Due: December 10, 2012

Directions: You will read the following chapter from "For Hearing People Only" book (written by Matthew S. Moore & Linda Levitan). You will post you "journal." You will write a paragraph putting down your thoughts/ideas/opinions about this chapter. How does it make you feel? What did you already know? What was new to you? Imagine yourself...? This sections needs to be approximately 8 - 10 sentences. After you do this post you will then read your peer students post. You will then reply to their post ... do not just say "nice job," or "I agree;" you can say that but tell me why! These replies to your peers should be between 3 and 5 sentences.

 

For Hearing People Only:  Chapter 94:  “If I take one or two sign-language classes, will that make me a qualified interpreter?”

 

Hardly.  But you you’d be surprised how many people have little – or no – idea of just what it does take to make a qualified interpreter.

After “one or two sign-language classes,” you can expect to know maybe 20 signs – which certainly does not qualify you as an interpreter!  (An analogy:  Is someone qualified to practice neurosurgery after taking one or two pre-med or freshman-biology courses?)

Exactly what constitutes a qualified interpreter?  To backtrack a bit, we can define an interpreter as a facilitator of communication between Deaf/hard-of-hearing and hearing persons.  Common settings are “educational, occupational, legal, medical and mental health, rehabilitation/social services, religious, television and artistic performances, platform interpreting, and business, industry, and government.”  The goal is to give all participants equal access to the same information.  This is a demanding task calling for a professional.  Nobody becomes a professional at anything after taking one or two courses.  Getting to the top of the interpreting profession (or any profession, for that matter) takes skill, dedication, discipline, training, years of hard work, plus a good attitude.

The Registry of Interpreters for the Deaf, based in Silver Spring, Maryland, is the national certifying/membership body for interpreters, teachers, and students.  RID provides “a nationally recognized credential that assures quality to “consumers” – the RID certificate of transliteration, interpretation, or both.  These are awarded after the interpreter takes and passes a written test (with ethical-standards and knowledge portions) and a performance test in the area(s) of transliterating spoken English into ASL or signed English, or translating a form of sign language into spoken English.

To become a qualified interpreter, you need to go through a good interpreter-training program (ITP).  According to Bethany L. Stancliff’s RID pamphlet, “Sign Language Interpreting:  A Career Information Packet,” “there are currently 73 interpreter-preparation programs in the US and Canada.  Some programs offer a certificate in interpreting, some offer a 2-year associate’s degree, and few offer a 4-year bachelor’s degree.  To date, only Gallaudet University offers a master’s degree in interpreting.  Programs range in size from 5 – 50 people and practicum hours vary from 0 – 528.  Some programs require only admission to college, while others have a rigorous interview process.  Because of the growing demand for interpreters, new programs are developing, and these statistics continue to change.”

So if you’re just breaking into sign-language studies and are considering becoming an interpreter, you need to choose a college that offers an ITP. Not all ITP’s are equally effective.  There is no universally-accepted standard as to what constitutes an adequate ITP, but RID is working on that.

As Stancliff puts it, “There are several skills or qualities that are advantageous to have as an interpreter:  flexibility, objectivity, self-discipline, punctuality, responsibility, a professional attitude, exemplary spoken / written English, ability in ASL and / or signed English, good interpersonal skills, maturity, and a recognition of persons who are deaf as capable human beings.”  ITP students, she suggests, should “take classes in other related areas” – anthropology, public speaking, and English – to enhance their cultural perspective and communication / performance skill.  “Because interpreters can be asked to provide services in every discipline, from scientific to medical to legal, it would be helpful to build up one’s general knowledge: the greater the ‘knowledge base,’ the better.”

Deaf people can become interpreters with CDI certification.  Incidentally, we have been informed that deaf people have served on RID’s board, committee, and leadership positions “for years and years.”

