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While I get that they want to expose their students to ASL, and this all comes from a place of good intentions but also a place of ignorance, these emails are tiresome for a Deaf person. (Photo by Texas School for the Deaf Photography) ‘Peter and the Star Catcher,’ 2017, produced by the TSD Performing Arts Program. I have to remind myself that they…just…don’t…understand.
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“We are providing ASL interpreting, provided by our school’s ASL students, and want to invite your students to see our show…”Įvery time I get one of these emails, I cringe and put it aside for a few days before I can provide a professional reply.Would you be interested in coming to consult on this?”
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“We are considering doing a show but want to know how to do it with incorporating ASL. “We are doing a show with Deaf characters and want to bring it to your school to perform for your students…”. 
“We have been working on a show all year and have taught everyone in the cast ASL in order to perform the show in both English and ASL simultaneously…”. “Hi, my school is doing a show with Deaf characters and the whole cast has been working really hard to learn sign language…”. These emails all sing variations on the same showtune… And yes, I am Deaf.Įvery school year, my inbox is flooded with emails from schools all over my state, about the following subjects: I graduated from Gallaudet University, an internationally known Deaf university in Washington, D.C., and am currently finishing my doctorate in Deaf studies & Deaf education. In addition to my job at the Deaf school, I am also the founding artistic director for a Deaf theatre company. Brian Cheslik.īefore we go into what I am about to preach to you on, let me tell you more about my background. As the performing arts program coordinator and high school theatre teacher at Texas School for the Deaf, one of the largest Deaf residential schools in the United States, I am often contacted by theatre teachers/directors from schools all across the state seeking my advice or support, or to collaborate or publicize their shows. Materials from the RCT are available online.This article may strike some nerves and spark some disagreement, but I feel this needs to be said in order to raise awareness regarding a few issues pertaining to theatre education and the Deaf community. Possible reasons for the few signifi cant intervention/control group diff erences at 12 months were examined. Knowledge increased from baseline to 12-month follow-up in the intervention group, and in some instances the control group increased intention to get a mammogram was observed in the intervention group. This population's inadequate breast cancer knowledge and screening practices and the value of the education program were confi rmed. The study focused on D/deaf women with no more than a secondary education, a population at relatively high risk for incomplete breast health knowledge and services. #Txd workshop interpreter deaf 2018 free trial#
A randomized controlled trial (RCT) is described that tested a culturally and linguistically tailored breast cancer education program conducted among a racially/ethnically diverse sample of 209 D/deaf women age 40 years or older. Barriers to obtaining breast cancer prevention knowledge and breast cancer screening have been noted among D/deaf women.
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