden.

2

fact that Deaf people form groups in which the members do not experience "deficiencies" and in which the basic needs of the individual members are met, as in any other culture of human beings.?

In their book, Sound and Sign, Schlesinger and Meadow stated:

Profound childhood deafness is more than a medical diagnosis: it is a cultural phenomenon in which social, emotional, linguistic, and intellectual patterns and problems are inextricably bound together.8

Once American Sign Language {ASL) was established as a language9

it followed that "not only does the deaf community share a

language, they also share attitudes, values, experiences, a

history, art forms. In other words, they share a culture."10

It is then important for deaf people, as a community, to

validate themselves as a culture by discovering their Deaf

ancestors 1 legacy. Members of this community began to search

for evidences of their cultural heritage, however, few resources

were available. While many events, ~ectures, ~nd exhibits have

occurred relating to Deaf cultural history, very few were

actually documented. Deaf history has been traditionally an

unwritten history, passed down from generation to generation.

In schools where the deaf are taught, the history of the Deaf is

7Padden, p. 90.

8Hilde s. Schlesinger and Kathryn P. Meadow, Sound and Sign: Childhood oeafness and Mental Health (Berkeley, Cal.: University of California Press, 1972), p. 1.

9Neil Glickman, "A Cross-Cultural View of Counseling with Deaf Clients," Journal of Rehabilitation of the Deaf 16 (January 1983): 4.

10Ibid.

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not part of the curriculum. Few members of the deaf community

were being educated about deaf persons that had achieved

notoriety, nor about the deaf artists that had earned the

respect of the larger hearing world or that depicted Deafness in

their art, nor about the theatre form (Sign Language theatre)

that was unique to the Deaf world.

Deaf theatre has been the best documented and most

durable form for passing on aspects of Deaf culture to

succeeding generations. Gallaudet College, the only liberal

arts college specifically for deaf persons, has had various

productions in Sign Language since 1892.11 Performances,

including those that used American Sign Language in a variety

show, or as a play translated from the original English to

American Sign Language, or as a work originally staged in

American Sign Language, have potentially reached the widest

audiences. Dorothy Miles has detailed a history of Deaf theatre

activities in her Master's thesis, wA History of Theatre

Activities in the Deaf Community of the United States.w The

National Theatre of the Deaf and various local Deaf theatre

groups have continued this tradition.

Literature by and about deaf persons has had little

exposure. Large publishing houses rejected manuscripts that

described Deaf culture and life, perhaps because of the limited

11norothy May Squire Miles, "A History of Theatre Activities in the Deaf Community of the United States" (Master's Thesis, Connecticut College, 1974), p. 6. (Mimeographed.)

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market value due to a small audience and the industry's

requirements of volume production. Tbe Heart is a Lonely

Hunter, by Carson McCullers, In This Sign, by Joanne Greenberg,

and others are the notable exceptions. Publishers who special-

ize in literature relating to Deafness are now becoming success-

ful in disseminating information about Deaf culture to a wide

audience. An excellent example of this is Deaf Heritage: A

Narrative History of Deaf America, by Jack R. Gannon. This book

provides a broad overview of Deaf life and culture from the

eighteenth century to today. 12

Paintings, drawings, and sculpture present special prob-

lerns. Unlike reproduceable books or repeat performances of a

play, art objects have limited exposure. For this reason, deaf

artists have difficulty in exhibiting their work and becoming

known to both the deaf community or to the co~unity-at-large.

Because of communication problems, it is hard for deaf persons

to break into the contemporary art market; contact development

is usually done in person or on the telephone. Very few deaf

artists, like Morris Broderson, have had wide exposure.13 An

additional twenty-six deaf artists were given visibility in the

text entitled Deaf Heritage. Included in this publication were

short biographies of each artist, with pictures of their work.

12Jack R. Gannon, Deaf Heritage: A Narrative History of Deaf America (Silver Spring, Md.: National Association of the Deaf, 1981).

13 "Tbat Heavy Secret,"~, March 1, 1963, p. 56.

5

In 1975, deaf artists from different areas of the United

States recognized the need to promote their work and grouped

together to establish Spectrum. Located in Austin, Texas,

Spectrum's goals included building a place where deaf artists

could gather together in a mutually supportive atmosphere,

documenting the work of deaf artists within the United States,

sponsoring a company composed of deaf dancers (American Deaf

Dance Theatre) , and producing plays written by deaf authors and

staged in Sign Language.14 This experiment ended in 1981.

A significant way to impact the deaf community with a

knowledge of its arts and cultural heritage is through an event

that comprises several different elements. These can include

artwork, lectures, classes, exhibitions, performances, and panel

discussions. Such a cultural event can become a focus for

several groups of people:

1. For the deaf community to affirm their culture

2. For the persons that are deaf, hard-of-hearing, or

hearing-impaired that need to be introduced to the positive

aspects of deafness

3. For the hearing community-at-large to learn about

the Deaf as a culture, rather than as a condition

It can become an event where young deaf children can find adult

deaf role models, and start a process of community awareness.

It becomes a place of education and enjoyment, of wonder and

pride.

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Cultural events, festivals, seminars, etc. have been

done many times before; rarely are such events planned for deaf

people. Because of the unique characteristics of the deaf

community, unique solutions must be found to attract the

audience for which the event is designed.

This graduate project will document the planning and

execution of such a cultural event for the deaf: the 1980 Deaf

Arts Festival, held in Seattle, Washington on May 31 and June 1,

1980. Coordinated by the author of this paper, it became a

learning experience, not only in terms of "how-to-do," but in

terms of beginning the process of acculturation into the deaf

community.

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II. PLANNING AND PROCEDURE

In planning a cultural event for the deaf, there are

several basic steps that must be considered. This chapter will

utilize a planning flow chart (Table 1) as a guide in outlining

the planning for the 1980 Deaf Arts Festival in Seattle.

TABLE 1

PLANNING FLOW CHART

Brainstorming

Establish objectives Identification of audiences and their needs

Program concepts to meet objectives Establish date

Identification of funding sources Identification of resources (peo~le, places, things)

Identification of Deaf cornrnun1cations network

Research

Verify objectives Feasibility of ~rograrn concepts

Confirm facil1ties and dates Learn requirements of funding sources

Make contacts to develop resources Research deadlines for public relations

Planning Meetings

Time Line

Event Content

Development of program content Scheduling considerations

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Printing

TABLE 1--Continued

Contracting

Persons, places, exhibitions Shipping, crating

Insurance Installation: panels, frames

costs: press releases, poster,

Finalize Activities

brochures

Delegation of Responsibilities

List, budget, and procure supplies Public relations

Volunteers Scheduling Signage

Installation of exhibitions Coordination of ~rformances Coordination of 1nterpreters

Security Audio-visual needs

Documentation Clean-up

Evaluation

Installation

Event

Clean-up

Exhibition and Festival strike Return of art work: crating and shipping

Pay bills Thank you letters

Evaluation

Observations, feedback Written summaries for funding agencies

9

Brainstorming

The primary purpose of brainstorming is to encourage as

many ideas as possible. Verification or selection of ideas are

completed at a later time. Although many ideas are not feasible

or reasonable, they frequently lead to other possibilities.

Persons participating in the brainstorming process may include

artists, performers, scholars, and writers in the deaf community

(hearing persons in these categories may also be asked to parti­

cipate), as well as educators of the deaf, Sign Language inter-

preters, and others who may be interested.

Initial concept development of the Festival was done by

the staff at the Deaf Drama and Arts Project of the Interpreter

Training Program at Seattle Central Community College. The

Seattle Deaf Arts Council1 was invited to provide input. Addi­

tional input was requested from other members of the deaf and

deaf-related2 communities.

The targeted audiences and their needs were identified;

objectives were determined (see Table 2). Other brainstorming

sessions may be scheduled to generate ideas for program concepts

to meet the established objectives.

1The objectives of the Deaf Arts Council were to initiate and nuture an interest in the arts by the deaf community, and to increase awareness of local arts institutions of the deaf community's needs. Members of this organization provided the nucleus of a volunteer support group.

2Hearing persons that are Sign Language interpreters, workers with the deaf, educators of the deaf, and relatives of the deaf.

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TABLE 2

SAMPLE OF IDENTIFIED AUDIENCES AND THEIR NEEDS/OBJECTIVES

Audience

Parents and teachers of the deaf

The deaf community

Deaf artists

Hearing community

Needs/Objectives

Children's artwork display

Effectiveness in teaching art to deaf children

Deaf adult role models Information about Deaf

arts

View artwork by deaf artists and performers

Information (books, lec­tures, exhibits) about Deaf culture

A space to exhibit work Opportunity to meet other

deaf artists Document work by deaf

artists

To learn about deafness Exposure to deaf artists/

performers

Proposed Festival dates were suggested7 May or June was

agreed upon. In Seattle, springtime marks the end of the rainy

season1 also, many persons in the targeted deaf and deaf-related

communities travel out of town during the summer.

Funding possibilities were identified1 these included

local or regional foundations, service groups, local, state, or

federal art Commissions, and other relevant funding sources. In

Seattle, tne following funding agencies were named: Child Hear­

ing League (service group), Seattle Arts Commission, Washington

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State Arts Commission, and the Washington Commission for the

Humanities.

Brainstorming also includes the identification of

resources. These comprise:

1. Nationally known deaf persons knowledgeable about

Deaf culture and the arts

2. Institutions, such as Gallaudet College, Regional

Resource Center on Deafness, Seattle Art Museum, Interpreter

Training Program

3. Information about deaf artists and performers; their

exhibitions and performances

4. Books about the deaf and Deaf culture

The brainstorming process includes the identification of

a Deaf communications network. This step is extremely important

due to the limited communications resources available to the

deaf. Where does the deaf community get its information? How?

The accepted channels of communication for the hearing community

has limited use in the deaf world. Television is a media not

totally accesible to the deaf; captioning devices were just

introduced in 1980. Radio public service announcements are an

excellent way to promote an event to the hearing population; but

for obvious reasons, it is useless to the deaf. Occasionally,

the daily newspaper will publish a general interest article on

deafness. For these reasons, the deaf community has developed

their own communications network on a national, regional, state,

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and local basis. In 1980, these included the following (listed

according to the amount of coverage, nationally to locally) : 3

1. The Deaf American (Silver Spring, Md.: National

Association of the Deaf); national

2. Tbe Broadcaster (Silver Spring, Md.: National

Association of the Deaf); national

3. Silent News (Paramus, N.J.}; national, East coast

4. The Trumpet (Seattle, Wash.); West coast

5. DSHS Newsletter (Olympia, Wash.: Washington State

Department of Social and Health Services}; statewide

6. COSO Newsletter (Auburn, Wash.: Council of

Organizations Serving the Deaf) ; western Washington

7. DPA Newsletter (Seattle, Wash.: Deaf Drama and Arts

Project); Seattle and King, Pierce, and Snohomish Counties

8. CSCDHH NewSletter (Seattie, Wash.: ·Community

Service Center for the Deaf and Hard-of-Hearing); Seattle and

King County

9. "Dial-A-News" (Seattle, Wash.); Seattle TTY

(teletypwriter for the deaf) news service

10. The informal grapevine; in the deaf community, this

is well developed

31983 finds some changes in this list: The Trumpet is no longer published. The "Dial-A-News" has been inactive for over a year, as has the DDA Newsletter. The DSHS Newsletter was eliminated due to budget cuts. "DEAFNET," a national computerized mail service, joins the list.

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Most school districts with hearing-impaired programs are usually

more than happy to be able to distribute flyers and/or infor­

mation to parents of the deaf. Often, mailing lists can be

obtained from cooperating agencies working with the deaf.

Research

The purpose of research is to verify the ideas and

resources developed from the brainstorming process~ and to

ascertain the feasibility of suggested activities, facilities,

costs, and dates. Research may eliminate some ideas~ however,

new ideas may be generated from the research process.

Investigation into the requirements of funding sources

may influence the scope of the event being planned. What may

seem to be a funding restriction can also be an expansion of

opportunities to meet new objectives. Research may also reveal

persons or places willing to donate goods or services, and can

also determine a realistic budget.

Resources will often suggest new ideas, names, or places

for follow-up research. Letters and telephone contacts will

indicate the availability of potential speakers or guest

artists. Research will also disclose deadlines and format

stipulations required by the communications media serving both

the hearing and deaf comunities.

The research process revealed several leads that were

instrumental in shaping the scope of the Festival. The Seattle

Arts Commission, the primary local public arts funding organi­

zation, had a program called Neighborhood Arts~ funding was

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specifically earmarked for geographic or demographic comunities.

Another requirement was that the project being planned should

appeal to a wide range of ages in the comunity, including chil­

dren. Additionally, it was discovered that the Child Hearing

League, a women's service organization, was willing to donate

money, as long as hearing-impaired children would benefit.

Thus, an exhibition of artwork by deaf children, workshops for

deaf children, and lectures on art education for teachers of

deaf children were included in the planning of the Deaf Arts

Festival1 resulting in the awarding of grants from both the

Seattle Arts Commission and the Child Hearing League.

The development of contacts within the Seattle arts com­

unity led to the discussion of mutual goals by the planners of

the Deaf Arts Festival and the Imagination Celebration. The .

Imagination Celebration, planned for April, 1980, was a city-

wide arts event for school-age students. It had received

funding from the Kennedy Center to include the Very Special Arts

Festival, an arts event for handicapped children occurring

nationally each year, as part of the Inagination Celebration

program. While the planners of the Imagination Celebration

wanted the Deaf Arts Festival incorporated into their program,

it was decided to have only the educational component of the

Deaf Arts Festival at the Imagination Celebration. Thus, a few

grant requirements were able to be fulfilled, and also enabled

some of the objectives to be met.

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Another funding source, the Washington Commission for

the Humanities, emphasized a requirement for the study of

history, art history, literature, and language; a condition

established by their funding source, the National Endowment for

the Humanities. This actually broadened our original objectives

to include Deaf history, Deaf art history, Deaf literature, and

the study of American Sign Language; in addition to Deaf art and

theatre. The application form was exhaustive, including a

requirement for scholars of the humanities to be included.

This, in turn, extended our resources to include deaf scholars.

Rather than a restriction, it became an opportunity to change

the scope of the Festival from an art exhibition to a cultural

event of major importance to the deaf comunity nationally.

Research indicated that Seattle Center, site of the 1962 . World's Fair and the Space Needle, would have facilities avail-

able in the Center House on the weekend of May 31 and June 1,

1980. This was ideal for several reasons:

1. The Center House included the "Food Circus," a col-

lection of about twenty-five fast food restaurants, representing

an international menus, and is a popular tourist attraction

2. A stage for performances on the first level, where

the restaurants are located, this open stage would provide

maximum exposure

3. A series of conference rooms on the second level,

Providing flexibility for exhibition spaces, lectures, and

workshop areas

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The date was deemed appropriate as it fell towards the end of

Deaf Awareness Month, usually on May of each year. The Festival

was able to utilize this coincidence as a source of publicity

that was ·entirely separate from the Festival, yet related to the

issue of deafness. A series of twenty-one articles were

prepared as a press kit for Deaf Awareness Month, including a

photograph of then Governor Dixy Lee Ray signing a proclamation

for Deaf Awareness Month. Two of these articles were about the

Deaf Arts Festival; these articles and press releases were

distributed to newspapers statewide.

Further research into "tips" or obscure information can

lead into the development of new ideas and resources. The

author of this paper, on a visit to the DeYoung Museum in San

Francisco in 1976, viewed an exhibition of a collection of

turn-of-the-century photographs taken at a deaf school. Con-

sidering this as a possible exhibition for the Festival, a call

was made to the DeYoung Museum. A referral was made to Mildred

Albronda, who told this writer that the photographs, by

Theophilus Hope d'Estrella {1851-1929), were owned by the

California School for the Deaf at Berkeley. 4 Calling the school

led to a series of negotiations that enabled the Deaf Arts

Festival to purchase and exhibit forty-two prints that

documented life at a residential school for the deaf between

1892 and 1910. This collection is now part of the permanent

4Now located in Fremont, California.