As we’ve already pointed out, the quality of currently-active interpreters varies in the extreme.  While it does provide some assurance of skill, certification alone doesn’t guarantee a first-rate interpreter.  And then there are interpreters who lack any certification at all.  Some students, after taking a few sign-language classes, emerge, egos puffed up, with the attitude:  “Look at me, I’m an interpreter!”  I want to save deaf people.  I want to help them, because I know some signs!!!”  There are some people out there who think they’re good interpreters (but aren’t) and who lack the necessary qualifications.  Call the “amateurs;” call them “non-professionals;” call them “Brand X Interpreters.”  They are not answerable to the RID or it’s Code of Ethics.  In hiring them and using their services, the client and consumer have not “guarantee,” no “service warranty,” no official recourse.  They won’t get the same quality of service they expect from a certified interpreter. 

Since RID has no real authority to enforce its standards anyone can call her/himself a “qualified interpreter.”  This, by the way, is not illegal.  Quality-assurance testing systems do exist in some state – but not all.  Some stated don’t require or recognize RID certification.  Which means that, if you live in such a state, are involved in courtroom litigation, and need an interpreter, the court district may hire an uncertified interpreter.  If you’re a key witness in a murder trial, would you want your ASL testimony to be rendered into spoken English by someone who’s taken a couple of sign-language classes and then hangs out an “Interpreter” shingle?  If you’re a Deaf member of the jury, would you want to depend on the signing skills of such an interpreter?  A scary though for many of us.

Due: October 29, 2012

Directions: You will read the following question.  You will post your "journal" answering the question(s) (include your thoughts/ideas/opinions). How does it make you feel? This sections needs to be approximately 8 - 10 sentences. After you do this post you will then read your peer students post. You will then reply to their post ... do not just say "nice job," or "I agree;" you can say that but tell me why! These replies to your peers should be between 3 and 5 sentences.

 

Can you recall a time in your life when being understood was difficult? (Ex: trying to explain something to parents, girlfriend, boss, etc.) How did it make you feel and did you get across to that person? How?

9/24/12 Due ASL 2

Directions: You will read the folling chapter from "For Hearing People ONly" book (written by Matthew S. Moore & Linda Levitan). You will post you "journal." You will write a paragraph putting down your thoughts/ideas/opinions about this chapter. How does it make you feel? What did you already know? What was new to you? Imagine yourself ... ? This sections needs to be approximately 8 - 10 sentences. After you do this post you will then read your peer students post. You will then reply to their post ... do not just say "nice job," or "I agree;" you can say that but tell me why! These reply's to your peers should be between 3 and 5 sentences.

Chapter 64.

At my daughter’s wedding, I saw my nephew dance for the first time, and I was surprised to see him dancing so beautifully.  How could he do that if he’s deaf?  My sister tried to explain how that could work.  I still don’t understand.  Can all deaf people dance like him?

We personally enjoy seeing people doing what others imagine unthinkable – wrecking stereotypical notions of what’s normal “handicapped” behavior.  But the fact is that deaf people are very much individuals, and exactly like hearing people in that respect.  And while some hearing people are terrific dancers and some are incredible klutzes, the same applies to deaf people.  Some are just so beautifully coordinated, so creative with movement, so physically free, they’ve made professional or quasi-professional careers out of dance, while others equally deaf are stiff and awkward – hippopotami on skateboards.  Since deafness can affect the sense of balance whose center is in the inner ear, many deaf people must struggle especially hard to achieve coordination and grace – and sometimes this makes them better, more motivated dancers!

We can learn to dance very well without being able to hear the music.  What’s required is a sharp eye, alertness, sensitivity to rhythm, and coordination – the same skills any good dancer develops.  Dance classes set up for deaf students use visual cues, amplified music (with a vigorous bass section), and a lot of percussion – like tambour drums – that sends strong vibrations through the air and can be felt in one’s bones (particularly the breastbone).  On stage, without the help of the drum, they can keep mental count.

