CALIFORNIA STATE UNIVERSITY, NORTHRIDGE a CULTURAL EVENT for the DEAF a Graduate Project Submitted in Partial Satisfaction of Th

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

ii Copyrighted by Robert Irwin Roth

1983

iii ~------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.

iv I ------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

v APPENDICES A. PUBLICITY MANUAL AND OTHER PRESS RELEASES • • • • • ...... 43 B. REPRINTS OF NEWSPAPER CLIPPINGS 65 C. SPECIAL EXHIBIT HANDOUT • • • • • • 74

D. APPLICATION FORMS AND MATERIALS 76 E. EVALUATION LETTERS FROM GUEST SPEAKERS 83 F. EVALUATION QUESTIONNAIRE 89 G. STUDENT MERIT CERTIFICATE . . . 91 H. 1980 DEAF ARTS FESTIVAL SCHEDULE (in back pocket) ...... 93 I. MAY 1980 SPECIAL ISSUE OF THE TRUMPET (in back pocket) 94 J. SLIDES OF THE 1980 DEAF ARTS FESTIVAL • • • • . . . . . 95

vi 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

vii ILLUSTRATIONS

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

viii ------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

'i,

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ix l'. 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. 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 I Ibid., p. 133. i i

1 ------2 and education of the deaf typically describe deaf people in 3 terms of their pathological condition: hearing loss." 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 refer ring to cultural aspects, as in the culture of Deaf" people. The lower case "~eaf," on the other hand, refers to non cultural 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, and Carl G. Croneberg, A Dictionaey of American Sign Language: On Lin guistic Principles, new ed., (Silver Spring, Md.: Linstock Press, 1976). 5Padden, p. 90. 6Tbis paper will follow the same convention as described by Padden. 3

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. I 9Neil Glickman, "A Cross-Cultural View of Counseling with Deaf Clients," Journal of Rehabilitation of the Deaf 16 (January 1983): 4. 10Ibid. 4 not part of the curriculum. Few members of the deaf community

1 were being educated about deaf persons that had achieved r' notoriety, nor about the deaf artists that had earned the lI. respect of the larger hearing world or that depicted Deafness in I . J ;fl'II...'. their art, nor about the theatre form (Sign Language theatre) ~ E that was unique to the Deaf world. I Deaf theatre has been the best documented and most I I& durable form for passing on aspects of Deaf culture to l 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 successful 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. 6

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.

t I. j• ~ j. . j.I I I . ! I·!' t.:i Q 7

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.

~------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. I .>1 ' 'i : I TABLE 1 :'I PLANNING FLOW CHART I ,. ~·I . Brainstorming I' 'I Establish objectives Identification of audiences and their needs Program concepts to meet objectives !: I· Establish date I! Identification of funding sources i; 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

8 ~------9

TABLE 1--Continued

Contracting Persons, places, exhibitions Shipping, crating Insurance Installation: panels, frames Printing costs: press releases, poster, brochures

Finalize Activities

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 10

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 interpreters, 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.

f I ~. i· t I: l"· I.I. 11

TABLE 2 SAMPLE OF IDENTIFIED AUDIENCES AND THEIR NEEDS/OBJECTIVES

Audience Needs/Objectives Parents and teachers of Children's artwork display the deaf Effectiveness in teaching art to deaf children Deaf adult role models Information about Deaf arts The deaf community View artwork by deaf artists and performers Information (books, lec tures, exhibits) about Deaf culture Deaf artists A space to exhibit work Opportunity to meet other deaf artists Document work by deaf artists Hearing community To learn about deafness I! 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.

~------k l!, u ~ ;") 14 1:~ !d' ;d H l.~ Most school districts with hearing-impaired programs are usually 11;I 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 lj indicate the availability of potential speakers or guest j, J J d artists. Research will also disclose deadlines and format .!, stipulations required by the communications media serving both !. '· ~'II the hearing and deaf comunities. 11 The research process revealed several leads that were 11 Ji instrumental in shaping the scope of the Festival. The Seattle li ''I I Arts Commission, the primary local public arts funding organi :i11 Arts~ 11 zation, had a program called Neighborhood 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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:; il J) il Another funding source, the Washington Commission for the Humanities, emphasized a requirement for the study of I history, art history, literature, and language; a condition I 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 I ' 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 collection 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.