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collection of the Deaf Drama and Arts Project, and is the only

other one in existence. Talking further with Ms. Albronda

revealed that she was the author of a book on deaf sculptor

Douglas Tilden (1860-1935)1 5 and doing research for two more

books on d'Estrella and on deaf painter Granville Redmond

(1871-1935). An invitation was then extended to Ms. Albronda to

lecture at the Deaf Arts Festival.

Planning Meetings

Planning meetings were scheduled as necessary to

implement the objectives of the event. Feedback and ideas were

the most valuable outcomes of these meetings. Persons attending

were usually the committee heads and the coordinator.

Time Line .

Time lines were helpful in the planning of the event.

Included on time lines should be:

1. Billing due dates

2. Grant deadlines

3. Artists application deadlines

4. Publicity deadlines

5. Artwork and printing deadlines (poster, flyer,

brochure)

6. Installation dates.

5Mildred Albronda, Douglas Tilden: Portrait of a Deaf ~ulptor (Silver Spring, Md.: T. J. Publishers, 1980).

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Event Content

Research, grants, types of facilities, and available

resources weigh heavily in the content of the scheduled events.

At this point, continued research goes into greater details and

discovers new items that should be considered. Such questions

as: Does the speaker need special projection equipment for a

lecture? Does a performer have special stage lighting require-

ments? Should awards be given? If so, how? The tables

included in this paper can assist in identifying these details.

Table 2, on page 9, illustrates a sample list of potential audi­

ences and their needs/objectives. Table 3 demonstrates how the

objectives are translated into program concepts. Table 4

explains how program concepts are broken down to basic

components: who, what, where, when, and how much. From this,

one can determine the feasibility of each program concept, and

modify or eliminate where necessary. A sample planning diagram,

Table 5, shows the entire process, from identification of the

audience to the basic program components.

Also to be considered is the continuity of events; there

should be a flow of activities. Scheduling of program events

can be simultaneous; at any one time festival participants

should have the option of going to demonstration class, or a

lecture, or a performance.

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TABLE 3

SAMPLE OF THE TRANSLATION OF PROGRAM OBJECTIVES TO

PROGRAM CONCEPTS

Objectives

Teaching art effectively to deaf children

View work by deaf artists/ performers

Learn about Deafness

Exhibition of deaf artists

Concepts

Classes for parents and teachers of the deaf

Demonstration activities

Lectures by art educator

Art exhibition

Performances

Classes taught by deaf artists/ performers

Art in progress

Film, slides, other media

Art exhibition'

Performances

Sign Language Classes

Association with deaf at Festival

Information referral

Lecture on Deaf heritage

Panel discussion on minorities

Juried exhibition

Invitational exhibition

Media exhibition

Non-juried exhibition (open)

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Program Concepts

Open show

Sign Language class

TABLE 4

SAMPLE OF BREAKDOWN OF PROGRAM CONCEPTS TO

BASIC COMPONENTS

Who, What, Where, When, How Much

Who: All artists, by application

What: Photographs, paintings, drawings, sculpture

Where: Conference rooms

When: Two days, all day

How much: Rental of exhibition room, insurance, shipping, installation materials, volun­teers to install exhibit

Who: Instructor of Sign Language

What: Demonstration of American Sign Language

Where: Conference room

---- ~.:.-_-:-:_. --==~ . .=.:_::::.-.. -----

How much: Room rental, honorarium

Classes for parents and teachers of the deaf

Who: Instructor of theatre

What: Workshop on teaching theatre to deaf children

Where: Conference room

When: Saturday, one hour

How much: Honorarium, room rental, interpreter

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TABLE 5

SAMPLE OF PI..ANNiro D:rnGRAM FOR A DEAF CUL'IUAAL EVENT; . FRCM PROPOSED AUDIENCE 'IO BASIC cnwoNENTS

Audience Needs/Cl:ljecti ves Program Concept

Hearing ccmnuni ty learn about Deafness Jlmerican Sign Language classes: Teach basic ASL and finger~l­ling to give expo­sure to the visual language of the deaf

Exposure to deaf artists

' '

--

Association with deaf at Festival: ming­ling, observation, exposure

Art Exhibition

t: __ :::.:.-:-:~-- -- . --· ....... --------------··· -~==-=-"' - ___ .. -··-' -· ~-: .-c-•>- •.• -. . ~--

Basic Components

Who: Sign Language instructor What: Demonstration of basic

Jlmerican Sign Language Where: Conference roan ~'hen: Two days, all day How rruch: Roan rental , honoraritnn

Who: Audience :tarticipant What: Cbservation Where: Converence roans, Food

Circus floor When: Two days, all day How much: no costs involved

Who: Deaf artists What: Art exhibition Where: Conference roans When: Two days, all day How :rruch: Exhibition roan

rental, shipping, insurance, materials

N N

Contract Persons, Places. and Ideas

At this point in the planning process, agreements should

be put in writing for relevant program concept components,

including honorariums, rentals, and time scheduling.

Interpreters should also be contracted and scheduled.

An interpreters' committee was established to determine a fair

reimbursement for services, and to distribute the work load

equally among the available interpreters. Some interpreters

were chosen for specific tasks, such as performance

interpreting. Some situations were interpreted on a volunteer

basis: these included a "roving" interpreter to facilitate

communication between deaf and hearing participants at the

FestivalJ and personal interpreters, for some of the guest

speakers. I

Volunteers were also contacted and scheduled at this

stage of the event development. Volunteers were utilized in

several important ways1 those who have pledged their time were

contacted for such duties as installation, clean-up, sec~!~~y,

23

:.:;~c'':c~':'""''-'C'o

guest pick-'up af the airpo-rt, technical work, and other chores

as the need occurred.

Supplies needed were reserved and orderedJ these include

audio-visual materials, lighting for stage performances, panels

for the exhibition, and other needs shown by the planning

diagram (Table 5). A photographer was contacted to document the

Festival (see Appendix J).

~---------~

Films, special exhibits, and other shows should be con-

firmed and/or booked at this point.

Teachers should be contacted to select children's

artwork. Arrangements for the pick-up, labelling, and instal-

lation of artwork should be made.

Questions arose regarding the criteria for determining

how potential artists for the performances and art exhibition

would be contacted. The options were a juried show, an

invitational show, or a non-juried show that would be open to

all. It was decided that the 1980 Deaf Arts Festival would be

an open show, with some restrictions as to quality control. A

committee was established to screen for quality and content of

work. Announcements requesting artwork and performances were

sent out to the deaf community locally, regionally, and .

nationally7 responses to the announcements were followed up with

an application form. These forms were designed in order to get

necessary information, yet they had to be simple and direct in

language. The deaf community encompasses a wide variety of

24

English comprehension skills7 the questions, therefore, h~:'W~~ ~::.~:.::,~~"~~===:~"-·!.•

be easy to read and simple to answer. The selection committee

reviewed artwork and conducted auditions. Letters were then

sent to artists and performers whose work was accepted,

informing them where to bring artwork, or when to perform. See

Appendix D for illustrations of the application process used for

the Deaf Arts Festival.

~-------------------------I

Finalize Activities

All persons, places, ideas had been contacted, contracts

signed, supplies ordered; schedules, prices and other questions

have been settled. Press releases had been sent to promote the

Festival (see Appendix A}. The schedule had been finalized, and

announced through publicity channels.

Delegation of Responsibilities

Staff and volunteers were given their responsibilities.

Progress reports were given to the coordinator on the following

responsibilities:

1. Supplies: Listing, budgeting, and procuring

2. Public relations: Content and distribution

3. Volunteers: Identification of needs, contact and

assign roles

4. Scheduling: Confirmation of facilities, speakers,

and performers

25

5. Graphics: Schedule of events, identification of

activities, room locations, staff/volunteer identift,9a!:~<?~\ . ,· ... ,"~'"~s:

·badges·

6. Exhibition installation: Construction of exhibits,

rental of panels, storage of artwork during construction

7. Performances: Scheduling of performers, preparing

stage, appropriate lighting, sound equipment, backdrop (for ease

in viewing Sign language)

8. Interpreters: Contacting, scheduling

------------------------

9. Security: Scheduling of guards

10. Audio-visual needs: Slide projector, videotape

machine, extension cords

11. Documentation: Photography, videotapes

12. Clean-up: Strike of Festival and exhibition

13. Evaluation: Development of questionnaire and other

evaluation methods

Installation

The day before the Festival, the rooms were ready to be

transformed into a Deaf world. An exhibition layout had been

prepared, as had the plan for the utilization of each room.

Persons responsible had been advised of their assignments and

time of arrival. Supplies, panels, stage equipment, and art

work had been delivered to predetermined loca~ions.

Clean-up

Persons and contractors had been notified and were ready

to pick up panels or stage equipment. Artists were to pick up

their work, or it was to be crated and returned. Volunteers

were assigned to pick up papers and make certain that rooms were

left in proper condition. Paperwork had been completed and

bills were paid. Thank you letters to all participants were

sent.

Evaluation

Evaluations were planned to receive maximum input.

Questionaires (see Appendix F) have been given to participants

~----------------

26

27

to fill out at their option. A final meeting of the planning

committee and/or volunteers has been scheduled; observations

were shared, feedback was given. Recommendations were noted.

Some grants require specific written summaries; these

had to be completed and sent to the appropriate agency.

-------------

III. THE CULTURAL EVENT:

1980 DEAF ARTS FESTIVAL

Publicity and Participants

Arrangements were made with The Trumpet, a regional

newspaper for the deaf, to print a special issue on the Deaf

Arts Festival, with a take-out supplement that listed the

schedule of events for both days of the Festival. The

supplement was also printed separately, to be distributed

through the deaf community network and at Seattle Center.

Examples of these various publications are located in Appendices

H and I in the pocket at the back of this book. A publicity

manual was prepared and distributed to newspapers locally and

statewide (Appendix A). Examples of printed matter as a result

of Festival publicity are in Appendix B.

The unique location at Seattle Center made it possible

for at least 5,000 people, deaf and hearing, to come ll) ~tact~:~~~?':::::""!.:,. . . . . -------------~------~---------------·

with some facet of the Deaf Arts Festival. Many hearing people

saw at least one facet of the Festival, the performances on the

Center House stage. Hopefully, they returned horne with a

greater appreciation of the talent they encountered, and with

new insight into the beauty of Sign Language. Many other

people, intrigued by the performances, decided to investigate

the Festival further and viewed the art exhibitions, the

28

~------------------------------

photograph collection, and participated in classes in Chinese

watercolor painting and Sign language; hopefully these people

went horne enriched with the knowledge of the diversity of Deaf

life and culture. Deaf persons who carne on the first day to see

the exhibitions and performances, were also inspired by the

lectures on Deaf culture, and returned the next day for more.

Educational Component

The educational component of the Festival was given

earlier in the month at the Imagination Celebration; targeted

for children, teachers, and parents. Howard Seago, then with

D. E. A. F. Media, a Deaf television production firm, presented

a workshop/lecture on "Creative dramatics for Deaf Children" on

April 26, 1980. Marlyn Minkin, coordinator of the Parent Edu­

cation Program at the Seattle Hear~ng and Speech Center, pre­

sented a workshop/discussion group on the topic, "Stimulating

the Imagination of Children," on May 3, 1980. A children's per­

formance of "The Boy Who Talked to Whales" was interpreted on

29

~-~~---

-Shields and John Burton; Sign Language insb:uctors at Seattle

Central Community College, taught a class on "Basics of Com­

municating Visually with Deaf Children" to parents and teachers

of the deaf on May 3, 1980.

Art Exhibition

The art exhibition (see slides, Appendix J) was located

in Center House conference rooms B, G, and H (see Fig. 1) •

.._ ______________ _ I ! I. i

,,,

·[g) Ql

J1 I I d IlL- I I~ '7 4 I c::::; I • A ,

Ql

!A ·t! § $ ~ ~v

Air-------===\/-, ~ A C' ···-··

11L C?IIIJI ...... ~T!&v~,l9 , '1mn11.· ~.S u: @

1 :- ' • u e~" .. /1 11 p ,;:::v

Fig. 1: Center House Conference Room Layout

A. Lectures, Panel Discussions, seats 120 B. Art Exhibit .Space c. Theophilus Hope d'Estrella Photo Exhibit D. Dressing Room E. Storage i,' F. Workshops/Pt~~entations G and H. Art Elhlbit Hallways: Chil<jl~n's Art Exhibit Reception Area: :;;~information desk, displays by community organizations,

\!·event/schedule board

I 1\i I :\~ I! 'J ~--···

-----";""""···--·--···-···---··-· ·-::::.~-;:~:::;.::.-.::-::: -·

w 0

Included were textiles, paintings, sculpture, pottery, drawings,

and photography. Twenty-nine deaf artists displayed their work.

Also on display were artwork from over fifty deaf students from

local and statewide schools.

Performances

Performances were on the Center House stage on the first

floor level of the Food Circus. Included were solo performers

in sign/song, sign/poetry, storytelling, and mime. Ensembles

performing were a group with a variety of skills named "Ameslan

Arts," a dance group called "Silent Dancers," and "Theatre-in-

Sign," a drama group. A total of thirty-two deaf and hearing

adults performed on stage. Over fifty students from area

schools were also given the opportunity to perform.

Especially noteworthy were performances by Miko, a deaf

mime artist1 storytelling shows by Chuck Baird and John Burton;

and a solo variety show by Pat Graybill.

Special Pbotograph Exhibit

31

The photograph (:!xhibit,, located in conference rk>om~(l:i:';'' ·_c,·:_:_:·,_:'E_,:"'~_<:":"2~~­

was entitled, •Theophilus Hope d'Estrella: Early Deaf

Photographer.• Tours for all audiences were given by Mildred

Albronda. This special exhibit was especially relevant to Deaf

history as it presented a glimpse into Deaf life a century ago:

D'Estrella's strongest photographs reflect the warm relationships that he had with these deaf children who adored him ••• [the] original prints ••• portray these students, his friends, engaged in work, play, and fantasy, i

,.

I 1.

as they attended the West's first special school for the deaf. 1

A handout on this special exhibit was prepared and distributed

at the Festival (see Appendix C).

Workshops

Two workshops were given periodically each day. Chun 0.

Lu, a deaf artist from Taiwan, gave workshops on "Methods of

Chinese Painting." Archie Shields taught workshops on

"Communicating in Sign Language." Scheduled each day was a mime

workshop for children, presented by Miko.

Lectures and Panel Discussions

Larry Petersen, a teacher of the deaf at Seattle Central

Community College, lectured on "The Deaf: An American

Minority." This was an overview of the deaf community and its

characteristics.

Representatives of several minority groups gathered

32

together for a panel discussion, "Comparing the Deaf Minority to

Other American Minorities," moderated by Theresa B. Smith,

coqrdinator of the Interpreter Training Program at SeatE!_~ _ _ __ __ __

Central Community College. In addition to Allie Joiner, a deaf

consumer advocate, there were presentations by Rosetta Hunter, a

Black studies teacher at Seattle Central Community College; Dr.

James Vasquez, a professor of history and Chicano studies at the

1Mildred Albronda and Renee Dreyfus, "Theophilus Hope d'Estrella: 1851-1929," catalogue for exhibit at DeYoung Art Museum, San Francisco, September 1976.

~----------

University of Washington; and Charles Harbaugh, a researcher for

the Washington State Human Rights Commission and Gay activist.

Chuck Baird, visual arts coordinator of Spectrum (now

with the National Theatre of the Deaf) spoke about "Deaf Artists

of the United States," illustrated with slides cataloging the

work of over thirty deaf artists. Mr. Baird also discussed the

possibility of a "Deaf" art that reveals the Deaf experience. A

continuous slide presentation of deaf artists' work was also

shown in conference room A when lectures were not being

presented.

Dr. Eugene·Bergrnan, professor of literature at Gallaudet

College, presented a lecture entitled, "Images of the Deaf in

Literature."

Jack R. Gannon, director of alumni relations at .