That deaf dancers “feel the vibrations through the floor” is something of a misconception.  Since their feet are not in contact with the floor at all times, it’s more accurate to say deaf dancers feel vibrations of the music through their bodies.  They learn to keep a sharp eye-corner on what’s happening, as well as developing and refining their intuitive, “internalized” sense of rhythm.  Your nephew was keenly alert to what was going on and used his own everyday skills to keep perfect pace with the others.

He has some distinguished company.  As an example of what a deaf dancer can achieve, consider the remarkable career of Frances Woods (real name:  Esther Thomas).  She was born totally deaf in 1907, yet became a professional dancer in 1926.  She and her hearing husband, Billy Bray (real name Anthony Caliguire), formed a team, dancing in hotels and taverns during the Depression, then in vaudeville (live routines) at the R.K. O. chain of theaters.  Their routines included acrobatics, mime, and a variety of elements from popular dances of the day (such as the “Apache”).  Both of them developed tremendous strength and endurance.  One of Woods’ celebrated routines concluded with her pretending to shoot Bray with a tiny pistol, then lifting him off the floor and carrying him offstage, slung over her shoulder.  Woods designed and made all her own costumes.  Robert L. Ripley (of “Believe It Or Not!” fame) called them the Wonder Dancers.  Woods and Bray performed throughout the 1930’s, 1940’s, and 1950’s, in many famous nightclubs and hotels, accompanied by some of the great bands, in the States and Europe.  They even performed in London’s famed Palladium.  Long after retirement, they were still dancing together.

What about dance troupes?  Gallaudet University has the well-know Gallaudet Dancers, who have performed publicly on and off campus.  Yacov Sharir (hearing) founded the American Deaf Dance company in 1976.  Featuring a “mixed troupe” of deaf and hearing dancers, the ADDC enjoyed a promising but brief career.  Musign, a Deaf comedy-dance-sign-music troupe, began touring in 1982.  The American Dance Theatre of the Deaf was founded in 1982.  The American Dance Theatre of the Deaf was founded in 1986 by Adrienne Ehrlich (also hearing).  Unlike the ADDC, this was an all-deaf troupe.  ADTD’s choreographer, Michael Thomas, was a progressively-defeaned professional dancer who had once been the premier danseur (leading male dancer) of the San Francisco Ballet Company and suffered from attacks of vertigo and a progressive loss of balance.  Thomas taught dance to deaf and hearing students and directed the RIT Dance Company from 1988 until his untimely death from AIDS in 1997.  All of these Deaf-dance companies have disbanded, but the Gallaudet Dancers are still going strong, and dance continues at NTID/RIT.

Elsewhere, opportunities for deaf students are limited.  The Joffrey Ballet once offered a class for Deaf students (in Manhattan, naturally).  This was immortalized in Silent Dancer (1981), written by Bruce Hilbok and photographed by Liz Glasgow.  The dancer was Bruce’s sister Nancy.

A good number of deaf people love going to bars with well-amplifies disco music.  They love to dance to the loud, very loud bass section and the booming percussion.  Many Deaf festivals and gatherings feature a disco-dance party, and these are typically well-attended.  Even those who can’t dance well have a great time.

Anyone who says that deaf people can’t dance is a dolt.  And anyone who says that all deaf people are good dancers is a bigger dolt.

 

Chapter 66.

Do signsongs make sense?

1.        It seems that many hearing children (and adults) are learning signs from their (hearing) teachers in order to sign and sing sons for (hearing) audiences.  I am bothered by this.  Do Deaf children and Deaf adults enjoy seeing hearing (people) sign and singing songs?

2.       If Deaf Children learn to voice songs for Deaf audiences, would this make sense?

3.       Anyway, signing songs word-for-word is just a string of vocabulary words, not a translation.  Where’s the meaning?

