"Voices Offstage:": How Vision Has Become A Symbol To Resist in An Audiology Lab in The U - S
"Voices Offstage:": How Vision Has Become A Symbol To Resist in An Audiology Lab in The U - S
"Voices Offstage:": How Vision Has Become A Symbol To Resist in An Audiology Lab in The U - S
LAKSHMI FJORD
In each of the preceding papers in this journal, SOME BACKGROUND ON MYSELF AND "THE PROBLEM"
visual traditions of signing, culturally Deaf people offer
unique visual landscapes of each expressive medium A tradition in Deaf social circles is that in an
while jousting with what I have come to think of as introduction one offers background on connections to
"voices offstage." Deaf art, theater, the teaching larger Deaf networks and hearing or deaf status; infor-
traditions of Deaf adults, and signed language practices mation not unlike that offered in anthropology intro-
present images of creative, engaged visual communi- ductions, also, that places the individual within the
cators who, however, can never leave far behind the larger, encompassing group. My background also
legacy of the long, frustrating history of the public helps to explain why observed practices in an audiology
denigration of signed languages in the Euro-American lab could look strange and curious to me in a medical
contexts in which these arose. An unintended outcome setting where the "exotic" might disappear in the
of my fieldwork observations in one of my research familiarity of the known—always a problem for the
sites—over a noncontinuous period from 1995 to 2000 anthropologist who "studies her own."
in an audiology clinic in the U.S that performs cochlear Yet, for me that could not happen because in 1971
implants1—is that these "voices offstage" must take I had the life-altering experience of being a hearing
center stage. By concentrating upon the diagnostic acting student at the Eugene O'Neill Theater Center
process to find how hearing parents of deaf children are while the National Theater of the Deaf (NTD) was in
socialized into medical and/or popular visions of deaf residence, rehearsing. The actors whom J Ranelli
personhood2. histories of oppression and the politics of discusses in his article in this journal were the first deaf
culture for deaf people had to follow. I observed the people I knew. They generously became my signed
curious phenomenon of vision having become a kind of language teachers and were my models of Deaf culture
encompassing symbol that some audiologists appear to during a time when "old" classifications that divided
resist. 1 suggest that this phenomenon is embedded in human beings—such as racism, sexism, and hearing
a history of oppositional thinking. How much this levels—were thought (or hoped) to be breaking down.
phenomenon is the consequence of historical factors My image of Deaf people as stupendously gifted
and cultural ethos systems became manifest while communicators whose work and gifts were publicly and
doing cross-cultural comparative research principally popularly recognized did not encompass the whole
in Denmark, with several trips to sites in Sweden. continuum of deaf experiences at that or any time. 1 did
Although I caution against generalizing to other medi- have the marvelous good fortune to observe rehearsals
cal and audiological sites in the U.S. or elsewhere, some of what became the NTD production "Promenade" (or
of the cochlear implant discourse internationally re- "Nightwalk." as Ranelli prefers in his article), part of
flects similar concerns about vision and its primacy in "My Third Eye." 1 watched the actors work and
deaf children. Yet, because my research is anthropo- improvise upon memories, dreams, and nightmares,
logical—that is, long-term in focused sites—my caveat also, of being deaf in America (see Padden and Humphries
stands, and I welcome other explanations and analysis. 1988 for the source of this phrase and its discussion).
Fig. 1. An audiologist talks with an implanted child in the U.S. Photo: Lakshmi Fjord.
nel in one American audiology lab looking to visual present in doctors whom other doctors recognize as
acuity and language as the cause of less-than great good doctors and earnest medical students want to
outcomes, even if the deat child knows no form of emulate (Fig. I (Therefore w hen I observed an otolog\
signing. This "resistance to vision also takes on the resident talking to apost-operati% e. cochlear implanted,
strange form of nonrecognition. or so it seems, of these teenager behind his back, 1 didn't understand. The
children s deafness. implant would not be hooked up for six weeks while the
incision healed; the bandages o\ er this incision covered
Fig. 3. In the U.S. the cochlear implant is described as a "miracle' that can transform deaf children from
a "disabled" status.
Fig. 4. In the U.S, a mother helps herdaughterto habilitate to sound after implanta-
tion. Photo: Lakshmi Fjord.
1. A cochleai- implant is an electronic device surgically To the National Theater of the Deaf, I owe a huge debt
threaded into the cochlea of the ear in order to bypass of gratitude for opening my eyes to the beauties of
the damaged hair cells that prevent sound from stimu- signing and Deaf artistry, as well as for their generosity
lating the auditory nerve. Sound is received through a in "taking in" a hearing neophyte. To Bill Stokoe, I bow
microphone and digitalized through a computer proces- in thanks for his immeasurable support in mentoring
sor worn by the recipient, sent to a magnetic transmitter and help to find a way for a hearing student to offer her
that sends it across the skin flap that covers the skull to studies to Deaf scholarship. I thank J. David Sapir for
a magnetic receiver that has been sutured onto a small seeing that Deaf visual traditions have a valued place
depression created on the skullbone. The multiple in visual anthropology.
channel electrode array within the cochlea is activated
at various frequencies that stimulate the auditory nerve RKFKRKMKS
to the brain. The implant requires the recipient to Basso, Keith
habilitate to this form of perceptual stimulation over a [ 1979] 1989 Portraits of "The Whiteman:" Linguistic
period of time that is quite variable, as is the resulting play and cultural symbols among the Western
ability of the individual to either receptively discrimi- Apache. Cambridge: University of Cambridge Press.
nate speech sounds or to produce recognizable ones. In Bellugi, Ursula
my fieldwork experience, 1 have observed the entire 1980 Clues from the Similarities Between Signed and
continuum of variability in implanted children from Spoken Languages. In Signed and Spoken Lan-
ones whose speech nears that of hearing siblings to guage: Biological Constrainsts on Linguistic Form.
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both the cases mentioned, signed language was the Weinheim: Verlag Chemie.
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2. I am indebted to Meyer Fortes (1973) for his use of Washington DC: Gallaudet University Press.
this term "personhood" to mean a social category in Boddy. Janice
which individuals, in this case with hearing losses, must 1980 Womb as Oasis: The Symbolic Context of
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job opportunities, social representations, and descrip- Ethnologist 9(4):682-698.
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1988 Nationalism and the Politics of Culture in Quebec.
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