Gallaudet College, spoke about "Our Deaf Heritage." This was a

pre-publication preview of his book Deaf Heritage, which had

been long awaited by the deaf community. The lecture was an

overview of Deaf history, including anecdotes and

accomplishments of Deaf·people.

Carol Padden, linguistics researcher at the Salk

Research Institute at the University of California, San Diego,

discussed the cultural roots of American Sign language in "Deaf

People and Sign Language Through History."

Ms. Padden's lecture was followed by a panel discussion

on the "Cultural Background of Sign Language," moderated by

Theresa B. Smith. Panelists included Carol Padden, Dr. Eugen

~-------

33

r;

I .,

l I:

Bergman, and Dr. Robert Johnson, associate professor at Oregon

State University (now at Gallaudet College).

Mildred Albronda, author of several books on deaf

artists, and co-curator of the 1978 DeYoung Museum exhibit on

d'Estrella, gave two lecture/tours for hearing and deaf

participants about the special d'Estrella photograph exhibit.

Later, she lectured about three deaf artists that lived in

California in the early twentieth century: Theophilus Hope

d'Estrella, Granville Redmond, and Douglas Tilden. This was

entitled, "Tilden, d'Estrella, and Redmond: Early Deaf

Artists."

Patrick Graybill, one of the founding members of the

National Theatre of the Deaf, lectured on "The Contributions of

Deaf Artists Towards the Theatre Of and For the Deaf."

Special Performances

Miko, a deaf mime from Poland, performed for one hour

each day on the Center House stage.

Patrick Graybill, who lectured elsewhere in,:th~~::=;::' '.

Festival, presented his performance talents in the ":Pat.Graybill

Show." This variety show included a dramatic solo performance

adapted from Chekov, and a parody of the different Sign Language

systems using the "Star Spangled Banner" for his demonstration.

He also told several stories of his experiences growing up as a

deaf person.

~----------

34

IV. CONCLUSION

This chapter will cover the evaluation of the 1980 Deaf

Arts Festival in Seattle.

The original objectives set for the Deaf Arts Festival

were:

1. To exhibit work by deaf artists and performers, for

viewing by members of the deaf, deaf-related, and hearing

communities

2. To promote knowledge, documentation, and

opportunities for deaf artists and performers

3. To encourage appreciation and understanding of Deaf

cultural heritage

4. To enable the deaf community to see and take pride

in the accomplishments of their community and culture

5. To promote understanding and interest in

6. To establish knoWledge of the deaf as a minority

group, and compare to other minority groups

7. To educate parents of the deaf to the importance of

creative expression in deaf children

8. To promote the teaching of art effectively to deaf

children

35

~-----~

'1,

'

I i: r U·

I H li

+~

r ·•! t ,, ·,r.

I T

I f, i'

;_ ~; J;

I ,, !:,i l!i

I ~·

I

I J•

1'' i( ..

9. To promote understanding and further research about

the deaf

Were these objectives met? In considering this, several

questions should be asked:

1. Did the program content meet the original stated

objectives?

2. What worked well; what did not?

3. Were the guest performers and lecturers adequate?

How did they rate? What were their contributions to the event?

What constraints affected their performance/lecture?

4. Target population: Was it reached? Percent of the

total audience?

5. Was community support and participation

demonstrated?

6. Was publicity adequate?

7. Were the facilities suitable?

8. Did the program have any long-term impact or

consequences on the community? ' ,_. ,_ ~,·h ""' -~

, __ ;_::o._--:.= ~-- ' •

36

9. 'What could have been chang~·· or. ~lte:ce<ti --- ····----~------·········

The Festival was the first deaf event (to this author's

knowledge} that encompassed the artistic and cultural range of

Deaf culture. All stated objectives were met; ideally, some

topics could have been covered in more depth. Although funding

sources can make an event possible, certain grant requirements,

by their nature, place limitations on a project. For example,

both the Washington Commission for the Humanities and the

.._ _______ _

Seattle Arts Commission grants required that the Festival appeal

to a broad audience. Because of this, a greater emphasis was

placed on introducing deafness to a hearing audience, as in the

basic Sign Language workshops. Feedback from Festival question-

naires indicated that the lectures and panel discussions on Deaf

culture, Sign Language, and on the deaf as a minority group

should have been expanded.

The length of the Festival, two days, was selected to

attract as many people as possible in a short amount of time.

There were many activities for each participant to choose from.

Ideally, each person should be able to attend many program

events: however, this would extend the Festival over several

days, and reduce audience impact.

The separation of the educational component from the .

main Festival to the Imagination Celebration was probably

counterproductive. Many parents and teachers of the deaf did

not go to the Imagination Celebration, but came to the Festival.

Thus, the workshops in teaching art and drama to deaf children

d~d. not reet.ch its potential audience.·

The type of art show chosen, an open exhibition to all

deaf artists, was probably not the best choice. A combination

of a large exhibition space and a low turnout of quality artwork

led to the acceptance of some work of lesser merit. This may

have been a limitation imposed by its geographical location:

larger population centers, such'as California, would have a

greater selection of deaf artists and performers, which would

'i -----------------

37

probably result in a higher quality of artwork being available.

Alternate solutions would have been to contract for a smaller

exhibition space, or having an invitational show. However, many

artists were allowed to exhibit, and the deaf community in this

area did comment on the diversity of deaf talent in Washington

State.

The audience was estimated to be 40 percent hearing-

impaired (deaf and hard-of-hearing), 20 percent deaf-related,

and 50 percent hearing persons who probably had never been

exposed to any aspect of deafness or Deaf culture. Based on

these figures, the Festival was very successful in reaching its

targeted audiences; this was most likely due to having the

Festival at a landmark tourist attraction, the Seattle Center.

Guest speakers and performers added greatly,

individually and collectively, to the concept'of a Deaf cultural

festival. In Appendix E are copies of evaluation letters from

the guest speakers attending the Festival. One speaker

applauded the concept of combining the arts with the humanities

38

• __ ; ·-~~~~t ~~~; ·:·:~=~;:~_~ ... ~:~~: --~:.).~-.:·.~~~~:~i~-?f~:~-;:~> and especially the ~discussion regarding how the two ;J.nter.act-.;. : '

Of special note was the tremendous response to the panel

discussion that compared the deaf minority to other minorities;

Mildred Albronda's lecture on deaf artists of the past, which

saw the audience being beyond the room capacity of 120 persons;

Carol Padden's lecture on Sign Language and the panel discussion

following it that helped to break a persistent myth that Sign

Language is a dirty, gestural way of communicating reserved for

~-------

i

the "deaf and dumb"; and Jack R. Gannon's "Our Deaf Heritage"

lecture that truly amazed many regarding the accomplishments of

deaf persons and their contributions to American culture.

Table 6 (p. 41) shows a sample evaluation form for

speakers, based on adequacy (overall rating), content, format

constraints, and contributions (overall evaluation). These

evaluations could prove helpful in the future selection of guest

speakers before an event is planned.

Long-term impact is difficult to judge; certainly many

deaf people were inspired enough by the Festival to do further

reading, artwork, or performances on their own. Gallaudet

College sent a representative several months later to discuss

the results of the Festival; this information was to be used for

a program being designed to increase cultural awareness at the . Gallaudet campus. The Festival stimulated ideas and discussion

regarding the possibility of a travelling "mini" Deaf Arts

Festival; however, limited funds tabled the project. A

coordinator of the Deaf Arts Celebration, sponsored by

39

D. E. A. F.; Media and the University of Californiao~~~·~~~~f~q~~~~:··_ noted that the 1980 Seattle Deaf Arts Festival, which combined

art and culture, served as the direct inspiration for the 1981

Deaf Arts Celebration, which continues to be an annual event in

Berkeley.

Certainly there were many areas of Deaf culture not

included in this Festival. Unfortunately, much of Deaf culture

has not been recorded; compounded by the fact that today's

--------

40

educational programs for the deaf have not proved adequate in

providing the necessary numbers of deaf scholars.

The concept of a Deaf culture is still quite new, and

has received exposure in but a few areas of the United States.

Whether an event has many differing objectives, or targets only

a specific objective, similar Deaf cultural events in other

cities would have the beneficial effect of stressing the

positive aspects of deafness, and affirm the existence,

diversity, and depth of Deaf culture to the deaf and hearing

communities.

The Deaf Arts Festival touched the lives of many people

by redefining deafness. Instead of a medical condition--the

lack of hearing--Deafness became history, art, literature,

theatre, dance, and language. Deafness, for many people . attending the Festival, had a new meaning: a minority with a

unique culture.

~------------

Speaker/Presentation

Jack R. Garmon "QJr Deaf Heritage"

Pat Graybill "'!he Contributions of Deaf Artists Towards the Theatre

Rosetta Hunter, panelist, "Can-paring the Deaf Minority to Other American Minorities"

TABLE 6

SAMPLE EVALUATION FORM FOR SPEAKERS

Mequacy (Overall Rating)

Excellent I .,

Excellent

Excellent

I '

·~ r; .:l1 \;l f:!

Content

Presentation in anecdotal format

Covered television, movies, as well as theatre 1 Deaf cu1 ture covered also

Drew canparisons between Black and women's minorities to the Deaf minority

, , ··~ ~ -"':~ .~.;.~r~·-··---·~-,:,..;.;.....:.·="'::--'~-,- ----·. ~ , .-~---· -r-o•-..

Format Constraints

Time limitations

Time limitations

Limited to pmel discussion

Contribution (Overall Evaluation)

Audience appreciation obvious; well researched; many deaf historical persons were discussed

Increased audience aware-ness and appreciation of deaf contributions to American culture

Increased audience aware-ness and tolerance of others as well as self

~ 1-'

REFERENCES

Albronda, Mildred. Douglas Tilden: Portrait of a Deaf Sculptor. Silver Spring, Md.: T. J, Publishers, 1980.

Albronda, Mildred, and Dreyfus, Renee. "Theophilus Hope d'Estrella: 1851-1929." Catalogue for exhibit at DeYoung Art Museum, San Francisco, September 1976.

Baker, Charlotte, and Battison, Robbin, eds. Sign Language and the Deaf Community: Essays in Honor of William C. Stokoe. Silver Spring, Md.: National Association of the Deaf, 1980.

Gannon, Jack R. Deaf Heritage: A Narrative History of Deaf America. Silver Spring, Md.: National Association of the Deaf, 1981.

Glickman, Neil. "A Cross-Cultural View of Counseling with Deaf Clients.• Journal of Rehabilitation of the Deaf 16 (January 1983): 4-15.

Langham, Barbara. •Focus on Deaf Artists." EXXON USA 19 (Second Quarter, 1980): 22-25.

Miles, Dorothy May Squire. "A History of Theatre Activities in the Deaf Community of the United States.• Master's thesis, Connecticut College, 1974. (Mimeographed.}

Schlesinger, Hilde s., and Meadow, Kathryn P. Childhood Deafness and Mental Health. University of California Press, 1972.

Sound and Sign: Berkeley:

Stokoe, William C.7 Casterline, Dorothy C.7 and Croneberg, Carl G. A Dictionary of American Sign Language: On Linguistic Principles. new ed. Silver Spring, Md.: Linstock Press, 1976.

"That Heavy Secret.• lime, March 1, 1963, p. 56.

~------4-2 ___ _

: i

l !

. I

.I

APPENDIX A

PUBLICITY MANUAL AND

OTHER PRESS RELEASES

43

00 FROM OUR fAST·

TONARDS THE FUTURE Art, Performances, Exhibits, Lectures and Workshops Culture, History, Literature, Art and ·rheatre.

yd-rt-

1 0:00 am to 9:00 pm Seattle Center

Food Circus Conference Rooms

on Deaf

Sponsored by the Oeaf Drama and ArtS Project of Seattle Central Community Couaoe, Seattle Arts Comm1ss1on. Child Heanng League, and the Wasllington Commission tor the Humanities. a state program of the National Endowment for the Humanities. •AT DIAECnoNc -.AT"""' • otSIO•· •••• ...,,..

.... ______________ __

44

i

! l

".ar~~ 24, :98r. '(IF. l!\;·l[D!J\.T[ REL~1\S[

~o no: use after nay 3, ~9Bn

Contac:: Roher: ~ot~ or Teresa Stot:er ~2~6; 587-3880 ~/TTY

PR- 2

~E: "Educational [vents: Deaf Arts Festjval, 1980"

The exciting new Deaf Arts i'estiva-1, 198n has many different things hap­

pening this year. The Festival will be held on Mav 31st and Cune lst from !nam

:o 8pm in the Center House Building at Seattle Center. The pur~ose of the Festi­

val is to promote an awareness of the proud heritage, visual arts, and perfor­

r.~ing arts of Deaf people among the Deaf and the general public.

In addition, we have special educational events, in co-operation •lith the

Imagination Celebration and the Seattle Arts Commission. These events are desig­

ned with the cultural and artistic education of the Deaf child in mind. Parents

of the Deaf, Teachers of the Deaf, and the general public are invited. There are

no admission fees. Following is our special Deaf Arts Festival/Imagination Cele­

brati"on schedule:

"Cr.eative Dramatics" Saturday, April 26, 12:00pm-1:00pm, Conference Room H, Cen­

ter House, Seattle Center. Howard Seago, producer of 'Rainbow's End', a TV show

for Deaf children, will give a lecture/demonstration that will show parents/tea­

chers how to tap a child's imagination towards creative dramatics. Mr. Seago is

Deaf and has taught in the Seattle/Tacoma area.

"Parent Discussion Grouo: Stimulating the Imagination of Children" Saturdav, Mav

3, lO:OOam-ll:OOam, Conference Room H, Center House,•Seattle Center.,Marlyn Min­

kin will facilitate a discussion group for parents (and teachers) of Deaf children.

"Basics of CollVTliJnicating Visuallv with Deaf Children" Saturday, "1ay 3, ll:OOam-

12:30pm, Conference Room H, Center House, Seattle Center. Archie Shields and John

Burton, two Deaf instructors from Seattle Central Community College, will give a

lecture/demonstration on Sign Language, designed to help break down communication

barriers bet,ween Deaf children and their parents and/or teachers, and

our imaginations.

Also. on Weonesday, April 30; the Imagination Celebration and the Poncho

Theatre wi l1 ;Jresent a s pee ia l performance for children of 'The Bov ~·lho Ta !ked

To Whales.' It will be even more special to Deaf children, for it win be inter­

preted in S.ign Language, co-sponsored bv the Deaf Drama and .Arts Project and the

Seattle Arts Commission. The play will begin at 7:00pm in the Jmaginarium (Flag

Pavilion) at Seattle Center.

- 1 -

·-------

'$~

45

Page 2: ":ducational Events: :leaf Arts Festival, 1980"

For more information on all the events of tne Deaf flrts Festival, ol ease

contact Robert Roth or Teresa Stotler at.(ZOf) 587-3889, vo1ce or TTY, or write

to: Deaf Drama and Arts Project, Seattle Central Communitv College, 1718 Broad­way, Seattle, WA 98122.

The Deaf Arts Festival, 1980 is soonsored by the Deaf Drama and .A.rts Pro­

ject of Seattle Central Community College, Seattle Arts Commission, Child Hearing

League, and the Washington Commission tor the Humanities, a state program of the National Endowment for the Humanities.

- END -

-----------------

46

Apri 1 22, 1980

FOR IMMEDIATE RELEASE Do not use·after June 1, 1980

Contact: ~obert Roth or Teresa Stotler

(206) 587-3889 voice or TTY PR3

RE: Jack Gannon and Patrick Graybill: Special Appearances at the Deaf Arts Festival

Jack Gannon, author of 'Deaf Heritage' and Patrick Graybill, National Theatre of the

Deaf actor, w-ill appear at the Deaf Arts Festival, 1980. The Festival will be held

on May 31st and June 1st from lOam to 9om at the Center House (Fooo Circus) Building

at Seattle Center in Seattle, Washington. Admission is free. The ourpose of the Fes­tival is to promote an awareness of the proud heritage, visual arts, and performing

arts of the Deaf people among the Deaf and the general public.