Signsongs are an artistic hybrid, borrowing the concept of choral signing from Hearing culture and the signs (more or less) from Deaf culture.  The idea is to present a visual harmony and counterpoint that complements the purely auditory dimension of a voice choir.  It’s a new twist on a traditional musical genre.  Signsongs can also be performed by trios, duets, or soloists.

We’re not sure who developed signsong, or when, but it has become a staple of Deaf-culture festivals.  It plays a part in church services (signed hymns and psalms), public gathering and concerts.  Deaf/hard-of-hearing sign choirs that perform publicly come and go.  There’s an annual Sign Choir Festival in Texas (sponsored by the Sign Music Foundation based in Denton) that emphasizes imaginative approaches.  Deaf artists participate, and not just those who perform signsongs either.  It’s a popular event. 

So … are signsongs okay?  Those who perform and enjoy watching them don’t see any problem.

So why do some Deaf people have negative feelings about signsong?  Several reasons.  They’re not a traditional pare of ASL culture, not the way ASL sign-mime performances are.  Sign mime, albeit a relatively new genre, utilizes elements of mime, borrowed from the Hearing tradition.  In the hands of a skilled performer, sign-mime can be a tremendously exciting experience.  The audience is invited to participate in the performance, using their eyes, emotions, and imaginations.  It is very hard to draw lines of demarcation between sign-mime, ASL poetry, storytelling, and drama, because each may contain elements of the other genres.  ASL is a powerful artistic medium – even for audiences who may not understand ASL.  Such forms of performance art are seen as organic outgrowths of ASL.

Signsongs, then, are more of a hearing form of expression than a Deaf one.  So is it okay for hearing choirs to perform signsongs to hearing audiences?  As Ms. Roth’s questions suggest, some Deaf people (by no means extremists or linguistic fanatics) are bothered by this.  Because signed songs utilize elements of sign language transposed to a musical genre, there’s a political dimension.  Deaf people who dislike the idea of signing songs simply avoid attending such events.  Some have gone further.  In the late 70s, Audree Norton, Gregg Brooks, and Julianna Fjeld publicly protested the use of a group of hearing students signing a song at an Academy Awards event. For one thing, they felt that it would have been more appropriate to let Deaf students sign the song.  Give them the opportunity to show the beauty of sign language – their language.  For another, they were concerned about the authenticity, distortion, and misrepresentation involved.

But … are signsongs really sign language?  “Where’s the meaning?”  asks Ms. Roth.  Meaning isn’t the most important consideration here.  Signsongs look pretty, which is, we suppose, why uninformed hearing audiences like them and why they have endured.  Certainly, it can look nice if it’s done well.  But is it a legitimate means of artistic expression?  Is there a taint of cultural piracy about it?

Most signsongs are performed in straight signed English – sung lyrics with signs pasted onto them, word for word.  It’s a dry approach, and tends to leave Deaf audiences bewildered.  They don’t understand this approach at all.  Hearing audiences (especially those unfamiliar with real ASL) applaud, cheer, and think it’s absolutely beautiful. 

We suspect that some hearing teachers have their hearing students rehearse and perform signsongs to give them something to do with their hands while they’re singing … i.e., to prevent fidgeting.  Instead of having the choir stand immobile with only their mouths moving, they sign in synchrony with what they’re singing.

Lest you think that we’re “against” blending signs and song as a matter of principle, we hasten to add that we’re not.  There is a well-known signsinger named Sherry Hicks who performs ASL songs beautifully.  She’s a hearing woman – a CODA.  And she performs for Deaf audiences, who are delighted, even enraptured, by the beauty of her songs.  Since she has a strong native-ASL background, she understands what she’s doing, and what Deaf people want.  Her songs aren’t cross-cultural pastiches; they bear the stamp of her artistry.  That’s an example we wish could be more widely emulated.