I. ------I 18

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 '. j 4. Publicity deadlines j i.' i i 5. Artwork and printing deadlines (poster, flyer, i brochure) 11·: ill ·~ i ,ll 6. Installation dates. illliJI II.I ,. ;I ? . I I 5Mildred Albronda, Douglas Tilden: Portrait of a Deaf I ~ulptor (Silver Spring, Md.: T. J. Publishers, 1980). I

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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 requirements? 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 'I I: i audience to the basic program components. '.,;! : i i! Also to be considered is the continuity of events; there :'·II .:·!I I should be a flow of activities. Scheduling of program events ·. .I,'i! II. '\i can be simultaneous; at any one time festival participants : i~ ; ; ' i 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 Concepts

Teaching art effectively to Classes for parents and teachers deaf children of the deaf Demonstration activities Lectures by art educator

View work by deaf artists/ Art exhibition performers Performances Classes taught by deaf artists/ performers Art in progress Film, slides, other media

Learn about Deafness Art exhibition' Performances Sign Language Classes Association with deaf at Festival Information referral Lecture on Deaf heritage Panel discussion on minorities 'i i Exhibition of deaf artists Juried exhibition I Invitational exhibition . I 'I Media exhibition I I Non-juried exhibition (open) I

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TABLE 4 SAMPLE OF BREAKDOWN OF PROGRAM CONCEPTS TO BASIC COMPONENTS

Program Concepts Who, What, Where, When, How Much

Open show 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, volun teers to install exhibit

Sign Language class Who: Instructor of Sign Language What: Demonstration of American Sign Language Where: Conference room

---- ~.:.-_-:-:_. --==~ ..=.:_::::.- .. ----- How much: Room rental, honorarium

Classes for parents and Who: Instructor of theatre teachers of the deaf What: Workshop on teaching theatre to deaf children Where: Conference room When: Saturday, one hour How much: Honorarium, room rental, interpreter

------~ TABLE 5

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

Audience Needs/Cl:ljectives Program Concept Basic Components

Hearing ccmnuni ty learn about Deafness Jlmerican Sign Language Who: Sign Language instructor classes: Teach basic What: Demonstration of basic ASL and finger~l Jlmerican Sign Language ling to give expo Where: Conference roan sure to the visual ~'hen: Two days, all day language of the deaf How rruch: Roan rental , honoraritnn

Association with deaf Who: Audience :tarticipant at Festival: ming What: Cbservation ling, observation, Where: Converence roans, Food exposure Circus floor When: Two days, all day How much: no costs involved

Exposure to deaf Art Exhibition Who: Deaf artists artists What: Art exhibition Where: Conference roans When: Two days, all day How :rruch: Exhibition roan rental, shipping, insurance, materials

N N

-- ' t: __:::.:.-:-:~-- -- . --· ...... ------··· -~==-=-"' - ___.. -··-' -· ~-: .-c-•>- •.• -. . ~-- 23

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, :.:;~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).

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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 installation 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 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.

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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 5. Graphics: Schedule of events, identification of

activities, room locations, staff/volunteer identift,9a!:~

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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

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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 ~------29

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

~-~~--- -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 ,,, Ql ·[g) !A ·t! §

Ql $ ~ ~v Air------===\/-, ~ A C' ···-··

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

J1 I I d IlL- I I~ 4 I :- ' • u e~" .. p c::::; I • A ,'7 1 /1 11 ,;:::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

II!:\~ 'J w ~--··· 0

-----";""""···--·--···-···---··-· ·-::::.~-;:~:::;.::.-.::-::: -· 31

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

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 i students, his friends, engaged in work, play, and fantasy, ,.

