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“Deaf music?” Faced with this question, many people think about the attempts to give Deaf people "access" to music, used here in its normative hearing form (eg a musical soundtrack). Translation of vocal songs in various sign languages, transformation of sound tracks into vibratory experience, musical rhythms broadcast by visual speakers... accessibility initiatives are numerous, but more often than not unidirectional: they aim to make hearing music accessible to Deaf people, reputed to live in a "world of silence". Our vibrant hands aim to deconstruct this concept of accessibility: what if hearing people had access to signed music? You can’t sign? Enjoy these creation by letting yourself be captivated by the vibrations. Inspired by the Deaf artist Christine Sun Kim who reclaims sound, Our vibrant hands is a research-creation carried out thanks to the collaboration of four Quebec Deaf artists of various origins. Four workshops held in 2018 allowed us to explore signed music, using (Quebec and American) sign languages, gestures and vibrations. Screened for the first time at the VIBE symposium: Challenging ableism and audism through the arts, it is here the subject of an eight- handed reflexion, produced in 2019. What attachment do we have with music? How is signed music different from hearing music? What does it mean for us to deconstruct audism in music? These are the questions that guided this multilingual exchange in Quebec sign language, French and English.
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Audible in speech and song, electro-pop singer Grimes’s so-called “baby doll” lisp generates endless buzz online, ranging from light-hearted adoration, to infantilization, to sexual fetish and even to ableist, misogynist anti-fandom. This article uses the reception of her lisp to build an intersectional theory of lisping across its medical and socio-cultural constructions, bridging work in disability studies, dysfluency studies, voice studies, and popular music studies in the process. I situate the slippage between adoring, infantilizing, fetishistic, and violent characterizations of Grimes’s lisp as reflective of the infantilization of “communicative disorders” in speech language pathology, and the dysfunction associated with feminine coded-speech patterns (e.g. vocal fry and up talk) in the popular imaginary. Lisping is profitably understood as an audible form of “liminal” difference relative to visible physical disabilities (St. Pierre), and to certain ableist, gendered, and racialized conceptions of normative vocality. Ultimately, in the English-speaking world, the lisp is symbolically-coded feminine while exceeding the norms of female vocality, thereby giving rise to a polarizing set of associations that work against female authority and, by extension in Grimes’s case, female musical authorship. Grimes’s reception thus offers a valuable case study for interrogating how misogynist fantasies regarding femininity are thought localized in the female voice, and the symbolic ties between disability and femininity.