2012-2013 Due: 9/10/12

Directions: You will read the folling chapter from "For Hearing People ONly" book (written by Matthew S. Moore & Linda Levitan). You will post you "journal." You will write a paragraph putting down your thoughts/ideas/opinions about this chapter. How does it make you feel? What did you already know? What was new to you? Imagine yourself ... ? This sections needs to be approximately 8 - 10 sentences. After you do this post you will then read your peer students post. You will then reply to their post ... do not just say "nice job," or "I agree;" you can say that but tell me why! These reply's to your peers should be between 3 and 5 sentences.

OK, here is Journal/Blog number 1:

 

 

 

358 FOR HEARING PEOPLE ONLY

Chapter 61

Are deaf people still stereotyped?

If so, how? What kind of

stereotypes are still popular?

A stereotype is an image cut from a pattern instead

of reality. It reflects more preconception than truth.  Here are some of the most common (Hearing) stereotypes of deaf people, including some. prevalent Hollywood stereotypes. (We have

already discussed "The Silent Bookworm" and "The Illiterate Dork.").

 

The Silent Sufferer: Deaf people are seen as solitary social outcasts, terribly alone, more alienated than hearing characters.  A particularly poignant embodiment of this view is the character of John Singer in Carson McCullers' classic novel, The Heart is a Lonely Hunter. This has been made into a movie (with a hearing actor, Alan Arkin, playing the character), and, more recently, a Broadway play (with the brilliant ASL-Deaf actor Bruce Hlibok in the role). Although tragically isolated, Singer is such n attractive, sympathetic character and a good "listener" that hearing people pour out their troubles to him. He finds happiness and fluent communication (in ASL) only when he's with his friend/lover Antonopoulos, who's loutish and mentally unstable but also Deaf. After Antonopoulos dies in a mental institution, Singer commits suicide.

 

In reality, ASL-Deaf people are social creatures. We suspect that they are somewhat less susceptible to depression and suicide than oral-deaf and late-deafened people. We have

active social lives-visiting Deaf friends and inviting them over, participating in Deaf clubs and events. Hearing people often shun or patronize us because of the communications barrier, but rarely do they adopt us as spiritual mascots. John Singer is actually a symbol of alienated humanity. Deaf

people are ... people.

 

The Pathetic Waif/Emotional Basket Case: Popularized by Johnny Belinda (one movie version and two TV versions so far), and the more recent Breaking Through. Belinda and Laura, young, vulnerable, abused, languageless deaf women, are both victimized. Notably, both characters have been played by hearing actresses. In fairness, Johnny Belinda was the first major Hollywood movie (1948) to portray a deaf character and sign language in a positive light. Belinda's and Laura's stories are supposedly about empowerment. Both women are helpless and in trouble. Their being deaf and languageless adds tearjerker appeal to their plights.

 

Ironically, Breaking Through was based on a real-life situation:  the experience of a young, languageless Hispanic- American woman who escaped her abusive family in Los Angeles, where she had been treated essentially as a slave.  But the TV-movie version erased her ethnic identity, making her Caucasian, and nominally shifted the action to Florida. By the time the story reached the screen, much of the truth had

been squeezed out of it.

 

Phyllis Frelich portrayed a more true-to-life character, Janice Ryder, in Love is Never Silent (based on the first part of Joanne Greenberg's In This Sign): an exploited textile worker who is angry and embittered-but understandably so. It was a brilliant portrayal, and Frelich has played other strong, multi-dimensional Deaf women. The role of Sarah Norman in Children of a Lesser God was written for her by Mark Medoff.  One cannot imagine Frelich playing a Belinda. We will always wonder what a Deaf actress could have brought to the portrayal of Laura. . . ,

 

Super-Sleuth Who Can Read Lips Through Walls: Tess Kaufman, the character played by Marlee Matlin in Reasonable Doubts, has something of this heightened capability.  Communication is never a problem for her on the job. She has a signing partner. She interviews all kinds of unsavory characters,

never has to "fake it," and holds her own splendidly in court. Ironically, in real life, Matlin wanted to pursue a career in law enforcement, but was told that because she was deaf, she'd be confined to a desk job. She ended up switching careers.