I1. 32

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 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.

~------33

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

I., l I: ~------34

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.

~------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 '1,

creative expression in deaf children ' i: Ir U· 8. To promote the teaching of art effectively to deaf H li +~ children I ·•! ,,t r ·,r. I Tf, i' ;_ ~; I J; ,, !:,i I l!i I ~· I 35 J• 1'' I i(.. ~-----~ 36

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._--:.= ~-- ' • 9. 'What could have been chang~·· or. ~lte:ce

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------38

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 • __ ;·-~~~~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

~------39

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 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

------i 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.

~------TABLE 6

SAMPLE EVALUATION FORM FOR SPEAKERS

Speaker/Presentation Mequacy Content Format Contribution (Overall Rating) Constraints (Overall Evaluation)

Jack R. Garmon Excellent Presentation in Time Audience appreciation "QJr Deaf Heritage" .,I anecdotal format limitations obvious; well researched; many deaf historical persons were discussed

Pat Graybill Excellent Covered television, Time Increased audience aware- "'!he Contributions movies, as well limitations ness and appreciation of of Deaf Artists as theatre 1 Deaf deaf contributions to Towards the Theatre cu1 ture covered American culture also

Rosetta Hunter, Excellent Drew canparisons Limited Increased audience aware- panelist, "Can- between Black and to pmel ness and tolerance of paring the Deaf women's minorities discussion others as well as self Minority to Other to the Deaf minority American Minorities"

I ' ~ ·~ r; 1-' .:l1 \;l f:!

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

: i Schlesinger, Hilde s., and Meadow, Kathryn P. Sound and Sign: Childhood Deafness and Mental Health. Berkeley: University of California Press, 1972. .I 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.

l ! ~------4-2 ____ . I APPENDIX A

PUBLICITY MANUAL AND OTHER PRESS RELEASES

43 44

00 FROM OUR fAST· TONARDS THE FUTURE Art, Performances, Exhibits, Lectures and Workshops on Deaf Culture, History, Literature, Art and yd-·rheatre. rt- 10:00 am to 9:00 pm Seattle Center Food Circus Conference Rooms

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•· ••••...,,..

i .... ______! l '$~

".ar~~ 24, :98r. Contac:: Roher: ~ot~ or Teresa Stot:er '(IF. l!\;·l[D!J\.T[ REL~1\S[ ~2~6; 587-3880 ~/TTY ~o no: use after nay 3, ~9Bn 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 -

·------46

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 Broad way, 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 -

------zrmm

Apri 1 22, 1980 Contact: ~obert Roth or Teresa Stotler FOR IMMEDIATE RELEASE (206) 587-3889 voice or TTY Do not use·after June 1, 1980 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 Fes tival 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, work shops, 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.

. l -

) ~~------··~

: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!

I. ------I 1: 49

Mav 5, l98D Contact: Robert Roth or Ed Walker FOR IMMEDIATE RELEASE (20n) 587-3889 V/TTY Do not use after June 1, l98D PP 4b RE: "Schedule of Events: Deaf Arts Festival, 198D" Following are the events scnelith 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 sche dule shows the time and place of all Festival performances, lectures, workshOps, and panel discussions.

Saturday, May 31 PERFORMANCES 11 : 30 am - 1 :00 pm Group and individual oerformances by young Deaf persons; at the Center House st~ge (sign-song, mime, skits, dance, etc.) 1:00 pm- 2:15 pm Deaf Adult Non-Competitive performances; Center House stage (Sign song, mime, skits, storytelling, dance, sign-poetry, etc.) 2:15 pm - 2:45pm Dance performance given by the''Silent Dancers' ,,Center House stage 2:45 pm - 3:00 pm Storytelling, by John Burton; Center House stage 3:00 pm - 4:00 pm Deaf Adult Competitive Performances; Center House stage (sign-song, mime, skits, dance, storytelling, sign-poetry, etc.) 4:00 pm - 4:45 pm Mime performance by Miko; Center House stage LECTURES/PANEL DISCUSSIONS 5:00 pm - 5:45 pm "The Deaf: An American Minority" Lecture bv Larry Petersen; Conference Room A 5:45 pm- 6:30pm "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. · . . . . 6: 30 pm - 7 : 1 5 pm "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 Methods of Chinese Painting, workshop with Chun 0. Lu; 2:15 pm Conference Room F 3:45 om 12:30 pm Communicating in Sign Language, workshop with Archie Shields; 3:00 pm Conference Room F 4: 3D om M~Y 31 CONTI NUEO

