The three models of deafness are rooted in either social or biological sciences. These are the cultural model, the social model, and themedicalmodel. The model through which the deaf person is viewed can impact how they are treated as well as their own self perception. In the cultural model, the Deaf belong to a culture in which they are neither infirm nor disabled, but rather have their own fully grammatical and natural language. In the medical model, deafness is viewed undesirable, and it is to the advantage of the individual as well as society as a whole to "cure" this condition. The social model seeks to explain difficulties experienced by deaf individuals that are due to their environment.
Disability is the experience of any condition that makes it more difficult for a person to do certain activities or have equitable access within a given society. Disabilities may be cognitive, developmental, intellectual, mental, physical, sensory, or a combination of multiple factors. Disabilities can be present from birth or can be acquired during a person's lifetime. Historically, disabilities have only been recognized based on a narrow set of criteria—however, disabilities are not binary and can be present in unique characteristics depending on the individual. A disability may be readily visible, or invisible in nature.
Deaf culture is the set of social beliefs, behaviors, art, literary traditions, history, values, and shared institutions of communities that are influenced by deafness and which use sign languages as the main means of communication. When used as a cultural label especially within the culture, the word deaf is often written with a capital D and referred to as "big D Deaf" in speech and sign. When used as a label for the audiological condition, it is written with a lower case d. Carl G. Croneberg coined the term "Deaf Culture" and he was the first to discuss analogies between Deaf and hearing cultures in his appendices C/D of the 1965 Dictionary of American Sign Language.
The social model of disability identifies systemic barriers, derogatory attitudes, and social exclusion, which make it difficult or impossible for disabled people to attain their valued functionings. The social model of disability diverges from the dominant medical model of disability, which is a functional analysis of the body as a machine to be fixed in order to conform with normative values. While physical, sensory, intellectual, or psychological variations may result in individual functional differences, these do not necessarily have to lead to disability unless society fails to take account of and include people intentionally with respect to their individual needs. The origin of the approach can be traced to the 1960s, and the specific term emerged from the United Kingdom in the 1980s.
Disability studies is an academic discipline that examines the meaning, nature, and consequences of disability. Initially, the field focused on the division between "impairment" and "disability", where impairment was an impairment of an individual's mind or body, while disability was considered a social construct. This premise gave rise to two distinct models of disability: the social and medical models of disability. In 1999 the social model was universally accepted as the model preferred by the field. However, in recent years, the division between the social and medical models has been challenged. Additionally, there has been an increased focus on interdisciplinary research. For example, recent investigations suggest using "cross-sectional markers of stratification" may help provide new insights on the non-random distribution of risk factors capable of acerbating disablement processes.
Bilingual–Bicultural or Bi-Bi deaf education programs use sign language as the native, or first, language of Deaf children. In the United States, for example, Bi-Bi proponents state that American Sign Language (ASL) should be the natural first language for deaf children in the United States, although the majority of deaf and hard of hearing being born to hearing parents. In this same vein, the spoken or written language used by the majority of the population is viewed as a secondary language to be acquired either after or at the same time as the native language.
In the United States, deaf culture was born in Connecticut in 1817 at the American School for the Deaf, when a deaf teacher from France, Laurent Clerc, was recruited by Thomas Gallaudet to help found the new institution. Under the guidance and instruction of Clerc in language and ways of living, deaf American students began to evolve their own strategies for communication and for living, which became the kernel for the development of American Deaf culture.
Disability in the arts is an aspect within various arts disciplines of inclusive practices involving disability. It manifests itself in the output and mission of some stage and modern dance performing-arts companies, and as the subject matter of individual works of art, such as the work of specific painters and those who draw.
The depiction of disability in the media plays a major role in molding the public perception of disability. Perceptions portrayed in the media directly influence the way people with disabilities are treated in current society. "[Media platforms] have been cited as a key site for the reinforcement of negative images and ideas in regard to people with disabilities."
The physically integrated dance movement is part of the disability culture movement, which recognizes and celebrates the first-person experience of disability, not as a medical model construct but as a social phenomenon, through artistic, literary, and other creative means.