 

Super-Deafie with Novelty Value: Deaf guest stars on prime-time TVprograms (e.g., Terrylene Sacchetti on Doogie Howser, M.D.) help the hearing regulars solve problems by using their ingenuity, imagination, and signing skills, while teaching them a valuable lesson or two, then exit. This is a

problem with sitcoms. Each installment brings in a new character whose involvement with the regulars lasts for exactly one or one-half hour. Terrylene's appearance (as a member of a Deaf gang) in several sequential episodes of Beauty and the Beast was an exception. Matlin's role as a mayor on Picket Fences was a breakthrough in that she made return appearances. (More, please.) In real life, hearing people who make friends with deaf people put aside time and energy to cultivate their friendship and learn to communicate. Of course, this doesn't jibe with the quick-bite sit-com style. Life is not served up in lO-minute segments between commercials, and problems aren't neatly resolved before the final credits.

 

Sleazy Card Peddlers: These characters prey on hearing people's stereotypical perceptions of the deaf. ("Oh, those poor deaf people. I'm glad to help out those who are less fortunate than me.") The hearing victim shells out a few, bucks for a manual-alphabet card that s/he won't use, or some trinket worth a few cents. Most deaf people are hardworking, honest taxpayers. They buy cars and houses, rent apartments, travel, and go to supermarkets and shopping malls just like everybody else. We don't know of any deaf people who financed their college educations by peddling (i.e., begging). They got scholarships or worked their way through. Most of us bitterly resent the negative stereotype

perpetrated by card-peddlers. 

 

A sidenote: As for the deaf Mexican immigrants liberated from the "bondage ring": many Deaf people in Mexico believe that peddling trinkets on the streets is preferable to doing nothing, since educational and career opportunities for deaf people there are severely limited. (Perhaps we should say" nonexistent. 1/) Those who came illegally to the U'S. were lured by promises of easy work, a good income, and better living conditions than they could hope for in Mexico. The way they were treated by their "customers" (who often gave them extra dollars for their trinkets), shopkeepers (who gave them free sandwiches and coffee before they started their comfortless days on the subways), and the city and government officials who provided for them after the ringleaders were arrested, tried, and convicted, says much for common sense and compassion. Most chose to stay in New York. What they wanted more than anything else was an opportunity to earn a decent living. None wanted to peddle anymore. 

 

The Incompetent Dum-Dum: Some intelligent hearing folks still believe that deaf people can't think, and treat them accordingly. Question: How many of us have been treated as though we were mentally retarded? Answer: a lot!

 

Exotic Alien: Deaf people are seen as exotic, weird, strange, alien, etc., not because of their personalities or characters, but simply because they're deaf.  Particularly ASL-Deaf.

 

Life's Loser: Deaf people are seen as pathetic, victimized, weak characters. There is a prevalent notion in Hearing culture that you're" nothing if you can't speak." According to this notion, to succeed, you must be able to speak well. Those who prefer not to use their voices and rely on ASL for everyday communication are labeled with all sorts of negative terms-"deaf-mute," etcetera.

 

Evil Deafie: To some hearing people, there is something sinister about deafness ... a holdover from the not-so-good old days when deaf people were considered accursed of God and were treated as outcasts (and still are, in some cultures).  Newspaper coverage of crimes committed by deaf people sometimes emphasizes the deaf aspect. Lou Ann Walker's intimate portrayal of a Deaf gang, the Nasty Homicides, in People Weekly was a stereotype-buster.

 

God's Victim: Conversely, some hearing people see us as "touched by God" or "special to God" in someway, by virtue of our "affliction."  This can be as insidious and patronizing view as the view that deaf people are cursed. 