·------· -----·----

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 12 : 30 om - 1 : 1 5 om Variety show oresented bv the 'Ameslan A.rtists'; Center House stage 1:15am- 1:45pm Dance performance given bv the 'Silent Dancers'; Center House stage 1:45 pm - 2:30 om Deaf Mul t Competitive Performance \'i nners, oresenti ng their award winning performances; Center House stage (mime, skits, song-signing, dance, storytelling, etc.) 2: 30 pm - 3: 1 5 pm Dramatic performance by the Seattle Central Conmunity Collejje 'Theatre-in-Sign' drama class, directed by Jer Loudenback; Center House stage 3:30 pm - 4:00 pm Storytelling, by Chuck Ba.ird; Center House stage 4:00 pm - 4:45 pm Mime performance by Mi ko; Center House stage 7:15pm- 8:15 pm 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 "The Cultural Background of Plnericafl Sign Language" Panel Discussion, Panelists: Or. £ugene Bergman, Or~ Robert Johnson, Carol Padden; Conference Room A 11:30 am- 12:15 pm, "Theophil ius Hope d' Estrella: Early Deaf Photographer" Lecture 3:30 pm- 4:15 pm 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, C~uo1 cat;iJ!.Ikill"~j,gJtJ.a.nquaqe, ·wor,(\~M&~i th. Archie Slliel ds; 3:15 pm Confert~~ta~'i!i!Qii* """""2· - -·· 12:.30 om, 2:30pm, Method-~.~·oft~l!'~!'f#h.ftg, worits-hw·.;;ith Chu·n 0. Lu; 4:00 om Conference·Room F 1:30 pm - 2:00 pn Mime Workshop with Miko; Conference Room A 12:30 pm - 1:15 pn, Slide showing, 'Deaf Artists of the United States'; Conference 2:15pm- 3:15 pn, Room A 4:00 pm - 5:00 pm

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.

~------51

May 7, 1980 Contact: Ed Walker or Robert Roth FOR IMMEDIATE RELEASE (206) 587-3889 V/TTY Do not use after June 1, 1980 PRS

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. : i

The Deaf Arts Festival is the main opportunity this year for Deaf Ii 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. ,'i I

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May 7, 1980 Contact: Ed Walker or Robert Roth FOR IMMEDIATE RELEASE (206) 587-3889 V/TTY Do not use after June 1, 1980 Al 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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May 7, 1980 . Contact: Ed Walker or Robert-Roth FOR IMMEDIATE RELEASE (20fi) 587-3889 V/TTY Oo not use after June 1, 1980 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!:~ .

; i

I ------.I 54 I •

p_~ 00 fjitlt'l{ '

May 7, 1980 Contact: Ed Walker or Robert Roth FOR IMMEDIATE RELEASE (206) 587-3889 V/TTY Do not use after June 1, 1980 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 i' 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 (. i 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 55

tffi!>p; /Wf/l/, 00 . I .

May 7, 1980 Contact: Ed Walker or Robert Roth FOR IMMEDIATE RELEASE (206) 587-3889 V/TTY Do not use after June 1, 1980 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". I,J The Festival will be held at Seattle Center Hay 31 and June 1. K., 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 1dren and aduJ ts;.;;~~-,~:;::~7~~-::_,.,.: -- d ------L ·-

J ~------56

May 7, 1980 Contact: Ed Walker or Robert Roth FOR IMMEDIATE RELEASE (206) 587-3889 V/TTY Do not use after June 1, 1980 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.

