Paper short abstract:

Recent performances by deaf artists have penetrated British popular awareness. This paper suggests that when we are witnessing deaf performances, we witness the advancement of the political project of 'Deaf Awareness' via the embodied heterotopia of deaf condition, Deaf culture and Deaf histories.

Paper long abstract:

In 'taking the stage', Deaf performers simultaneously channel the physicalities of deaf conditions, Deaf-cultural norms, and their own individual and (inter)national deaf histories. In performances, these elements of deafness are triangulated, creating a multi-dimensional, atemporal heterotopic lens through which audiences are invited to view deaf-centred understandings of 'world'. Via this deaf lens, audiences witness deafness-as-seeing rather than deafness-as-impairment. For many people, this is their first exposure to deaf-centred modes of being. This can result in improved 'Deaf Awareness', providing broad populations of hearing people with basic introductions to the complexities of deafness.

This paper presents three cases in which deafness has penetrated British popular awareness through artistic performances including: Sophie Stone on Doctor Who?; a BSL production of Midsummer Night's Dream at the Globe; and the dance piece Hear! Hear! at Sadlers Wells. I will examine the convergence of condition, culture, and history, teasing out how these collisions of deafness occur. I will explore what their collective impact may be on their audiences. I will suggest that performances render hearing audiences more able to partake in deaf listening, more accepting of an alternate universe founded on vision than when the same concept is presented outside of the creative frame. Finally, I suggest that when we are witnessing deaf performances, we witness the advancement of an on-going political project - increased Deaf Awareness across the UK majority - with one key goal being improved lived experiences and greater equality for deaf people.