The theme of the Festival is 'From Our Past: Towards The Future.' In addition to art­

work and performances (there is still time to enter!), there will be lectures, work­shops, panel discussions, and a special photo exhibit on a early Deaf photographer that will provide a fascinating look at Deaf education and life in the Victorian era.

Patrick. Graybill, of Rochester, NY, will give a lecture on Of!af thMtre history and

the contributions of the Deaf to theatre. He will also give a one-man show, never

seen before! Watch for Pat on Sunday, June 1.

Jack Gannon, from Ga~laudet College in Washington, DC, will talk about his soon-to­

be--published book, 'Deaf Heritage,' as well as give ,two talks on Deaf history and

Deaf culture. Watch for these exciting and valuable lectures on Saturd'ay, May 31.

Mildred Albronda, from San Francisco, is the author of two books on historical Deaf

artis~: Theophilius Hope d'Estrel1a (also the subject of our special phOto exhibit)

and Douglas Tilden, sculptor. She will be publishing a book soon on Granville Sev-mour Redmond, painter. She will give a lecture on all three Deaf artists at the Festival.

Spectrum is sending_ Chuck Baird from Austin, Texas. Chuck has been doing extensive

research on Deaf artists all over the United States and documenting their work. He

will show slides and.discuss themes in Deaf art.

The Festival is fortunate to have Dr. Eugene Bergman, the first Deaf person to· receive

a Ph.D. in English, who will discuss Deaf literature. Dr. Bergman, from Gallaudet Colege in Washington DC, is the author of the book, 'The Deaf Exoerience: An Antho­

logy of Literature By and About the Deaf.'

There is also a Deaf mime! Mike is his name and he will give two exciting performances

as well as two mime workshoos, one for kids and one for evervone. Miko is a native

of Poland, now living in Los Angeles, California.

A11 of the above soecial guests are Deaf! The Festival is proud and anxious to share

Deaf talent from all over the United States.

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:leaf Arts Festival: Page 2

There will also be a lecture on the Deaf as an American minority group, given bv

Larry Peterson, followed by a panel discussion on other American minorities, for

comoarision of the similarities and differences between them and the Deaf minoritv.

There will be a lecture on American Sign Language and another oanel discussion on the

different sign languages of the world. These promise to be exciting and educational.

Of course, there is Deaf adult and children's artwork and performances, an Ameslan

Artists performance, dance performances led by Krista Harris, and a oerformance by the

SCCC drama class, directed by Jer Loudenback.

Wow! Its going to be a great Festival and its all free! For more information, call

Robert Roth or Teresa Stotler at (206) 587-3889, voice or TTY, or write to Deaf

Drama and Arts Project, Seattle Central Coomunity College, 1718 Broadway, Seattle,

WA 98122.

The Deaf Arts Festival, 1980 is sponsored by the Deaf Drama and Arts Project of

Seattle Central Community College, Seattle Arts Cpmmission, Child Hearing League,

and the Washington Conmission for the Humanities·, a state program of the National

Endowment for the Humanities.

See you at the Festival!

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Mav 5, l98D FOR IMMEDIATE RELEASE

Contact: Robert Roth or Ed Walker (20n) 587-3889 V/TTY

PP 4b Do not use after June 1, l98D

RE: "Schedule of Events: Deaf Arts Festival, 198D"

Following are the events scne<iule<i on May 31st and June 1st at the Deaf Arts Festi­

val, 198D. It will be at Seattle Center's Center House Building, >lith activiti!"S

on the Food Circus stage and in the Confe~ence Rooms. Free to the public, the Fes­

tival will be open from lO:DO am to lO:DO pm on Saturdav, Mav 31, and from lD:OO am

to 9:DD ~m on Sunday, June 1.

Continuous Festival events include artwork by Deaf persons of a11 ages, slides of

Deaf artists' work from all over the United States~ and a special photo exhibit by

an early Deaf photographer who documented Deaf life in the Victorian era. The sche­dule shows the time and place of all Festival performances, lectures, workshOps, and

panel discussions.

Saturday, May 31

PERFORMANCES

11 : 30 am - 1 :00 pm

1:00 pm- 2:15 pm

2:15 pm - 2:45pm

2:45 pm - 3:00 pm

3:00 pm - 4:00 pm

4:00 pm - 4:45 pm

Group and individual oerformances by young Deaf persons; at the Center House st~ge (sign-song, mime, skits, dance, etc.) Deaf Adult Non-Competitive performances; Center House stage (Sign­song, mime, skits, storytelling, dance, sign-poetry, etc.)

Dance performance given by the''Silent Dancers' ,,Center House stage

Storytelling, by John Burton; Center House stage

Deaf Adult Competitive Performances; Center House stage (sign-song, mime, skits, dance, storytelling, sign-poetry, etc.)

Mime performance by Miko; Center House stage

LECTURES/PANEL DISCUSSIONS

5:00 pm - 5:45 pm

5:45 pm- 6:30pm

6: 30 pm - 7 : 1 5 pm

"The Deaf: An American Minority" Lecture bv Larry Petersen; Conference Room A

"Comparino the Deaf Minority to Other Proerican Minorit1es''~P-ane}: .. ::.. ..·······"-c)>.· Discussion, Panelists: Charlie Harbaugh, Allie Joiner; Hlll:ff~:'.~::::-.c::-'..'-:::'·"=''':· O.lee, Or. James Vasquez. Moderator: Theresa B. Sr:ltth. · . . . .

"Deaf .O.rtists of the United States" Lectur.e by Chuck Baird; Conference Room A

7:30 ;l!l1- 8:15pm "Images of the Deaf in Literature" Lecture bv Dr. Eugene Bergman; Conference Room A

B: 15 pm - 9:45 pm "Our Deaf Heritage" Lecture by Jack Gannon; Conference Room A

. ',lOR KSHOPS/PRESENTAT IONS

11:45 am 2:15 pm 3:45 om

12:30 pm 3:00 pm 4: 3D om

Methods of Chinese Painting, workshop with Chun 0. Lu; Conference Room F

Communicating in Sign Language, workshop with Archie Shields; Conference Room F

M~Y 31 CONTI NUEO

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49

page 2 Deaf Arts Festival, '80 Schedule of Events

1:15 om- 1:as nm Mime for Children, wor•~hon "ith ~,,,.o, ConfPrence Room A

10:00 am- 1:00pm, Slide showing, 'Deaf Artists of the United States'; 2:00pm- 5:00pm Ccnference Room A

Sunday, June 1

PERFORMANCES

1 2 : 30 om - 1 : 1 5 om 1:15am- 1:45pm

1:45 pm - 2:30 om

2: 30 pm - 3: 1 5 pm

3:30 pm -

4:00 pm -

7:15pm-

4:00 pm

4:45 pm

8:15 pm

Variety show oresented bv the 'Ameslan A.rtists'; Center House stage

Dance performance given bv the 'Silent Dancers'; Center House stage

Deaf Mul t Competitive Performance \'i nners, oresenti ng their award­winning performances; Center House stage (mime, skits, song-signing, dance, storytelling, etc.)

Dramatic performance by the Seattle Central Conmunity Collejje 'Theatre-in-Sign' drama class, directed by Jer Loudenback; Center House stage

Storytelling, by Chuck Ba.ird; Center House stage

Mime performance by Mi ko; Center House stage

Theatrical performance, 'The Patrick Gravbill Show"; Conference Room A

LECTURES/PANEL discussions/tours

10:00 am- 10:45 am . "Deaf People and Sign Language Through History" Lecture; by Carol Padden; Conference Room A

10:45 am- 11:30 am

11:30 am- 12:15 pm, 3:30 pm- 4:15 pm

"The Cultural Background of Plnericafl Sign Language" Panel Discussion, Panelists: Or. £ugene Bergman, Or~ Robert Johnson, Carol Padden; Conference Room A

"Theophil ius Hope d' Estrella: Early Deaf Photographer" Lecture and tour by Mildred Albronda; Conference Room A

5:30 om - 6:15 pm "The Contributions of Deaf Artists Towards the Theatre of and for the Deaf" Lecture by Patrick Graybill; Conference Room .A

6:15 pn - 7:00 pm "Tilden, d"Estrella, and Redmond: Early Deaf Artists" Lecture by Mildred Albronda; Conference Room A

WORKSHOPS/PRESENTATIONS

11:45 am, 1:00 pm, 3:15 pm

C~uo1 cat;iJ!.Ikill"~j,gJtJ.a.nquaqe, ·wor,(\~M&~i th. Archie Slliel ds; Confert~~ta~'i!i!Qii* """""2· - -··

12:.30 om, 4:00 om

1:30 pm -

12:30 pm -2:15pm-4:00 pm -

2:30pm, Method-~.~·oft~l!'~!'f#h.ftg, worits-hw·.;;ith Chu·n 0. Lu; Conference·Room F

2:00 pn Mime Workshop with Miko; Conference Room A

1:15 pn, Slide showing, 'Deaf Artists of the United States'; 3:15 pn, Room A 5:00 pm

Conference

The Oeaf Arts Festival, 1980 is sponsored by the Deaf Drama and Arts Project of Seattle

Central Community College, the Seattle Arts Commission, Child Hearing League, and the

\Sashington COf1111ission for. the Humanities, a state orogram of the National Endo\o.(t\ent

for the Humanities.

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50

May 7, 1980 FOR IMMEDIATE RELEASE

Contact: Ed Walker or Robert Roth (206) 587-3889 V/TTY

PRS Do not use after June 1, 1980

RE: "Deaf Arts Festival, 1980"

Seattle Center- Center House stage and Conference Rooms May 31st, 10:00 a.m. - 10:00 p.m. June 1st, 10:00 a.m. - 9:00 p.m.

Free Admission- Ever·yone is invited.

The Deaf Arts Festival is the main opportunity this year for Deaf people from all over the Pacific Northwest to share their artistic talents and celebrate their cultural heritage with other Deaf people and the general public.

Continuous Festival events will include: 1. Performances by Deaf ~hildren and adults. (Song-signing,

' dance, mime, storytelling, etc.) 2. Displays of artwork by Deaf persons of all ages. 3. Specia 1 Guest Perfonnances by Leading Deaf Artists.

Miko - a master of classical mime from Poland; and Patrick Graybill - actor and director, toured worldwide with the National Theatre of the Deaf.

4, __ .0eaL.CuJturaLJier-1tage Lectures: Guest speakers will ·>:·-~·_-~;;~c,-,..,~.r.,.:,-!-~~~==- - =,...,-;··,:._~~-~~~-:-" _- _____ -: : • :.::,~etrf oil thti iichh!venenti oTt)eaf people, their Sign

· · ·"'t~~~~g~"~:o~-~t:::::th-;-;:t;;·;nd''Ti tera ture.

The Festival is sponsored by the Deaf Drama and Arts Project, the Deaf Arts Council, Seattle Arts Commission, Child Hearing League, and by the Washington Commission for the Humanities, a state program of the National

Endowment for the Humanities.

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00 May 7, 1980 FOR IMMEDIATE RELEASE Do not use after June 1, 1980

Contact: Ed Walker or Robert Roth (206) 587-3889 V/TTY

A l brenda

RE: "Mildred Albronda at the Deaf Arts Festival, 1980"

Lectures/Tours: d'Estrella Exhibit, Sunday, June 1st, 11:30 am and 3:30 pm, Conference Room A

Lecture: "Tilden, d'Estrella, Redmond: Early Deaf Artists", Sunday, June lst, 6:15- 7:00 pm, Conference Room A

People attending the Deaf Arts Festival, 1980, will see a direct result of guest speaker Mildred Albronda's research into Deaf artists and their work. Ms. Albronda helped plan and arrange the museum exhibition of photographs by Deaf photographer Theophilus Hope d'Estrella at the DeYoung Memorial Museum . . in San Francisco. During his years as a teacher at the California School for the Deaf in Berkeley in the late 1880'·s, d'Estrella captured on fflm Deaf life and education at the turn of the century.

. The Deaf Arts Festival, to be held at Seattle Center May 31 and June l,

is proud to present both the d'Estrella exhibit and Mildred Albronda. Ms. Albronda will give talks on d'Estrella's work and walk-through tours of the exhibit Sunday, June 1st at 11:30 am and 3:30 pm. She will also give a lecture on D'Estrella and two other early Deaf artists, Douglas Tilden and Granville Redmond, Sunday, June lst at 6:15pm.

Mildred AJbronda. wttg:..~ntmwtn:;~Un:;;FrP'Mt''i-;:·,·JJ.as."'"w.r.ttten. books on Theophilus Hope d'Estrella ar~9c""~ftt:'c~=Oouglas Tilden, who was also deaf. Ms •. Albronda has also worked to make museums more accesible to all handicapped persons.

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00 May 7, 1980 . FOR IMMEDIATE RELEASE Oo not use after June 1, 1980

Contact: Ed Walker or Robert-Roth (20fi) 587-3889 V/TTY

Baird

RE: "Chuck Baird at the Deaf Arts Festival, 1980"

Lecture: "Deaf Artists of the United States", Saturday, May 31, 6:30- 7:15 prn, Conference Room A

Storytelling: Sunday, June 1, 3:30- 4:00, Center House Stage Continuous Slide Presentation: May 31 and June 1, Conference Room A

Chuck Baird is a Deaf artist who has been involved in researching Deaf artists' work all over the United States. Example of this artwork will be shown in Mr. Baird's slide presentation and lecture at the Deaf Arts Festival, 1980. The Festival, at Seattle Center's Food Circus Conference Rooms, will take place Hay 31 and June 1. It will feature o;iginal artwork and performances by Deaf children and adults.

Chuck Baird is currently the coordinator of the Visual Arts Program. at Spectrum: . Focus on Deaf Artists in Austin, Texas. He has long been active in theatre set design as well as acting and directing. Part of his work has been with the highly acclaimed National Theatre of the Deaf.

Mr. Baird's lecture/slide presentation "Deaf Artists of the United

States", wi 11 be. p,r,u~,~~~~,~~t:~~P-:.ffl!:~ .

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53

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p_~ fjitlt'l{ '

Contact: Ed Walker or Robert Roth (206) 587-3889 V/TTY

Bergman

RE: "Dr. Eugene Bergman at. the Deaf Arts Fes:ival, 1980"

Lecture: "Images of the Deaf in Literature": Saturday May 31,7:30-8:15 pm, Conference Room A

Panelist: "The Cultural Background of .american Sign Language" Sunday June 1, 1980, 10:45 - 11:30 am, Conference Room A

In tracing the history of any group of people, it's important to

study what writers both inside and outside of the group have written about

that particular group. The Deaf Experience: An Anthology of Literature by

and about the Deaf edited by Eugene Bergman and Trenton Batson is just such

a study. Dr. Bergman, the first Deaf man to receive a PH.D. in English, will

be a guest speaker at the Deaf Arts Festivil, 1980. This_ .){ear's Festival will

be held at Seattle Center May 31 and June 1. Eugene Bergman is an Assistant Professor of English at Gallaudet

College in Washington, D.C •• In addition to writing articles for journals

and other publications, he recently co-authored a play about the Deaf, Tales

From a Clubroom, with Bernard Bragg.

Dr. Bergman will speak on "Images of the Deaf in Literature", on

Sat'urday May .31, a,t 7.~.:t:£"'~~~tw:;:H:l also. !fi!Et1~~e;..,Jn a pa~el diScussion. d

"Cultural Backgr0~~]:1;f_;~an Sign Jdnglt!ge'' ... ,.onSunday, June 1, at 10:45 am.

(. i

54 I •

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tffi!>p;­/Wf/l/, . I .

Contact: Ed Walker or Robert Roth (206) 587-3889 V/TTY

Gannon

RE: "Jack Gannon at the Deaf Arts Festival, 1980"

Lecture: "Our Deaf Heritage": Saturday, May 31, 1980, 8:15- 9:45 !XIl. Conference Room A

Deaf Americans, like other minority groups, are exploring their past for a better understanding of themselves. Jack Gannon, author of Deaf Heritage, will speak on Deaf history and culture at the Deaf Arts Festival, 1980. Mr. Gannon's lecture, "Our Deaf Heritage", on Saturday, May 31, at 8:15 IX'l• is a part of the Festival's overall theme, "Fran Our Past: Towards the Future". The Festival will be held at Seattle Center Hay 31 and June 1.