... ; i I,

------#" rw PS r 775 sn

May 7, 1980 Contact: Ed Walker or Robert Roth FOR IMMEDIATE ·RELEASE {206) 587-3889 V/TTY Do not use after June 1, 1980 MIKO

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

..~ ______.__ 58

May r; 1980 Contact: Ed Walker or Robert Roth ~OR IMMEDIATE RELEASE (206) 587-3889 V/TTY Do not use after June l, 1980 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 l look at American Sign language. Although various Sign Languages have been used i 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 Sign Language Through Hi story" at 10:00 am on Sunday, June 1. Her 1ecture wi 11 be followed by a panel discussion, "Cultural Background of American Sign Language" from 10:45 - 11:30 am.

·------1 ''te S ! t 7 m 77 rmmon

May 7, 1980 Contact: Ed Walker or Robert Roth FOR IMMEDIATE RELEASE (206) 587-3889 VITTY Do not use after June 1, 1980 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. · mw m FT

May 7. 1980 Contact: Ed Walker or Robert Roth FOR IMMEDIATE RELEASE (206) 587-3889 V/TTY Do not use after June l, 1980

RE: "Deaf Arts Festival, 1980" 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 work shops 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.

·-----~- 1 XO&l'! p rmrrrtt

Deaf Drama and Arts Project Seattle Central Community College

l::::::::::.::'" '&. tv/ '-'I-. ''"'' ,,,, ~"!'·r. ·'·~· ;)[' ~ .. !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 l 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. I 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 Li 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 pro vides 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 Langu age 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 stu dents 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 Pro ject address shown above or phone me at (206) 587-3889. Sincerely, ~·'}. c::Jt~g-~ Robert Roth Theresa B. Smith Deaf Arts Festival~ Coordinator Interpreter Training Program Coordinator Deaf Arts Festival Project Director 63

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

,.--- Sincerely, , 1 i../ /'/~ ~ .. I / ' ' Y. ,, / • v,_"'::·~.-'-'<-~·{ y_«-.-r...l1 . Robert Roth ~· Deaf Arts Festival Coordinator ( 206 ) 587- 3889

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_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'through out 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~~ ~--~-~ ··- -~·· ~~

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APPENDIX B

REPRINTS OF NEWSPAPER CLIPPINGS

65 i ~------66

Deaf Arts Festival

Next Month . I "I think this is going to be the most ex citing Deaf Arts Festival ever" is the opin ion of Robert Roth, and, if anybody should know, it would be him. Roth, whose background includes extensive in volvement 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 performan ces, the festival will feature lectures, work shops and panel discussions in the areas of Deaf Heritage, deaf literature, deaf his-

April1980 Flage 4

Roth said there is still time for any deaf tory, deaf art history, deaf theatre history, artist or performer from anywhere in the and deaf culture. country to enter the festival. The festival The Festival will i1so feature the work participants will be grouped into two cate of deaf photographer Theophilius Hope gories. those whp are competing for an d'Estrella. who lived from 1859 to 1929 award and those who just want to share and taught art at what· is now California their work without competition. School .for the))eaf at Berkeley. While The Deaf Arts Festival will be held in there, he developed an interest in. photo the Center House (the old Food Circus) at graphy and documented life at· the school the Seattle Center on May 31 and June 1. with his camera. 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 Seat Victorian 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-at children. large, to see the creativity of deaf children.

The TruJl!Pet, April 1980

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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 educa to 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 per class 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 art Future.' In addition to artwork work by deaf-blind individuals and performances, there_ will be,. and ~y _de a;( ~nd J~.l!l_r9-of lectures, '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. In history, 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 Pro well known -deaf persons from gram located in the Special Pro all over the United States. grams building next to the A special photo exhibition of Bookstore.