Deaf studies are academic disciplines concerned with the study of the deaf social life of human groups and individuals. These constitute an interdisciplinary field that integrates contents, critiques, and methodologies from anthropology, cultural studies, economics, geography, history, political science, psychology, social studies, and sociology, among others. The field focuses on the language, culture, and lives of the deaf from the social instead of the medical perspective.
The Deaf community over time has worked to improve the educational system for those who are Deaf and hard of hearing. The history of Deaf education dates back to Ancient Egypt where the deaf were respected and revered. In contrast, those who were deaf in Ancient Greece were considered a burden to society and put to death. The educational aspects of the deaf community has evolved tremendously and still continues to grow as the science of linguistics, educational research, new technologies, and laws, on local, national, and international levels are steadily being introduced. Strategies, however, remain controversial.
Disability art or disability arts is any art, theatre, fine arts, film, writing, music or club that takes disability as its theme or whose context relates to disability.
Neil Marcus was an actor and playwright active in the development of disability culture, who has reshaped ways of thinking about disability.
Deafness has varying definitions in cultural and medical contexts. In medical contexts, the meaning of deafness is hearing loss that precludes a person from understanding spoken language, an audiological condition. In this context it is written with a lower case d. It later came to be used in a cultural context to refer to those who primarily communicate through sign language regardless of hearing ability, often capitalized as Deaf and referred to as "big D Deaf" in speech and sign. The two definitions overlap but are not identical, as hearing loss includes cases that are not severe enough to impact spoken language comprehension, while cultural Deafness includes hearing people who use sign language, such as children of deaf adults.
Petra Kuppers is a community performance artist and a disability culture activist. She is a professor of English, Women's and Gender Studies, Theater and Dance, and Art and Design, teaching mainly in Performance Studies and Disability Studies, at the University of Michigan, Ann Arbor, and she serves on the faculty of Goddard College's MFA program in Interdisciplinary Arts. Her book Gut Botany was named one of New York Public Library's "Best Books of 2020."
Sins Invalid is a disability justice-based performance project that focuses on artists with disabilities, artists of color, and LGBTQ / gender-variant artists. Led by disabled people of color, Sins Invalid's performance work explores the themes of sexuality, embodiment and the disabled body. In addition to multidisciplinary performances by people with disabilities, Sins Invalid organizes visual art exhibitions, readings, and a bi-monthly educational video series. Sins Invalid collaborates with other movement-building projects and provides disability justice training.
Disability justice is a social justice movement which focuses on examining disability and ableism as they relate to other forms of oppression and identity such as race, class and gender. It was developed in 2005 by the Disability Justice Collective, a group including Patty Berne, Mia Mingus, Stacey Milbern, Leroy F. Moore Jr., and Eli Clare. In disability justice, disability is not considered to be defined in "white terms, or male terms, or straight terms." The movement also believes that ableism makes other forms of prejudice possible and that systems of oppression are intertwined. The disability justice framework is being applied to a intersectional reexamination of a wide range of disability, human rights, and justice movements.
Deafness in Soviet Russia experienced a cultural transformation following the Russian Revolution. The Soviet's collectivist ideology, termed New Soviet, promoted the integration of deaf people within a predominantly hearing civilization. Thus, state-sponsored organizations, such as All-Russian Society of the Deaf, fostered cultural and professional opportunities for Russia's deaf population.
Stage Left Productions is an interdisciplinary performance company dedicated to collaborative arts forms, community theatre practices, Disability art, and social activism. Self-described as “a grassroots, Popular Theatre company of diverse artists and non-artists/catalysts of change who create pathways to systemic equity – in and through the arts,” Stage Left’s activities “promote equity & diversity, provide support services for still-excluded artists and community groups, and produce radical forms of Political Art.” Based in Canmore, Alberta, the company is active in Calgary, as well as provincially, nationally, and internationally. Stage Left’s output is intercultural and multifaceted, encompassing Guerrilla theatre actions, production, presenting, training, education, advocacy, and organizational support work.