In researching his book, Deaf Heritage, Jack Gannon asked for input from Deaf people all over the United States. The book covers 'the years 1880 -

1980 and was commissioned by the National Association of the Deaf which is celebrating its centennial this year.

Mr. Gannon is Director of Alumni and Public Relations at Gallaudet College in Washington, D.C •. He is an extremely popular guest speaker, a favorite of audiences all over the country.

In addition to lectures by Jack Gannon_and others, the DeaCArts Festival will featur·e:j)r,}Sii~'}('tl';tnrT~I I. !i~--forinances by Deaf. chi 1 dren and aduJ ts;.;;~~-,~:;::~7~~-::_,.,.: - - d -- ----L ·-

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May 7, 1980 FOR IMMEDIATE RELEASE Do not use after June 1, 1980

Contact: Ed Walker or Robert Roth (206) 587-3889 V/TTY

Graybill

RE: "Patrick Graybill at the Deaf Arts Festival, 1980"

Lecture: "The contributions of Deaf Artists Towards Theatre of and for the Deaf", Sunday, June 1, 1980, 5:30- 6:15pm, Conference Room A

Performance: "The Patrick Graybill Show", Sunday, June 1, 1980, 7:15- 8:15pm, Conference Room A

As one of the first members of the national Theatre of the Deaf, Patrick Graybill has thrilled audiences all over the world with his dramatic talents. The Deaf Arts Festival, 1980, is fortunate to have Mr. Graybill as a guest performer and lecturer. His one-man show and his lecture on Deaf Theatre History, on Sunday evening June 1st~ will come near

1the end of the

Festival's two--day extravaganza. His lecture will begin at 5:30pm and his performance at 7:15pm.

Patrick Graybill is a man of many roles both on and off stage. In addition to performing in both adult's and children's productions, Mr. Graybill has directed plays and led workshops in creative drama.

· Patrick Graybill's exciting contribution will be a part of this

year's focus on Dea:f c~I~t~:~ ~Yiu"g;r•r~9Y!' ~i~~1tiWards The Future". The Deaf Arts Festi't'aJ~}:~u-' !t.\!!M!J(~Bt«Yi ,S~}l!!:f -artists' work -and live performances of'dnifia''Tritfc·songs in Sign Language. All events will be voice interpreted for Hearing people and will take place at the Seattle Center Food Circus Building.

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56

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00 May 7, 1980 FOR IMMEDIATE ·RELEASE Do not use after June 1, 1980

#"

Contact: Ed Walker or Robert Roth {206) 587-3889 V/TTY

MIKO

RE: "MIKO: Deaf Mime Artist at the Deaf Arts Festival, 1980"

rw

Performances: Saturday, May 31 and Sunday, June 1, 4:00- 4:45 pm, Center House stage Workshops: Saturday, May 31, 1:15 - 1:45 pm and Sunday, June 1, 1:30 - 2:00 pm,

Conference Room F

MIKO, a European master of classical mime, is also deaf. He will perform and give mime workshops at the Deaf Arts Festival, 1980. Raised in Poland, MIKO studied ballet and pantomime there. He has been extemely successful in Europe and has received the Grand Prize at the International Festival of Pantomime.

For most people, ·any talk of mime inevitably leads to Marcel Mar.ceau. MIKO and the French master are good friends and respect each•other's talents. In commenting on their different styles, MIKO says, "The mimes sees the same things and tries to communicate them. But he can't communicate the same. He has to have his .. own different style." In any performance, fnteruptions from the audiences can destroy the performers' concentration. "Because I don't hear, I don't have any interuptions. Marcel is always yelling about interuptions. He can't staAd it. He s ys I'm lucky."

MIKO is now living• &ncf;;~Ji:iiiiiawteil· S~i:.:·. His .mime. workshops have been wi nni ng~hj!lt~~t.,p~--';·j;.~-~ stage-performances. People attending the Deaf Arts Festival, May 31 and June 1 at Seattle Center, will have a chance to particioate in his workshops, (one of which is for children), and watch his performances on the Center House stage. Admission to a11 Festival events is free. MIKO's performances on the Center House stage will be from 4:00- 4:45pm on both Saturday,·May 31 and Sunday, June 1. His mime workshop for children will be offered from 1:15 - 1:45 pm on Saturday, May 31. On Sunday, June 1st, from 1:30 - 2:00 pm, a mime workshop for everyone will be held.

~ .. ______ ___.__

PS r 775 sn

57

00 May r; 1980 ~OR IMMEDIATE RELEASE Do not use after June l, 1980

Contact: Ed Walker or Robert Roth (206) 587-3889 V/TTY

Padden

RE: "CarofPadden at the Deaf Arts Festival, 1980"

Lecture: "Deaf People and Sign Language Through History", Sunday, June 1, 10:00 - 10:45 am, Conference Room A

Panelist: "Cultural Background of American Sign Language~· Sunday, June 1, 10:45 - 11:30 am, Conference Room A

One feature of the Deaf Arts Festival, 1980, will be an in-depth look at American Sign language. Although various Sign Languages have been used by Deaf people throughout history, these languages have only recently been studied by experts in linguistics.

The language of signs used by Deaf ~eople in this country is usually (

called American Sign language. like all languages, it has grown and changed in everyday use. Over the years, Deaf people have developed their language into a highly effective means of c011111unication. Language experts have found that American Sign Language is rich in structure and subtlety. This might suprise some casual observers who assume that Deaf people use only gestures or some condensed form of English.

Carol Padden is a Deaf woman who is __ a doc.:toralcar.d1date in linguistics . _----·---:~----?~ --. - . . .. ____ ... -~·:-:·:: .. --~ ~:,~-.. ;: - .

at the University of.C.~Jif~"t'!SE-GilijiL Sne is'''if-so'~involved in doing research into the historyoaM-'s'~:t'~~ericaii Sign Language (Ameslan) at the Salle Research Institute.

The Deaf Arts Festival will be held May 31 and June 1 at the Seattle Center Food Circus Building. Carol Padden will speak on "Deaf People and Sign­Language Through Hi story" at 10:00 am on Sunday, June 1. Her 1 ecture wi 11 be followed by a panel discussion, "Cultural Background of American Sign Language" from 10:45 - 11:30 am.

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''te S ! t 7 1 m 77 rmmon

00 May 7, 1980 FOR IMMEDIATE RELEASE Do not use after June 1, 1980

Contact: Ed Walker or Robert Roth (206) 587-3889 VITTY

d' Estrella

RE: "Special Photo Exhibit on Theophilus Hope d'Estrella at the Deaf Arts Festival, 1980"

Special Lectures and Walk-through Tours by Mildred Albronda, Sunday, June 1, 1980·, 11:30 - 12:15 pm· and 3:30 - 4:15 pm in C~nference Room A

An fascinating photography exhibition by the early Deaf photographer, Theophilus Hope d'Estrella, will be on display at the Deaf Arts Festival, 1980. D'Estrella was the first student at the California School for the Deaf when it opened in 1860. Later he became a teacher there and captured on film the wann relationships he had with his students. The exhibit of d'Estrella'.s photographs will be a special feature of this year's Deaf Arts Festival, May 31 and June 1, at Seattle Center.

Theophilus Hope d'Estrella was an avid outdoorsman and his scenic photographs were published in a CalifornJa magazine. His work was praised by the press and in 1901 he took first prize in one section of San Francisco's first Photographic Salon held at Mark Hopkins Institute of Art.

When the d'Estrella exhibition was first shown in 1978 at the DeYoung Museum in San Francisco it became extremely popular.

Mlldred~A.l!).~a-,-'~ thLAA2Jll~~~;f.r(11ll San Francisco who researched and planne4.thl!-f'~1i.WB:~J.f'~~!Ji.~~iiJ;Es:trel1a and_ give walk-through tours of the exhibit. Her presentations will begin at 11:30 am and 3:30 pm on Sunday, June 1st in Conference Room A of Seattle Center's Food Circus Building.

59

00 May 7. 1980 FOR IMMEDIATE RELEASE Do not use after June l, 1980

RE: "Deaf Arts Festival, 1980"

Contact: Ed Walker or Robert Roth (206) 587-3889 V/TTY

SAMPLE: Public Service Announcement (30 seconds)

The Deaf Arts Festival will come alive May 31st and June 1st at Seattle Center. You are invited to be a part of this exciting Festival as Deaf people perfonn song-signing, dance and mime and display their artwork. MIKO (mee' - ko). a master of classical mime will perform and lead mime work­shops for children and adults. A special photography exhibit will feature an early Deaf photographer's look at the Victorian Era. All Deaf Arts Festival events will be held in the Center House at s,attle Center, May 31st and

s June lst. Admission is free.

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Deaf Drama and Arts Project Seattle Central Community College

1 XO&l'!

l::::::::::.::'" r. ·'· ;)[' '&. tv/ '-'I-. ''"'' ,,,, ~"!'· ~· ~ .. !I ~ ~ ..,. ~ ~ '"''""'''' '''''""'"''' '"' '"'':::'~~~.~.;';?,'~

For information: Call 206-587-3889, voice or TTY

Saturday, APRIL 5, 2:30pm, PERFORMANCE "Spolr.esong" a musical show, Seattle Repertory Theatre, Seattle Center, Free: get tickets at Deaf Drama & Arts

Wednesday, APRIL 9, 8:00pm, LECTURE "The Culture of Photography and the Contemporary Scene" presented by the University of Washington and the Seattle Art Museum, Room 120, Kane Hall on UofW campus, Free

Wednesday, APRIL 16, 7:30pm, LECTURE "Seattle's Japanese Photographers" presented by the Seattle Public Library, Room 120, Kane Hall on the University of Washington campus, Free

Saturday, APRIL 19, 8:00pm, PERFORMANCE "Pie in the Skv" A poetry reading from the book with Adrienne Laubv, Ellen Greenlaw, Oevi K. Hunt and S. Reddick, at the IOOF Hall, 915 E. Pine, room 426, TiCkets are S2.nO, to benefit Storefront Press. Make vour reservations at Deaf Drama and Arts office.

Saturday, APRIL 26, l2:00pm; LECTURE IN SIGN LANGUAGE "Creative Drama for Children" presented by Howle Seago, producer of 'Rainbow's End' TV show for Deaf children, at Seattle Centen, Conference Room H, F.ret!. Presented at the ·Imagination Celebration by the Deaf Drama and Arts Project and the Deaf Arts Festival.

Wednesday, APRIL 30, 7:00pm, PERFORMANCE "The ·Boy Who Talked To Whales" for children and adults •. at the "Imaginarium" (Flaq Pavilion), Seattle Center, Free: Presented at the Imagination Celebration, co-sponsored by the Deaf Drama and Arts Project and the Deaf Arts Festival

Saturday, MAY 3, lO:OOam, LECTURE IN SIGN·LANGUAGE ''Parent Discussion Grouo: StimulatinQ the Imagination of .Children" presented by Marlyn Minkin, for parents and teachers of Deaf children, Seattle Center,

. ~~.· .. Con r.~~X,:I':"I!~.,;,f'resent!datnttle· Imagination . , ~ ,~:.::~ ., tw~~~~~~;~;'Project and the

Saturday' ~{A¥. 3' ll: DOam' LECTURE~ritsr!iN~i"i14~0AGE ~;,~s1sic5""()f' COn1n;:,'~i ca ti ng "i sua 11 y wi ttl Deaf Children" presented by Archie Shields and John Burton Parents and teachers of Deaf children invited. Free. At Seattle Center, Conference Room H. Presented at the Imagination Celebration by the Deaf Drama and Arts Project and the Deaf Arts Festival

Saturdav, MAY 3, Z: OOpm, PERFORMANCE "Another Part of the Forest" a drama by L i 11 ian Hellman, Conservatory Theatre Company, 1FJ4 11th Ave, near SCCC, Tickets costs S4.no, make vour reservations at the Deaf Drama and Arts Office.

Saturday and Sunday, MAY 31 and JUNE l, loam to Spm, FESTIVAL!!!! Watch for details on this excitinQ and fun filled Festival. Call the Deaf Drama and Arts project, Rob or Jer, for applications to enter art or performance for the Festival.

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SEATTLE CENTRAL<® COMMUNITY COLLEGE 1701 Sr oadwav. Seattle. Washrngton 98122

March 16, 1980

Deaf Drama and Arts Project 1718 Broadway Mailstop 2 SP lUO Seattle, WA 98122

Dear Teacher,

The 1980 Deaf Arts Festival will be held May 31st and June 1st at Seattle Center, in the Food Circus Building Conference Rooms. We will have many things happening in a bigger and better Festival:

1. Deaf Adult Artists exhibit 2. Deaf Childrens' Art exhibit 3. Performances (mime, dance, song-signing, etc.) by Deaf children

and adults 4. Deaf Cultural Heritage Project entitled 'From Our Past: Towards the

Future' that will focus on Deaf art history, Deaf theatre history. Deaf history, Deaf literature, Sign Language, and Deaf culture

5. Workshops for teachers and parents of the Deaf to be held during the Imagination Celebration.

This year, the Festival is sponsored by the Deaf Drama and Arts Project, the Deaf Arts Council, Seattle Arts Commission, Child Hearing League, and by the Washington Commission for the Humanities, a state program of ~he National En-dowment for the Humanities. ·

~J eagerly invite you and your classroom's participation in this year's Festival; we need artwork and performances created by your children. This pro­vides an opportunity for the Deaf community and the community-at-large to see the creativity of Deaf children.

The theme of the Festival lends itself well to many possible areas of interest for artwork and performances, such as famous Deaf persons, Sign Langu­age history and development, Sign Language images, etc. that can be inclusive or related to a regular clas~room assignment. Participation can include group and/or individual perf~~!i!;!:ei:sA~!k~~~-"~us-main floor stage (original skits, song signing,.poe~~;-group art exhibit or murals related to the Deaf cultur'al·~werttig'e; and individual art work prepared by your stu­dents during the year. Please save the best of your childrens' artwork for the Festival.

Any suggestions, ideas or advice that you would have to make the Deaf childrens' art exhibit or the Festival itself a more successful and meaningful effort would be appreciated. Please contact me at the Deaf Drama and Arts Pro­ject address shown above or phone me at (206) 587-3889.

Sincerely,

~·'}. Robert Roth ~ Deaf Arts Festival Coordinator

c::Jt~g-~ Theresa B. Smith Interpreter Training Program Coordinator Deaf Arts Festival Project Director

62

SEATTLE CENTRAL®> COMMUNITY COLLEGE

1701 Broaawav SetH fie \.'\lasnrngton 98122

May 14, 1980

Deaf Drama and Arts Project 1718 Broadway Mailstop 2 SP 100 Seattle, Washington 98122

Dear Parent,

The 1980 Deaf Arts Festival is just around the corner! We would like to invite you once again to come and be a part of this exciting event May 31st and June 1st at Seattle Center's Food Circus Buidling.

Deaf children will be a big part of this year's Festival. In addition to displaying their artwork and performing on stage, they are sure to be caught up in the excitement of all the events.

Miko, a Deaf mime will give a mime workshop for children on Saturday,. May 31st from 1:15- 1:45 p.m •• He will also be performing at 4:00p.m. on both Saturday and Sunday.

A special photography exhibit will focus on Deaf students and their teachers in the late 1800's. Theophilus Hope d'Estrella, a Deaf. photographer, was a teacher at the California School for the,Deaf in Berkeley. His pictures capture the warm rerationships he had with his students. '

The history of Deaf people in the United States, their Sign Language, theater, art and literature wi 11 be the focus of· the Deaf Cultural Heritage lectures.

This year. the Festival is sponsored by the Deaf Drama and Arts Project, the Deaf Arts Council, Seattle Arts Commission, Child Hearing League, and by the washington Commission for the Humanities, a state program of the National Endowment for the Humanities.