Tbe City Collegian, May 1, 1980

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!J TEMPO • The Seattle Times, Friday, May 30, 1980 Deaf Arts Festival at Center The Deaf Arts Festivall980 will English, dlscussing deaf be beJd this weekend at the literature. Seattle Center House stage and Works by deaf anists and pho conference rooms. tographers will be exhibited Performances of sign-song, throughout the festivaL ·.. mime, skits and dance by young deaf persons will begin tomorrow at 11:30 a.m., followed by perfor mances 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 washing ton. ~C.. autbor a! a soon-to-be published 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

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.

~------69

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

The Deaf Arts Festival, which will be held tomorrow and Sunday at Se attle Center's Center House, features performances by deaf children and adults, including Polish mime Miko. There is no admission charge. • 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- - 'It the cleel ._ Lesser Cod," ftOW "" lroeclway, ,.....,.ed In rhe lal. wuenl«!-- bon cleel. -IIIey could 1101 .... - - liars l'hylll5 Frdldl In • play "I ~.. co- ...... lly 10 - be- ...... lho ...... alloul a deal WOfnOft and ..... Qu~ . - alao clireI'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 l nR finl ~n of 1he HatlaMI lor eM 4etlf. • a.,ed • "*My F1lr I'm s i cn~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 PIOtfct 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 !~~ t r~ . 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•hlic

-...J 0

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

Wedllol Hill nmos P•g• II Etttertainment Actor encourages growth of deaf artists

In IHI lnleC~J lor tho doal. The l.,.dlftR aclr""• Ia doal ond Is nno nl lho ~aid "~f ;11 , . ll!llf't' lmtuh (' <~ltt"'fl 1 1 ,...... ,., ollho Nallmal 111C!alro o1 , .. ~.: 'r::I.c a ti::,~ h~· ,, ur.tnnislu· lnr '"" .... ,. tM futur<" ul flt ·:tl ;uli' ' "' In IIH • ():1"'1. Actordi"'l In Grayl>lll. lho lfflt-nl ck-af pcrs'"'s "' ''' •· 111ot f'tH · nura~t·d Ill «ovor•- lint bocamo inlornled be crnth·r . tHJI l•t IH'f'tHnr ~lulk ·d In tho ldoa of dovoloplnc a company labonrs " lit· ad~h'fl thai ,., "''"' ol doal aclon In tho oarly 1950's A such as '"!Iii "'·c·t·kt·tHI" hc·:.l 1\rl :o frstival. llwo IHth •""' ul ih knHI "' Patrie• Grly)tUt slent teatull'lter,retet'. Fo;:~:•,r._:c;:~ .·.~~~~~~~i: thf' countn . ~ ,, . c.·s~rnlial in Wcwkrr.'' lht> stnry nl Uelen Keher's lifo. ~f:ch.~~~~.. :~·"t~h~:(~:~:,' · il, in ''"''" II~ n:llf".!IA WIPPt:l. II waan'l until IN7 thai tho Wh•l word5 ul Mtdn: -...·ould ht• ' ' Nol...,.l Theatre of lho Deol was Sllo<:e ho was 1 IIIII~ boy. Theolro el lho Deal, whore ho loundod. The cornp.ony haa modo 2li r~·e:o ::Ir~=· ~~~·.~~~~n~ .i~~~~ perlorml"'l Ill bad yanl ...._. lor lra,..lalnlllaplr-lho Amerkan ""'""'"' loun IInce tla ho~IMI"'I . )'OUfseJf more IIHIIr.;.c lfw- !!i.ill:'i )'till lho 1101~ . Palrlck Gra~ ' hH thealre '"'• American atcn and haa abo pe

-.J f-1

--;-----· : .:T~~.,_.:-----... ·~~:.:,. .. ;~-:-.-;_;;·:;_.'trtT? __ w'' .,_ , ~-_::·~--.;~_~i4f·------·---·-·!}jrjft-----.;-·--- ~~-·--·------..------· -·'. ~>..·· - ~~- ·~---...... 72

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)

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 I Craig Jacobsen's camera, please turn to pages 6 & 7. (Craig Jacobsen photo) w

The Trumpet, June 1980

- •

-.... ·-.....- :.3 -·,..