 

Tabloid Tragedies: Tabloid newspapers are awfully fond of labeling deafness a "tragedy," and calling us "deaf-mutes."  , E.g., "Tragically, her son was born deaf." "Sadly, she was born with the same affliction." It's difficult to develop a positive self-image if everybody tells you you're "afflicted" and that your being deaf is a "tragedy." The real tragedy is that we are prevented from achieving our full potential because of prejudice.  In our struggle to gain rights, empowerment, and better education for all deaf people, the last thing we need is to be branded as walking tragedies!  Stereotypes are a problem for us when they are used to keep us "in place," to restrict our freedom, to curtail our ambitions, to reinforce low expectations, and to legitimize prejudice and negative misconceptions. Stereotypical thinking is a symptom of ignorance. Ignorance is the most devastating of all disabilities, but the most easily cured.

Assignment Two: Due 5/2/12

Directions: We read the poem in class. Now you need to post your thoughts/ideas/opinions ... similar to your journals (include how this makes you feel, did you learn anything, what if this was you, ...). You will also comment on other students posts (minimum of two).

"Thoughts of a Deaf Child"

My family knew that I was deaf

When I was only three, and since then fifteen years ago

Have never signed to me,

I know when I'm around the hourse,

I try and use my voice,

It makes them feel more comfortable;

For me, I have no choice.

I try, communicate their way --

Uncomfortable for me.

My parents wouldn't learn sign

Ashamed or apathy?

I never cared about the sound of radios and bands;

What hurts me most is, I never heard

My parents' signing hands.

Stephen J. Bellitz

Assignment 1: 4/20/12

Directions:  We read the poem in class.  Now you need to post your thoughts/ideas/opinions ... similar to your journals (include how this makes you feel, did you learn anything, what if this was you, ...).  You will also comment on other students posts (minimum of two).

What is it like to "hear" a hand? 
You have to be deaf to understand. 
       by:  William J. Madsen

What is it like to be a small child, 
In a school, in a room void of sound -- 
With a teacher who talks and talks and talks; 
And then when she does come around to you, 
She expects you to know what she's said? 
You have to be deaf to understand. 

Or the teacher thinks that to make you smart, 
You must first learn how to talk with your voice; 
So mumbo-jumbo with hands on your face 
For hours and hours without patience or end, 
Until out comes a faint resembling sound? 
You have to be deaf to understand. 

What is it like to be curious, 
To thirst for knowledge you can call your own, 
With an inner desire that's set on fire -- 
And you ask a brother, sister, or friend 
Who looks in answer and says, "Never Mind"? 
You have to be deaf to understand. 

What it is like in a corner to stand, 
Though there's nothing you've done really wrong, 
Other than try to make use of your hands 
To a silent peer to communicate 
A thought that comes to your mind all at once? 
You have to be deaf to understand. 

What is it like to be shouted at 
When one thinks that will help you to hear; 
Or misunderstand the words of a friend 
Who is trying to make a joke clear, 
And you don't get the point because he's failed? 
You have to be deaf to understand. 

What is it like to be laughed in the face 
When you try to repeat what is said; 
Just to make sure that you've understood, 
And you find that the words were misread -- 
And you want to cry out, "Please help me, friend"? 
You have to be deaf to understand. 

What is it like to have to depend 
Upon one who can hear to phone a friend; 
Or place a call to a business firm 
And be forced to share what's personal, and, 
Then find that your message wasn't made clear? 
You have to be deaf to understand. 

What is it like to be deaf and alone 
In the company of those who can hear -- 
And you only guess as you go along, 
For no one's there with a helping hand, 
As you try to keep up with words and song? 
You have to be deaf to understand. 

What is it like on the road of life 
To meet with a stranger who opens his mouth -- 
And speaks out a line at a rapid pace; 
And you can't understand the look in his face 
Because it is new and you're lost in the race? 
You have to be deaf to understand. 

What is it like to comprehend 
Some nimble fingers that paint the scene, 
And make you smile and feel serene, 
With the "spoken word" of the moving hand 
That makes you part of the word at large? 
You have to be deaf to understand.