· Tne·nsaf:Ait.S;~:W:wfi:S-'a~~~~ie11e~lt;~lfortunity for Deaf ·people .of .. c·.c

a 11 ages and theirAMI-i-JJ~~w~ec·t'-69ether. We hope to see you there. · · .· · " ...................... ..

Sincerely, , 1 ,.---

i../ /'/~ ~ .. I / ' ' Y. ,, / • v,_"'::·~.-'-'<-~·{ y_«-.-r...l1

. Robert Roth ~· Deaf Arts Festival Coordinator ( 206 ) 587- 3889

~---------

63

_SEATTLE: CENTRAL COMMUNITY COLLEGE ____ _

May 29, 1980

MEMO

TO: All sccc Personnel

FROM: Ever~~. Public Information Officer

SUBJECT: DEAF-ARTS FESTIVAL 1980

The 1980 Deaf Arts Festival - "From Our Past Towards the Future" - a series of performances, lectures and workshops on deaf culture, history, literature, art and theatre, will be held from 10 a.m. to 9 p.m. on Saturday~ May 31, and Sunday, June 1 at the Seattle Center.

Continuous festival events include artwork by deaf persons of all ages, slides of deaf artists' work from throughout the United States and a special photo exhibit of deaf life in the Victorian era.

On Saturday, May 31 group and individual performances will be held from 11:30 a.m. to 4:45p.m. on the Center House Stage; a series of lecture/ panel discussions will be held from 5 p.m. unt11,9:45 p.m. in Conference Room A; and a series of workshops and presentations will be held'through­out the day in Conference Room F and A.

On Sunday, June 1 performances will be held from 12:30. p.m. to 8:15 p.m. on the Center House Stage; lecture/panel discussions will take place fran 10 a.m. to 7 p.m. in Conference Room A; and other workshops and presentations will occur from 11:45 a.m. to 5 p.m. in Conference Room F and A.

The Deaf Arts Festival 1980 is sponsored by the Deaf Drama and Arts Program at Seattle Central Community College, the Seattle Arts Commission. the Child Hearing league and the Washington ~~t~_$1on .for _jhe H~,n!'~1es •

. ·_: ;.>-~-~:-;;.:;;;~~~~-·- ---~- ., . .c~~ ~--~-~ ··- -~·· ~~

~?.~.-.·>?.-::.·.~.:/._;'-='"~ .. ·."""'.:::~.~::-2f£:=?.~?.~·~=-===~::: ,--· -· . . :·:._-~-;::;::- -- -- --- ". --

64

,I

~--··~-lllliiililllfllarlillllllln•· --•n•r•t ••••'111811" .

APPENDIX B

REPRINTS OF NEWSPAPER CLIPPINGS

65 i

~------

Deaf Arts Festival Next Month

"I think this is going to be the most ex­citing Deaf Arts Festival ever" is the opin­ion of Robert Roth, and, if anybody should know, it would be him. Roth, whose background includes extensive in­volvement in deaf arts and theatre projects around the country, is the coordinator of this year's festival, which will be held on May 31st and June 1.

In addition to artWork and performan­ces, the festival will feature lectures, work­shops and panel discussions in the areas of Deaf Heritage, deaf literature, deaf his-

April1980

tory, deaf art history, deaf theatre history, and deaf culture.

The Festival will i1so feature the work of deaf photographer Theophilius Hope d'Estrella. who lived from 1859 to 1929 and taught art at what· is now California School .for the))eaf at Berkeley. While there, he developed an interest in. photo­graphy and documented life at· the school with his camera.

Flage 4

Roth said there is still time for any deaf artist or performer from anywhere in the country to enter the festival. The festival participants will be grouped into two cate­gories. those whp are competing for an award and those who just want to share their work without competition.

The Deaf Arts Festival will be held in the Center House (the old Food Circus) at the Seattle Center on May 31 and June 1. Hours of the show are from 10 am until 8

"The· eXhibit provides a fascinating pm each day. The festival is sponsored by look at deaf education as well as life in the the Deaf Drama and Arts Project of Seat­Victorian Era," said Roth. . .:. L-:... .; -~-· . q~ C.CDttalc;cCommunity College, Seattle ·

· ·-... . · · :.,~ .. :-:.",..,....~ •. Arts Gommission, Child Hearing League, The artwork and' performan~ ·j(·(ne ancfthe Washington Commission for the

festival will include paintings, sculpture, Humanities. photography, ceramics, mime, songs, "We need artwork and performances plays, dance, and skits. All performances created by deaf children.'' said Roth. He will be in Sign Language with voice inter- asked parents ·to save the artwork their pretation for the hearing. Special sections children bring home from school since the will include artwork by deaf-blind indi-. festival will provide a chance for the deaf viduals and by deaf and hard-of-hearing community as well as the community-at­children. large, to see the creativity of deaf children.

The TruJl!Pet, April 1980

~-----

66

. I

May 1, 1980

Deaf arts festival presents multi-media cultural event

by Teresa Stader the work of a deaf photo-Contributing Writer grapher, Theophilius Hope

A Deaf Arts Festival ex-. d'Estrella. will be shown. hibiting work by deaf artists d'Estrella lived from 1859 to and performers in Seattle, will 1929, and taught art at what is be held May 31 and June I from now California School for the 10 a.m. to 8 p.m. in the Seattle Deaf at Berkeley. While there. Center. The purpose of the he developed an interest in festival is to promote an aware- photography and documented ness of the proud heritage, life at the school with his visual arts, and performing arts camera. The exhibit provides a of the deaf among the deaf and fascinating look at deaf educa­to the general public. tion and life in the Vic~orian

For many students at Seattle era. Central, a deaf student in the The artwork a n d per­class has been their first en- formances. at the Festival will counter with deaf people. The include paintings, sculpiure, Deaf Arts Festival is a chance to photography, ceramics, mime, experience the range of talents songs, plays, dance and skits. and productivity among the All performances will be in sign hearing impaired and blind. language with voice inter-

The theme of the festival is, pretation for the hearing. 'From Our Past: ·Towards The Special sections will include art­Future.' In addition to artwork work by deaf-blind individuals and performances, there_ will be,. and ~y _de a;( ~nd J~.l!l_r9-of­lectures, 'NOrks~ops and • panel-•·'-'heaJ ing_~1Rlren.. .· ...•.. discussions in the area of treaf :·':'· Tile. fesiiVifstiii needs people heritage, deaf literature, deaf to help organize the event. In­history, deaf art history, deaf terested students should contact theatre history, and deaf Teresa Stotler or Rob Roth at culture. Speakers will include the Interpreter Training Pro­well known -deaf persons from gram located in the Special Pro­all over the United States. grams building next to the

A special photo exhibition of Bookstore.

Tbe City Collegian, May 1, 1980

~---------

_, r r s r rrrsr ;;s rn

67

!J TEMPO • The Seattle Times, Friday, May 30, 1980

Deaf Arts Festival at Center The Deaf Arts Festivall980 will

be beJd this weekend at the Seattle Center House stage and conference rooms.

Performances of sign-song, ·.. mime, skits and dance by young

deaf persons will begin tomorrow at 11:30 a.m., followed by perfor­mances by deaf adulcs at 1 p.m.

Lectures on sign language, achievements of the deaf and deaf t.b:ea.ter and literature begin at 5 p.a ·tomorrow and continue at 10 a.m. Sunday. .

Among notables at the festival will be Jack Gannon of Gallaudet eon · tor the deaf m washing­ton. ~C.. autbor a! a soon-to-be­published book, .. Deaf Heritage"; a Polish :native. Mlko, a deaf mime, -who ww perform aDd coaduct mime wor.ksbops for

·yaangsters and adults; and Dr. Eugeae Bergman, the first deat ~ · to receive a doctm::ate· .in

English, dlscussing deaf literature.

Works by deaf anists and pho­tographers will be exhibited throughout the festivaL

D 10 The Seattle nmei· Wednesday, May 28, 1980

Deaf Arts Festival comlng ____ l A Deaf. Arts Festival, in the Ce-'lter House at the Seattle Center

Saturday andSundey,.will f~ attention on artwork created by the deaf. ·· .. . · · . ·. -

Paintings, photogiaphs, sculpture and ceramics will be displayed at the festival, and mime, songs. plays, dances and skits will be perfonned. Perfonnances will be in . sign language, with voice interpretations for those who can hear.

Lectures, workshops and discussions will be a part of the festival, which will run from 10 a.m. to 10 p.m. Saturday and from 10 a.m. to 8:30p.m. Sunday.

~---------

rem r S?f • '117

68

_ 206 Fri ., May 30, 1980, Seattle POst-lntelligencer 11

The Deaf Arts Festival, which will be held tomorrow and Sunday at Se­attle Center's Center House, features performances by deaf children and adults, including Polish mime Miko. There is no admission charge.

69

f •

c 4 Tilt S.lllle Tlmtt SIM'day, May 31, 1980

Deaf theater: signs of . success are plays seen but not heard ~ ,._ F- ·r.-"""'IIJ· lhe -or lou · llleoter, however . "Chtldret~ ol a develot>"'~ a new ploy tn I>< Arts-enl«!-- - - 'It the cleel ._ Lesser Cod," ftOW "" lroeclway, ,.....,.ed In rhe lal. "I wu bon cleel. ~.. IIIey could 1101 .... - - liars l'hylll5 Frdldl In • play

co- ....... lly 10 - be- .. . ... lho ...... alloul a deal WOfnOft and ..... Qu~. - alao clire<U and ~ 1 had 10 n..l a .. , te Q ol :'!:"~ ..W," - ·, -llomltlp whh a heam, man. '-Is crearlvo drama worbhopl, """""""''• wldl .., 11nm, lallert Jttllll.' -roo ol ... , "She lo deal henelf - "" and wlllocture"" "The Concributlonl ~- Patricll Grapll ald. fell..... · ' · ollllase." GraytriA Paned. wkh a ol 0..1 Anlsta Towarols rhe The

Or ralher, ......... 1loe actor'l l!lat ..... ..;... .clloooclol M ... smtlo. a!er ol and lor lhc o..r· at 5 lO loands modo the -* and U ,... __. or .0; Thaillon Joait. Frelkh hos ~ nomlnoted lor p.m. Sundoy In tMieret~<e room A w ..... lnlerJ>I'<Ied. IJ, ............... Snltlo ....... • r ... , a•ard lor best aclr.S.. "I ol lhe Seattle c ..... , n..... ...

Graybill, o1 It-er. H.Y~ IWJ .... Slilcl~ C- om lookinll"""ard lo J..,. Ito will perform In that room at 7:15 e..,rolned - 1oe and No door IWJ ~fi' . . loavt .... - II she wUI wlo. Deal pe<>plt p.m. _...,,. and Jbttr ,.. • lloc•- '"""'""' ~-.,; lhe- will be rnWy proud." The lrte Deal Ans Ftsflval will yonl .,_. al lhel- they were o1 """"' ' ~ ~ ~~~r.._1 ro lheattr ol the deal be held from 10 o.m. to 10 p m l""'ina ... "Ny _,. -- ..... ~l. ore ,..,. ~. ml&l>t ...,.,..,. how k works. Is It today and lrom 10 a .m. to I p m qed me to 10 .... Oillml'l Moue nd ·\~ fOr 1M dU~ 10 act and ttf' at the lomorro" tft lhe ~eall~ (~let tt.eater when I •IS JOUftl. WMc I .. r. :! _ t . same time lor klstance lf<.Nse , leaturlnB; dlsplayo;, IK saw .. ltr"" star .ppe.w to fM TM Nat~ ~Iff of 1M It's a ,...we questkwl Acuna tS 1 lures. perfnmtaoc~. ,.MI d•scus· bee~ ol that . Deaf was~ ~~~bfkhed U yan rulunl for those whn communi sfons and work~hovl lor adults

TIM! child's blcla)·ard act ... ~ ap. And .. ~ .... ~. Alire," ill 1174 cate 1n sl£n lan~a l!!t and ch1ktren. All events will he-the adult to b«:~ one or che WH lmofll .... fkst ,..,. wrinew "I depend on my emouon while- voice lnterprtl~ for h~ar lnR finl ~n of 1he HatlaMI lor eM 4etlf. • a.,ed • "*My F1lr I'm sicn~llt·" r.raybUI sig.1tt"d. prnoos JMalet' of the ~al 6n W•terfordi, l.ady," ~~ plot JUbtlltuled ttr.e ''My facial f'•prenkwl ts ~f. I tu ~so's Ire the Deaf Otama Conn. h aht) led Wm to Seett .. lee pofkhillt ., •.slrp-IINIPCC •• your wocal ICXW' We must use and Arts PIOtfc t of Sealllt Ctn· dHs .-Mend's t>e-t Art! Fetd'rlll tor the-~ ef Coclntey fac 1al expr~k)n ; othrerwKf-. ~ lral Community Colle&e. S~:m~ at Seattle CerMet'. EftKttsl't. ' pie think we h2ve no f~ltn&.. A~ . ~atnmis.sk>n , (hiM Htaung

Oteyblll ,. .. ludrJ. T'llrt the- ,._.,. .,.._._.., ~ l...,.. Roth added that a critk who leJ~ and lht' Washk'l&ton rom 1ter Ms been •• experit:nu . dt- The re~ to( 1M .......... Rabert .--.. ..._ 8ftd p~ Qr...t..a: 0.., Attl F..ew.l _. .. ,.,... 1 saw 1 siCft·lanp,e pr.rformance misston for ~~ llumanitH--s. nied to too many Martftttllnpl•rtd lhell« oplkiM: t'ot 1M GIHf II ~.. ..,_ of " F..quu:s"' !'oatd ~ \IOI:krstood the' The lr-stlvAI Is"" uplont~ ol chfldrt11, simply because I~ simple, ICC'Of'Ctinc ,to Gnytttl: ltdlhertlllge 8nd brtgN..... pia bcn~r m that V":' rsion tholn tn the cultural het1ta~ of t~ dnf, acluks am:lnd rMm flitl'ff comic~· "Tltf deaf tMMSei•H were- llleft Is • 'bfi«hh f'Uhtre fur cil-af The opportWihies are no4 limit· :len perfonnanc~s IJ('('ause of saki Roch, an artl\l who-1~ tw-arKlp: eor Han .lon. huDII}' lor plajs ' of' lhek ~- adon aftd theltter now," eod tQ ~l•llrcd "~~V~ ·lan~a~ the visual drama ~lven It by K !~~tr~ .

non5p"l'lkln~ • f' to•s The~ ts ~ much .,,. hA \''!1' I The Naunn~l Tt\f'at~r uf thf' teAOM'\J about oursdves We ._.,ant

()eaf lour" throu~t\l )UI lh,. work! to roducatt not onlY. omvlvf!'s hut 11 traMt" ti ,..:.f c;fll•lf'uto; """' •c; t~ ll:f"f'w.llll p•hl ic

. ! •• .•

"'"~--- - :::.=-= .. ::::3'::::'"""""'·;:~-:.:· - =:.~.-::-:; . .::..~..;~.::;:.::-.;-~-:--:···~"- -.::"'= ~=J:.:~-:r=r·-r -r-· :X.:·.:·.OZ:. ... ·:~;-.. · ·; ~~';-~.1~!"'7F~ ... q :-~=--- ,;:.:-

-...J 0

r Wed<!Hd,Y; '",..~' 1910 · Clli>llol Hill nmos P•g• II

Etttertainment Actor encourages growth of deaf artists

Patrie• Grly)tUt slent teatull'lter,retet'.

II~ n:llf".!IA WIPPt:l. ' '

Sllo<:e ho was 1 IIIII~ boy . perlorml"'l Ill bad yanl ...._. lor lho 1101~. Palrlck Gra~'hH beeft 1n ad or. .. ' ;

""- hll ··- 1101 Oolly ; IO!' a rUstle expression. IMtt · for cnmmunkal..., In ••«J d:Z:.,vli:f; ~~:t: ,~:" ::. de-ar ,

Tocta•. hto lnars lhe wcwkl u . en ac-tnr wftd dirrdnr with t~ Matkwtaf

Theolro el lho Deal, whore ho lra,..lalnlllaplr-lho Amerkan thealre '"'• American atcn ......... Gr~,;r~~=• ~ s!'~~~·~!cJ lo perf- ho lho 1- Deel Artl Fnllval hold 11 the Sullie Ceoole<.