-.... -....

·L ! APPENDIX C

SPECIAL EXHIBIT HANDOUT

74 sm fir:r r·r --

THEOPHILUS HOPE d'ESTRELLA: EARLY DEAF PHOTOGRAPHER I

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 Cali fornia 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 accep ted 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. There after, 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 docu ments 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. . I

APPENDIX D

APPLICATION FORMS AND MATERIAL

i .

.. . .--·-·.

76 77

1980 .~ ,)~ ( !:~;;rJ;;; ~·~;;;; \_:::J00u1 DEAF ARTS FESTIVAL MAY 31 &JUNE 1 From Our Past SEA TILE CENTER Towards The Future FOOD CIRCUS BUILDING CONFERENCE ROOMS 1tl AM to 9 PM

Calling ~~( For Entries

/ •· ;y-,.6"" ~. 1.-- "";') I: ' •..- ~ ~~!( 1 - 1!' -. ""'?~'~ ~11"'4 I• ~ ;~~~~~· -- r·· J!f .... /11 L."'~"' ' r·J·; . .,/ J;T' l_.."r' _ ./ ·'- J \-.::_! ·.....::.; Exhibitions of ·.._'-:' \ .... ~· '..__t \__1 L•cturea. Artwork and Performance• by Deaf and Heerino Workshops, and Ponei-Oiocuaaiona on Deal An. lmp.oirad Persona Deaf An History, Out Theatre. 0..1 Theatre History, 0 ..1 Literature. Deal History and Out CompelftiV

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

·cut COCIIIIOftOft clotted lint anclaand to: DEADLINE FOR MAIUNG COUPON: Aprtl30, 1110

0..1 Ana Faatlval1180 INSTRUCTIONS FOR ENTERING FtST1VAI..: O..t Drama and Ana Ptotacl Seattle Central Community Collage 1. Youmall-byAprtt30,11110 1711 Broadway MlllatOP 2 SP 1GO 2. Waaanci.,._.HoMtoyou. Saattla,_WA 18122 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

------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. I .\, i ' INSTRUCTIONS FOR;t;NTERING FESTIVAL: Mail To: 1. You mail coupon b~Api·i130, 1980. ·Deaf Arts Festival, 1980 2. We send applicatiol:l to; you. J: ... I Deaf Drama and Arts Project 3. You mail applicatiofii1 J.1~us. Seattle Central Community College 4. We notify you if you!.~\tork is accepted~ 1718 Broadway, Mailstop 2 SP 100

!! ! Seattle, WA 98122 ''· 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. 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 I YESI I want to participate In the Deaf Arts festival! I NOTICE TO All APPliCANTS: lie IIUSt plan ~E Ma~~------VOICE __ rn__ our space for artwork and tl•e for stage I perfonoances. To do this, we ooust accept ~ns c1n ______STATE ZIP__ your wort before _you ca11 ,,_ It. I Ov~ 18?_-_Under 187__ If under 18, ho"' old are you?__ If you are a student, please give the Please send In your application llt!EDIA I TUYI If It Is near the festival date, I Mill! of your school Are you hearlr.g-lmpalredl ___Oeaf-BIIndl ____ please contact UJ b_y ,phOne or 111 person. PlEASE Fill IN THE fotli*IIG IHfORHATION ABOUT YOUR ARTWORK AIIO/OR PERFORMANCE. Fill out Section~ If you I are entering artwork. Fill out Section a If vou want to perfof'll. fill out both~ and 8 2.!l!Y H you want APPliCATIOM PllOCEOORE: to enter artwork!!!!! perfof'll. Please lndlcHe If vou want to compete for awards or just exhibit your work I. Send In .rour awllcatloll. I 2. Deaf Arts festival Awllcatton A. ART B. PERfORMANCE Review C0111111ttee will see your artwork or perfonoance before II _1 want to co.pete for awards. __I want to compete for awards. the ft!Stlval. If you have pic ' tures, s I Ides or v ldeotlpts of t _I just want to show -r work. __I just want to show my work. your wort, please send th61. I Thev will be returned. TYPE ._, ART 0011 Size: VAlUE: WHAT 00 YOU WAHl TO DO? (Skit, dance, drama, mime, lt.IHY? BIG? Insurance 3. We I nfonn you If your work has n 11>11 for s lgn- song, sign- poetry, e tc.) been accepted. If accepted, you .. __Painting ---- bring your artwork to festival/ 'it __Photcqraphv -- you perfono at Festival. -- --- ·it __Sculpture !~ -- --- How onany 11lnutes Is vour performance? 11Ail fOUR APPliCATIOII TO: __CeriMics j1 __Pottery -- --- IIIII you perform alone? ___With other persons?_ Deaf Dra~~a and Arts Project -- --- How ~~any other people?___ {you are responslbl fl Seattle Central COIII!Mlnltr College i __weaving . 1118 Broadway -- --- for your own 'conductor' for cu~lng you for ... stc, _Drawing 11allstop 2 SP 100 I -- --- timing, etc.) Please list the names of the other Seattle, WA 98122 __Yideotape/FI1• __ ,I people. (Note If they are Oeaf/Hard-of-Uearlng} If __Kixed-Kedla --- l -- --- there are Deaf/Hard-of-Hearlr.g persons In the perf or- fOR 110RE IHfMI'IATIOII PRIHE: _·_Other* .I -- mance, you can also have h~>ar lrg people perform wl th you. Robert Roth or Teresa Stotler 'If .YOU 1111rked 'other' please tell us about vour (206) 587-3889 Voice or TTY I work ftames of other eeoele. Office floors: 8:30aM to 5:00pl llave you studied art?__ Where? TH£ TIHE IS FAST APPROOIIIIi FOR TilE Have .vou perforlfted before?__ Wh~re? OUF ARTS fESTIVAl. PlEAS£ Fill OOT I Have you ever sold vour artwork? _·_exhibited vour __Oo vou have a tap£· of yo ur !§ ~OOH ~S ~OSS!Bl£!!!!!!!!!!!!!!!1 ' Will vou have music? I artwork?____ won a prize? IIIUS lc? ___What wulpment do vou neP

Original size: 8 1/2 X 14

-.J c..o 80

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 I to Seattle Center Food Circus Conference Room A on the second floor of the :,t 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'estiVal 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$_ Robert Roth ~~ Loudenback Coordinator, Deaf Arts Festival Coordinator, Festival Performances

(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.) 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: John Doe (your name) 'Nature Scene' 1978, oil

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

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. mmmmM1

APPENDIX E

EVALUATION LETTERS FROM GUEST SPEAKERS

\ 83 I L 84

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. ·-·----~~--

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 pro fessional 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 one man 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 involve: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:ler standi.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 con tinue 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 86

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 87

Oregon Department of .)tille . Anthropology Unrversrty 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 iden tity, 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

L 88

Centro de Estud ios Chicanos University ot Washington

November 12, 1980

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

James A. Vasquez~ Ph.D. Director, Center for Chicano Studies JAV:kdk

8523 Padelford Hall. GN-09 · Seattle. Washington 98195 · 12061 543-9080

~------APPENDIX F

EVALUATION QUESTIONNAIRE

89 90

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 Fes 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: ______

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 ---1ess information on Deaf culture. __more ---1 ess information on Deaf Theatre His tory. more - less information on Deaf Art History. __more --1ess information on Deaf Literature. __more --1ess 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

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 ·

\.0 N APPENDIX H

1980 DEAF ARTS FESTIVAL SCHEDULE

(in back pocket)

93 APPENDIX I

MAY 1980 SPECIAL ISSUE OF THE TRUMPET (in back pocket)

l ______9_4 _____ 95 >PENDIX J

.I DES OF THE 1930 :AF ARTS FESTIVAL

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