1!::~=:·:.n:-..::~ '': Seallh Cftllral c-.....,.17 ('.nllf'l!•

In IHI lnle<vlew lhroutth • 1110 lanKY•'• IRlorpr<lor, Graybill alrnaod hla commlll-lo maklnc dleef pef'snM 1wne of their crealfve 1billlln.

"llloro deal pooplo oro _.............. and roaliri"'l lhoir polonllal loo tho croallvo arts." ho ,.kl The RrowlftR lnvolvcmcnl nl lho d .. l In lho aria lhould also lncrra•• the awareness amun« hearinll_l/<'..,.. ol lho cloal cul1uro and,......_, laced by lho d .. r

The resull er Chis awareness. Gray!MR added. c<iuld bo • roOocl..., ol iho doal ~lur~ In Amoricon pb~5. movies and lrlrvl!'ion pr•Jilrams. and an ifK'rt'a~ in ttw­numhe< nf doal arll•la .

AI an example of I~ I'O"'in« ..,.,.uh·Uy lo lho doal •·llhln tho orl•. Grayhlll cllod lho htl llrn•dway play "Children ol o ......... roOd.' • slory ol • love •flair ~lwe~n • hearln& and • deaf porson. The play opoioed In March In nve rewiews. end hils playfod lo packed hnu!<os alnce.

"Chlldron ol a Louor God" ••pklr.. tho borrlors ttoaled by !U>C~J lor tho doal . The l.,.dlftR aclr""• Ia doal ond Is nno nl lho ,......,., ollho Nallmal 111C!alro o1 '"" .... ,.

Actordi"'l In Grayl>lll . lho lfflt-nl «ovor•- lint bocamo inlornled In tho ldoa of dovoloplnc a company ol doal aclon In tho oarly 1950's A

Fo;:~:•,r._:c;:~ .·.~~~~~~~i: Wcwkrr.'' lht> stnry nl Uelen Keher 's lifo .

II waan'l until IN7 thai tho Nol...,.l Theatre of lho Deol was loundod. The cornp.ony haa modo 2li

""'""'"' loun IInce tla ho~IMI"'I. and haa abo pe<lormed In 20 lorelcn .-riel.

PIIJI ere ~rformed fn sl~~t:n

---------- --- --·--- ·-· -- ·--- ·--·--------------;· : .:T~~.,_.: ... ·~~:.:,. .. ;~-:-.-;_;;·:;_.'trtT? __ w'' .,_ , ~-_::·~--.;~_~i4f·-!}jrjft---.;-~~--.. - - -· -·'. ~>..··-~~- ·~---..... ..

~~~~u~~~~¥!111~::.':,~':n•;•·,.~~~r~a•:~ lntrrprtl lht! tH.· r tnrnHtnC'<" fur non-sl«nin« nu-tnh••r-.. nf lhr audience

Graybill ~aid that hi:t n\l·n dramalk h;~t·•~rnuud l)l·~an "'-ith

c~:~~~('~: .. ~~f llflh~ ;WrMi.fl~~~~ When tt<' nllt•rMk'fll ;;,ll :ut•h·t ( '•tii•·J!i· In Wa~hin!~f:lnn . lit the nnh lih«·r:d art~ C"•dlt')!t ' 111 tlw· -.·urlrl f•~ ·~ M•f . • ,.. lfM,., ~-,· · ·•:tll~;llrt· rnursc-s ~tnd lu-J!;IIt ;u·lin~ in cnmmunih· lht•aln•

.~·~.::~c;t"i·';f.,.~·~ ... ~ .• ~~.jlt::.7: company

Iff' ri!'C'IIIrd thai "lu-u lw ua~ &rnwlnC Ul» - lw I<IC.'f'fl l"u main prnhlem~ lh'!t· "a~ hi" umhtlih In USf' lhc- h•J...,...H"U' tiH· 11fiH'I \\;1" 11M· ln~IUvity nf ht·:u tUJ! 1" .. '1•1•· '" '"' doalr .. ss ~ fir!lit rrnhlc·m ha' f'l( ·c·n ~uh l'fl

with lhf" rlt· ,· t·lnrun~ · ul ul lfu· td~ype••ritc1 •TTY t tuOtdniM.' Hut the ol~r pruhl~ ·m f:r;tdtill ;~cklt·d Is not SO ca!!iily ~nh t'fl '" kdmnh~~

"It holhC'tS fnl ' lhal nun dt":d ~ don 't '""l~·rst:uw1 u~. · he ~aid "~f ;11 , . ll!llf't ' lmtuh(' <~ltt"'fl

, .. ~.: 'r::I.c1a1ti::,~ h~· ,, ur.tnnislu· lnr tM futur<" ul flt ·:tl ;uli' ' "' In IIH • ():1"'1. ck-af pcrs'"'s "' ''' •· 111ot f'tH ·nura~t·d Ill be crnth·r . tHJI l•t IH'f'tHnr ~lulk·d labonrs " lit· ad~h'fl thai ,., "''"' such as '"!Iii "'·c·t·kt·t HI" hc·:.l 1\rl :o­frstival . llwo IHth •""' ul ih knHI "' thf' countn . ~ ,, . c.·s~rnlial in

~f:ch.~~~~ .. :~·"t~h~:(~:~:,'· il, in ''"''" Wh•l word5 ul Mtdn: -...·ould ht•

r~·e:o ::Ir~=· ~~~·.~~~~n~ .i~~~~ )'OUfseJf more IIHIIr.;.c lfw- !!i.ill:'i )' till

h•·n." Gra<tbill :o..1id " And "'"'.' worr)' ahi,ut nllwr JK"nplr ~ nplniona ··

-··-------

-.J f-1

Dan Mansfield, first place winner in the performing

category, pi_ctured right, doing a reading from the i I

works of Edgar Allen Poe. For another, bigger look

at the festival, as seen through the eye of

Craig Jacobsen's camera, please turn

to pages 6 & 7. (Craig Jacobsen photo) w

The Trumpet, June 1980

-

I

On Stage------. at the Festival Miko tne prize fighter takes a hard one to tne bread basket dunng his pertor. mance on stage dunng the Deaf Arts Festrval Miko gave two mime performances and several workshops to enthusrastic audiences during last month 's two-day event.

(Edward Oark photo)

72

--.... -·-..... :.3 ·­,.. --.... -....

•

73

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APPENDIX C

SPECIAL EXHIBIT HANDOUT

74

THEOPHILUS HOPE d'ESTRELLA: EARLY DEAF PHOTOGRAPHER

a special exhibit at the Deaf Arts Festival

Theophilus Hope d'Estrella was born 6 February 1851 in San Francisco. Deaf at birth and orphaned at age five, he became the first student at the Cali­fornia School for the Deaf when it opened its doors on 1 May 1860.

After graduating in 1873, d'Estrella was the first Deaf student to be accep­ted at the University of California, Berkeley, where he remained for three years. His artistic yearnings and persistent attempts to be accepted des- , pite his deafness finally led to his admission to the San Francisco Art Association's School of Design (now the San Francisco Art Institute). After five years as a student of drawing and painting, he was appointed Art Instructor at the California School for the Deaf, Berkeley--a position he held until shortly before his death in October, 1929.

In his thirty-fifth year, d'Estrella enthusiastically took up the study of photography and soon earned the title of expert-amateur photographer. There­after, many of his summer camping trips were spent photographing California. He joined the Sierra Club and the California Camera Club. In 1901, he won the First Prize Medal, Animal Section, in the 1st Photographic Salon held at the Mark Hopkins Institute of Art in San Francisco.

These original photographic prints reveal the warm relationship d~Estrella had with the students who adored him. They are compassionate human docu­ments that portray Deaf young people engaged in work, play, and fantasy ~s they attended the West's first special school for the deaf. d' Estrella's gentle, sensitive images contribute to the heritage of the Deaf; they are warm reminders of the universality of childhood, and thus help to create a deeper respect and understanding between the two worlds of_the deaf and

·---·--·-- ------- ... the hearing. _ ,_--. :~:';::sc::~~~~""'~-:o=::::o.=-----

Mildred Albi"ondat Resea-rch ASsoci-cite · ,.-­Historical Library and Museum California School for the Deaf, Berkeley

The Deaf Arts Festival gratefully acknowledges the California School for the Deaf, Berkeley, for their assistance in making this exhibition possible, and for allowing us to reprint their exhibition brochure. All photographs in this exhibition are modern prints, from modern negatives made from the original sepia tone photographs. The original photographs are in the collection of the California Schooldfor the Deaf. Berkeley. Titles in-quotation marksare the original titles.

sm fir:r r·r --

75

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APPENDIX D

APPLICATION FORMS AND MATERIAL

i .

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MAY 31 & JUNE 1 SEA TILE CENTER FOOD CIRCUS BUILDING CONFERENCE ROOMS 1tl AM to 9 PM

~~( ' •. .- ~ ~~!(­

- 1!' -. ""'?~'~ ~11"'4 -- r·· J!f .... /11 L."'~"'

_ ./ ·'- J \-.::_! ·.....::.; Exhibitions of Artwork and Performance• by Deaf and Heerino­lmp.oirad Persona

CompelftiV<I awarda will De given in all eategone1. Thol8 who just want to p.onicip.ote to allow their work are encouraged to join our non-competllive exhibits.

Viauel Ana <:a18Qorlel InclUde oil p.oinlinga, water color. photograplly, ceramicS, mixed-media. and drawing.

Performing Ana eategortea lnelw:le mime, dance, Clramalaklll, 10t1Q1igntng, pot~try-aignlng, and ltOrytatling.

Special categonea Include an by IINI Deal-Blind and Deaf and HNnng.lmpai..C Children.

·cut COCIIIIOftOft clotted lint anclaand to:

0..1 Ana Faatlval1180 O..t Drama and Ana Ptotacl Seattle Central Community Collage 1711 Broadway MlllatOP 2 SP 1GO Saattla,_WA 18122

1980 DEAF ARTS FESTIVAL From Our Past Towards The Future

Calling For Entries

/ •· 1

;y-,.6"" ~. 1.-- "";') I: I• ~ ;~~~~~· ' r·J· ; . .,/ J;T' l_.."r'

·.._ '-:' \ .... ~· '..__t \__1 L•cturea. Workshops, and Ponei-Oiocuaaiona on Deal An. Deaf An History, Out Theatre. 0..1 Theatre History, 0 .. 1 Literature. Deal History and Out Culture.

If you are interested in paniclp.ollng in the Oaof Ana ,Falllval 1110. pi- mall In IINI coupon below 10 we can oand an appfteallon form to you. All opplicatlona mull De filled out by April 30, 1180 and approved by the Deal Ana Selection Commltt .. _ For tunhar information, contact Robert Roth or lareu Stotler 11 (208) 587-381111. voice or TTY, or write us at: 0..1 Drama and Ana ProjeCt, Seattle C.ntraf Community College, 1111 8roedway, SNttla, WA 18122.

DEADLINE FOR MAIUNG COUPON: Aprtl30, 1110

INSTRUCTIONS FOR ENTERING FtST1VAI..:

1. Youmall-byAprtt30,11110 2. Waaanci.,._.HoMtoyou. 3. You mallappltcatton to 111. 4. We notify you It your work is accepted.

0 Yaaf 1 want to exhibit my on work at the Festival.

·. ~- ::::~:~~~:1;:,;~=~=~:-Faotivll. (beryone welcome! We need help with aat-up. security. Interpreting. ctaan-up. ate.)

Name--------------------- Age (lfunder18) -----­

Adaraaa ----------------- _ City. State. Zip---------

Phone--------- ·.0 VOice 0 TTY Haartno-tmp.oirad? 0 yes 0 no

Original size: 8 1/2 X 14

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Want to show your work at the Deaf Arts Festival? Want to piiftorm there? Mail in the coupon below and the Detlt Drama and Arts Project will send you everything:·you need.

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INSTRUCTIONS FOR;t;NTERING FESTIVAL: 1. You mail coupon b~Api·i130, 1980. 2. We send applicatiol:l to; you.

J: ... I

3. You mail applicatiofii1J.1~us. 4. We notify you if you!.~\tork is accepted~

!! !

' '·

0 Yes! I want to e>fhibit my art work a't the Festival.

0 Yes! I want to show my performing arts skills at the Festival.

Mail To: ·Deaf Arts Festival, 1980 Deaf Drama and Arts Project Seattle Central Community College 1718 Broadway, Mailstop 2 SP 100 Seattle, WA 98122

0 Yes! I want to volunteer my help at the Festival. (Everyone welcome! We need help with set-up, security, interpreting, clean-up, etc.)

---------:-----------------------Age (if under 18) __

Address City, State, Zip __________ _

Phone _______ _ Voice 0 TTY 0 Hearing-Impaired? 0 Yes 0 No

Reprinted from Tbe Trumpet, April 1980 ··-··- . - ·······-· ---···----~----·-·-···--··---····--·-----·-···· ....

.......... ------------....! c:o

APPLICATIOH FOR DEAF ARTS fESTIVAl

NOTICE TO All APPliCANTS: lie IIUSt plan our space for artwork and tl•e for stage perfonoances. To do this, we ooust accept your wort before _you ca11 ,,_ It.

Please send In your application llt!EDIA­TUYI If It Is near the festival date, please contact UJ b_y ,phOne or 111 person.

APPliCATIOM PllOCEOORE:

I. Send In .rour awllcatloll.

2. Deaf Arts festival Awllcatton Review C0111111ttee will see your artwork or perfonoance before the ft!Stlval. If you have pic­tures, s I Ides or v ldeotlpts of your wort, please send th61. Thev will be returned.

3. We I nfonn you If your work has been accepted. If accepted, you .. bring your artwork to festival/ you perfono at Festival.

11Ail fOUR APPliCATIOII TO:

Deaf Dra~~a and Arts Project Seattle Central COIII!Mlnltr College 1118 Broadway 11allstop 2 SP 100 Seattle, WA 98122

fOR 110RE IHfMI'IATIOII PRIHE:

Robert Roth or Teresa Stotler (206) 587-3889 Voice or TTY Office floors: 8:30aM to 5:00pl

TH£ TIHE IS FAST APPROOIIIIi FOR TilE OUF ARTS fESTIVAl. PlEAS£ Fill OOT !§ ~OOH ~S ~OSS!Bl£!!!!!!!!!!!!!!!1

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Original size:

YESI I want to participate In the Deaf Arts festival!

~E Ma~~-------- VOICE __ rn __

~ns c1n __________ _ STATE ZIP __

Ov~ 18?_-_Under 187 __ If under 18, ho"' old are you? __ If you are a student, please give the

Mill! of your school Are you hearlr.g-lmpalredl ___ Oeaf-BIIndl ___ _

PlEASE Fill IN THE fotli*IIG IHfORHATION ABOUT YOUR ARTWORK AIIO/OR PERFORMANCE. Fill out Section~ If you are entering artwork. Fill out Section a If vou want to perfof'll. fill out both~ and 8 2.!l!Y H you want to enter artwork!!!!! perfof'll. Please lndlcHe If vou want to compete for awards or just exhibit your work

A. ART B. PERfORMANCE

_1 want to co.pete for awards. __ I want to compete for awards.

_I just want to show -r work. __ I just want to show my work.

TYPE ._, ART 0011 Size: VAlUE: WHAT 00 YOU WAHl TO DO? (Skit, dance, drama, mime, lt.IHY? 11>11 BIG? for Insurance s lgn- song, sign- poetry, e

__ Painting -- ----__ Photcqraphv -- ---__ Sculpture -- ---__ CeriMics

How onany 11lnutes Is vour performance?

-- ---__ Pottery IIIII you perform alone? ___ With other persons?_

-- ---__ weaving . How ~~any other people? ___ {you are responslbl

-- ---_Drawing -- ---

for your own 'conductor' for cu~lng you for ... stc,

__ Yideotape/FI1• __ timing, etc.) Please list the names of the other

---__ Kixed-Kedla -- ---

people. (Note If they are Oeaf/Hard-of-Uearlng} If

_·_Other* --there are Deaf/Hard-of-Hearlr.g persons In the perf

'If .YOU 1111rked 'other' please tell us about vour mance, you can also have h~>ar lrg people perform wl

work ftames of other eeoele.

llave you studied art? __ Where?

Have you ever sold vour artwork? Have .vou perforlfted before? __ Wh~re?

tc.)

fl

or-

th you.

_·_exhibited vour Will vou have music? __ Oo vou have a tap£· of yo ur

artwork? ____ won a prize? IIIUS lc? ___ What wulpment do vou neP<l? ------·

Oo vou have slIdes/photos of vour wor~? --~--------

8 1/2 X 14

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Deaf Drama & Arts

Dear

The Deaf Arts Festival Selection Committee has reviewed your application and accepted your work.,

If you were in last year's Deaf Arts Festival (19~9), and won a prize for performance and/or artwork, and plan to enter the ~ artwork/?erformance for competition in the 1980 Deaf Arts Festival, we would advise you to show instead of competing. (This is only for artwork/performances that won last year.). If you have ~artwork/performance, fine, it's up to you to compete or show your work.

PERFORMERS

If you plan to have music for your performance,_ please bring in your record to the Deaf Drama & Arts office so we can copy it onto a. tape cassette. If you have it on a cassette already, or have your own equipment, fine, you can do it yourself. Call us first at 587-3889 ~ (ask for Jer) so we can arrange a time to have it copied.

Performers should show up on Saturday ~ hour before performance time. If you are competing for awards, be at seattle Center's Center House at 2:30, ready to perfor~~~ at 3:00. If you are just shoving your work, be at the Center House by 12:30, ready to perform at 1:00. If you want to come earlier, fine. Let Jer Loudenback know that you are there.

l\RTISTS

Artists that are either showing or COIIIPflting their artwork, bring your artwork to Seattle Center Food Circus Conference Room A on the second floor of the Center House on Friday, May 30th between 6: 00 pm to 9: 00 pm.. If you cannot make it on Friday night, you can bring it in to the Deaf Drama and Arts office before May 30th, and we will hold it for you. No artwork will be accepted after 9:00pm, Friday, May 30. When the P'esti Val is over at 9:00 pm Sunday, June lst, you can pick up your artwork between 9:00pm to 10:00 pill. You~ pick it up early. If you have p~blem5 with this, contact Rob at 587-3889 Voice or TTY.

Thank you for participating in the Deaf Arts Festival, 1980.

r ~Ur$_ ~~ Loudenback

Coordinator, Festival Performances Robert Roth Coordinator, Deaf Arts Festival

(If you have any questions, call 587-3889 V/TTY, or write/visit the Deaf Drama and Arts Project at 1718 Broadway, Seattle, Washington 98122.)

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e ="&JJf¢m m-n:rmwn:wrrvrrtrt'fMt~

SEATTLE CENTRAL@) CQMMUN ITY COLLEGE

1701 B•urJ<.JWdV St:"all/f' Wd•:.IHIIylo•• 98122

Deaf Drama.and Arts Project

May 21, 1980

Dear

Your artwork was accepted by the Deaf Arts Festival. Unless you already

brought in your art...ork to the Deaf Drama and Arts Pro;ect. you should have

received by now a letter explaining when to bring in the artwork to Seattle

Center on May 30. (The earlier you bring in the artwork, the better.You can

also bring it to the Deaf Arts Festival office at 1718 Broadway, at SCCC,

before Friday, May 30).

This letter's purpose is to ask you to write down the~· ~· and~

of artwork (what the artwork is made of), for each piece of artwork you enter.

Example:

Example:

John Doe (your name)

'Nature Scene' 1978, oil

John Doe

'Untitled •· 1979, pen and ink

Please send this as aeon as possible to the Deaf Drama and Arts Project, 1718

Broadway, Seattle, WA 98122, or call us with the information at 206/587~3889

voice or TTY.

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DEAF ARTS FESTIVAL - ARTI~ORK ENTRY FORM

A11 work entered cannot be removed from exhibit areas until 9:00am, Sundav June 1.

You must bring this form with vou to get back vour artwork.

The Deaf Arts Festival received from~--~------~-----------------------------­the following artwork: (Total number of pieces __ .)

Authorized Signature of Deaf Arts Festival Receiving Committee

(Bottom portion of this paper to be signed when pickino up artwork)

I,~~---------------------' have received all of the' abov~: artwork, and release the Deaf Arts Festival, Deaf Drama and Arts Project, Seattle Center,

and the Seattle Central Collll1unity College from any resoonsibilitv for this artwork unless otherwise noted on this sheet at the time I received the artwork.

1 1 lNt''l'WW #fi?72!3\

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APPENDIX E

EVALUATION LETTERS

FROM GUEST SPEAKERS

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The !Jec..: r.r-:s Fes-:i val w2.~ ar. c:.;-::s~a:-Hiir-.~ prog:--arr. for the s~:1dy

o~ "the hwnani ~ies by bc'th de a: anC heari:1g pa:~ic::ipa2".~-:.s and visitors.

~his seemed, co me, 1:c lead 1:0 c 1:~emencious i~terchange o:f ideas :for

m:.;.-:ual awareness which inevi1:ably :fos1:e~s a ,o:::reacer underscandin€ between people.

iJeafness is unques1:iona-oly the mos-: misunders1:ooci o:: all disa­

bilicies. Therefore, "the visual impacc c:: the resul1:s of creative

activities displayed by deaf artiscs, past and present, most cercainly

could lead to greater compassion among all peoples of the world. My own participa"tion involved bringing to the group awareness of

three major deaf artists from the s~~ Francisco nay ~rea at the t~n

of the last century; emphasis was noted that the arts and humanities had been a continuing, basic, integral part of their early training

at the California School for the Deaf, Berkeley. First, was the vintage photograph exhibition depicting deaf students "growing up"

in an institution--The California School for the Deaf--at the t~n of

the last century. These photographs by deaf photographer, Theophilus

Hope d'Estrella, sensitively portrayed the normal joys of living,

working, and playing together. Photographs of masquerades and panto­

mimes artfully exhibited the pre-study of the classics and literature. Visual images of interactions of facial expressions and body movements

helped dispell the then deplorable commo~ly held notion that students

in an institution were "really insane or mentally retarded."

Second, slides were shown of paintings by Granville Redmond, leading California landscape painter, who also opened doors for deaf

pantomime artists to become involved in the early days of movie

making where he worked with Charlie Chaplin for eighteen years.

In the slide-lecture, much time was devote9 to the sculpture and philosophy of Douglas Tilden, i860-19J5, and his remarkable contri­

bution to the culture of San Francisco. His bronze monuments sbind

today among San Francisco's great treasures of outdoor art as reminders

of that turbulent, glorious, era--The City Beautiful Movement-- ac

the turn of the last century. Tilden summed it all up when he wroce:

"Society cannot exist ip its fullest vigor unless the importance of art as a constructive force in human progress continues to be recognized. Ar-c makes a state weal thy by showing that life in it is worthwhile. Art enriches life itself"'

Mildred Albronda, Research .:_ssociate, Cali:.:ornia School :=-or the Deaf

Docent for the Deaf, The Fine Arts Muse~~s. Sar. Francisco.

November 7, 19o0.

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Na11onai Teehnrcal tnnrtute tor the Deaf Rocnener lnnrtute of i echno10gv

One LomL> Mernona. Dnvt; Rocnes1e· .~e ..... v or, 1462:: 71~75-640[

I !)articipate::J in the Deaf A..-rts Festival as a speaker as well as an actor, although I live in Ib::hester, New York. I was then a member o:f the National Theatre o:f the Deaf, a pro­fessional cx::mpany of sign l.an::ju.age actors touring around the world. Now I arn servin:; as artistic ronsul tant in the theatre departrrent of the National Technical Institute for the Deaf.

I SJ.=Oke about Deaf Theatre History and presented a one­man sh::':M. I could easily a=::mplish than without attE!Ipting to .observe other events durin; the historical weekend. Since the Festival was unique to the p.lblic, inclu:iing the deaf, I could n:Jt help rut want to get invol ve:1 in the whole project.

In my personal opmion, the Deaf Arts Festival sh:Juld becane a travelling enterprise to awaken the public aro to create pride anong the deaf across the nation. 'lbe majority of the public as well as of the deaf are still unaware of the culture of the deaf and their arts, theatre, 1.anguage aro other histories. "lbe Festival will help to re:luce fear aro mi.sun:ler­standi.ng on the side of th::lse who are !Db deaf.

Seat'"..le Central camun.ity College deserves congratulations for und~ the project. Again I must say, it sOOuld con­tinue to be annual an:l to becane an exh:ibition on wider scale.

Sincerely, .. /1 ~ • · .

. · 1/ ' f. fh . ['-:._~}(ttv..t.C l l '"7J'u!f'--tk Patrick A. Graybill. Art.iStic Consultant

·-·----~~--

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November 14, I 980

TO: RoDer~ Roth Coordinator, Deaf Arts Festival

FRO~: Rosetta Hunter

RE: Presentation tor Deaf Arts Festival

My presentation dealt with the sociological conseauences of the stratification of hearing impaired persons in our society.

Primarily, by comparing the Black experience with that of the Deaf (or anyone d i tterent) in the society, I attempted to show I i te chances are determined by one's position in the social heirarchy. By being ignored and oppressed, those ot us who are different sutter in varying degrees, from institutionalized discrimination.

I suggested the Hearing impaired should organize, make themselves more visible and continually struggle for a more equitable portion of the good things in this society. This should be done vi~ more Deaf Festivals, mass media appeal, specific programs (such as the one at Seattle Centra I), human reI at ions seminars, I egis I at i on1 protest and activism.

· RH/dag

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Department of Anthropology

Oregon U

.)tille . nrversrty Corvallis. Oregon 97331 rsoJl 75<·<515

November 18, 1980

Mr. Robert Roth, Coordinator Deaf Arts Festival Seattle Central Community College 1701 Broadway Seattle, Washington 98122

Dear Robert:

It was a pleasure for me to participate in the Deaf Arts Festival in Seattle last t•1ay. I congratulate you and your colleagues again on having organized an extremely exciting gathering of artists and scholars. Only rarely is it possible for those of us in academic disciplines to exchange ideas with practicing artists in such a productive atmosphere.

I was especially pleased at the manner in which the organization was able to demonstrate an awareness of how ideas from the humanities and social sciences are represented in actual works of art. For my part, it was most interesting to see artists using notions of culture, language iden­tity, and ethnic group in their discussions of work by deaf artists. I feel that everyone present learned a great deal, but, more importantly, that all of us were somehow enriched by the unique juxtaposition of humanistic concepts and artistic expressions.

Thank you again for the opportunity to participate.

Sincerely,

Robert Johnson, Ph.D. Assoc te Professor

REJ/gp

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Centro de Estud ios Chicanos University ot Washington

Mr. Robert Roth, Coordinator Deaf Arts Festival Seattle Central Community College 1701 Broadway Seattle, WA 98122

Dear Robert:

November 12, 1980

Again, let me say how pleased I was to have participated in the Deaf Arts Festival. I cannot tell you how impressed I was with what I saw when I first entered the meeting room and saw a deaf person "speaking" and simultaneously heard someone translating orally the signs so that persons such as I could understand. What impressed me, I suppose, was the fact that every conceivable concept one can express verbally was be.ing generated by the deaf individual through signs.

To some degree, I was able to identify with the proceedings in the conference because of the fact that I was in the midst of a minority group which, it seemed to me, was largely misunderstood by the general public and largely disregarded. As a minority, I have had many of those same experiences myself. By the way, when I related to my daughter, a high school senior at the time, what I saw and experienced she told me "I would have given anything to be with you, Dad." I do not doubt that I benefited far more by being a part of the Deaf Arts Festival than what anyone benefited listening to me. Again, my deepest thanks for allowing me to participate in the FestivaL

JAV:kdk

Sincerely,

James A. Vasquez~ Ph.D. Director, Center for

Chicano Studies

8523 Padelford Hall. GN-09 · Seattle. Washington 98195 · 12061 543-9080

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APPENDIX F

EVALUATION QUESTIONNAIRE

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CEAF ARTS ~~STJVAL QUESTIONNAIRE

Dlease nelo us bv filling out this questionnaire. The answers will be out togethe~.

This will helo us to develop better arts programs and a better Deaf Arts Festival for next vear. Thank vou. Join our mailing list bv rutting vour name and address o~

the back of this sheet.

Are you: Deaf?_ves no Hearing? ___yes no Deaf-Bl i nd?_ves no

Do you know Sign Language? __ ves __ no

1. The 1980 Deaf Arts F es ti va 1 was:

- excellent __ good --fair __ poor

2. The artwork shown overall was:

- excel len: __good __ fair __poor

3. The performances shown overall were: __ excellent _good __ fair ___poor

4. You would like to see~: __ children's performances __ children's artwork __ adult performances __ adult artwork other: ___________________________________________ ___

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5. You would like to see~: r1 ___ childrens' performances ___ childrens' artwork ___ adult performances

___ adult artwork other:

6. You would like to see (check one) ___ more __ less of 1 ectures and panel discussions.

7. You would 1 ike to see (please check):

more 1 ess information on Deaf culture. ---__ more 1 ess information on Deaf Theatre His tory. ---

more less information on Deaf Art History. -__ more 1 ess information on Deaf Literature. --__ more 1 ess i nforma ti on -- on Sign Language.background.

8. Comments/Suggestions: (Please use the back of this paper if needed)

9. Separate from the Deaf Arts Festival, wnat other activities/events would vou

like to see?

10. Would vou like to see more interpreted ~rts lectures/events?

APPENDIX G

STUDENT MERIT CERTIFICATE

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©®[J~0~0©@~® @~ ~@[J0~

for participation in the 1980 DEAF.ARTS FESTIVAL

May 31st and June 1st at the Seattle Center

We commend your entry and encourage yol.llo continu~ in your artistic activities.

Child Hearing League ·

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APPENDIX H

1980 DEAF ARTS FESTIVAL SCHEDULE

(in back pocket)

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APPENDIX I

MAY 1980 SPECIAL ISSUE

OF THE TRUMPET

(in back pocket)

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>PENDIX J

.I DES OF THE 1930 :AF ARTS FESTIVAL

;>LANNING A DEAF CULTURAL EVENT I OBERT ROTH. 1983 J

·---~--~-""""'--·-· . --~·-·····

ANli\IINr- A DEAF :ut.TURAL EVENT '>BERT ROTH. 1963

PlANNING A DEAF CULTURAl EVENT

ROBERT ROTH. 1983

PLANNING A DEAF CULTURAL EVENT

ROBERT ROTH. 19&3 ~~~~- l ::il:~:~;w~;~:~·:·~-;~- .,.:

NNING A DEAF !l TURAl EVENT ERT ROTH. 1983

A DEAF I EVENT :RT ROTH, 1983

PlANNING A DEAF CULTURAL EVENT

ROBERT ROTH. 1983

PlANNING A DEAF CULTURAL EVEN1

ROBERT ROTH. 1983

PLANMNG A DEAF CULTURAL EVENT

ROBERT ROTH. 1983

PlANNING A DEAF CULTURAL EVENT

ROBERT ROTH. 1983

. '• ~ . ·. -,! ._,.;._~·-· ... -

PLANNING A DEAF CULTURAL EVENT

ROBERT ROTH, 1983

-~-

PLANNING A DEAl CULTURAL EVENT

ROBERT ROTH, 198 :~ . .k M Coote_~

PLANNING A DEAF CULTURAL EVENT

ROBERT ROTH. 1983

.··~-~illl':z~:

DEAF CULTURAL EVENT

ROBERT ROTH. 198:

PLANNING A DEAF CULTURAL EVENT

ROBERT ROTH, 198 3