This article critically examines a multimodal film produced by Rachelle Harris, entitled “Seizing... more This article critically examines a multimodal film produced by Rachelle Harris, entitled “Seizing Academic Power: Creating Deaf Counternarratives.” (2015). The film is presented in American Sign Language, accompanied with English subtitles and graphic/design (aesthetic) elements, which are employed to critique the 20th century model of deaf education as exemplified by Myklebust’s 1964 “The Psychology of Deafness.” Harris’ film is designed to inform individuals in the Deaf community about harmful metanarratives that have pervaded the educational contexts for deaf people throughout the past 50 years. Harris’ film explores the concepts of producing deaf counternarratives as a strategy to gain academic power and assert cultural autonomy. In this exploratory study, two different researchers offer complimentary analyses that explore multidisciplinary theoretical lenses to decompose this film artifact. These orientations include: culturally relavent pedagogy, multimodal communication, deaf epistemology theory, and deaf gain theory (Ladsen- Billings, 1995; Kress, 2010; Paul and Moores, 2012; Bauman and Murray, 2013). Our findings reveal that our unique researcher positionalities, as well as the distinct theoretical orientations we employ affect the analysis. Blair and Skyer chose different, though related theoretical frameworks that align with their perspectives regarding teaching deaf students as presented by Harris (2015) in her film. Blair views the film through the lens of culturally relevant pedagogy (CRP), as exemplified by Ladsen-Billings (1995a; 1995b). CRP is based on the notion that all students are capable of academic success, all can gain and maintain cultural competence, and all can develop critical consciousness within the classroom. This framework focused on the teacher’s conception of self and others, as well as the teacher’s conceptions of knowledge as a basis to analyze the facilitation of student learning, especially in a marginalized group, in this case, Deaf culture. Skyer draws from an eclectic array of post structural education and communications research to explore the ideological and aesthetic dimensions of this artifact of teaching. This approach uses Larson (2014), Ranciere (2013), and Kress (2010), among others, to explore the multimodal, multisensory avenues for teaching as exemplified by Harris’ (2014) film. This orientation reveals some of the ontological flaws of the 20th Century model of deaf education. It reveals the need for radical equipotentiality in all deaf educative contexts, and offers new ways to explore the political and aesthetic dimensions of teaching deaf students. This interpretive, qualitative study employed specific analytic approaches in order to offer a complex picture of contemporary deaf education issues and dilemmas. We situate deaf studies in the 21st Century and explore recent philosophical “turns” of deaf education by investigating it historically and conceptually through hybrid empirical methods. Data were collected through several structured viewings of Harris’ film. Data were analyzed using process coding, reflective writing, and memo coding. Our study concludes with implications for further study in the disparate domains of a new 21st Century deaf education, including (but not limited to) pedagogy, discourse, ideology, and aesthetics.
This article critically examines a multimodal film produced by Rachelle Harris, entitled “Seizing... more This article critically examines a multimodal film produced by Rachelle Harris, entitled “Seizing Academic Power: Creating Deaf Counternarratives.” (2015). The film is presented in American Sign Language, accompanied with English subtitles and graphic/design (aesthetic) elements, which are employed to critique the 20th century model of deaf education as exemplified by Myklebust’s 1964 “The Psychology of Deafness.” Harris’ film is designed to inform individuals in the Deaf community about harmful metanarratives that have pervaded the educational contexts for deaf people throughout the past 50 years. Harris’ film explores the concepts of producing deaf counternarratives as a strategy to gain academic power and assert cultural autonomy. In this exploratory study, two different researchers offer complimentary analyses that explore multidisciplinary theoretical lenses to decompose this film artifact. These orientations include: culturally relavent pedagogy, multimodal communication, deaf epistemology theory, and deaf gain theory (Ladsen- Billings, 1995; Kress, 2010; Paul and Moores, 2012; Bauman and Murray, 2013). Our findings reveal that our unique researcher positionalities, as well as the distinct theoretical orientations we employ affect the analysis. Blair and Skyer chose different, though related theoretical frameworks that align with their perspectives regarding teaching deaf students as presented by Harris (2015) in her film. Blair views the film through the lens of culturally relevant pedagogy (CRP), as exemplified by Ladsen-Billings (1995a; 1995b). CRP is based on the notion that all students are capable of academic success, all can gain and maintain cultural competence, and all can develop critical consciousness within the classroom. This framework focused on the teacher’s conception of self and others, as well as the teacher’s conceptions of knowledge as a basis to analyze the facilitation of student learning, especially in a marginalized group, in this case, Deaf culture. Skyer draws from an eclectic array of post structural education and communications research to explore the ideological and aesthetic dimensions of this artifact of teaching. This approach uses Larson (2014), Ranciere (2013), and Kress (2010), among others, to explore the multimodal, multisensory avenues for teaching as exemplified by Harris’ (2014) film. This orientation reveals some of the ontological flaws of the 20th Century model of deaf education. It reveals the need for radical equipotentiality in all deaf educative contexts, and offers new ways to explore the political and aesthetic dimensions of teaching deaf students. This interpretive, qualitative study employed specific analytic approaches in order to offer a complex picture of contemporary deaf education issues and dilemmas. We situate deaf studies in the 21st Century and explore recent philosophical “turns” of deaf education by investigating it historically and conceptually through hybrid empirical methods. Data were collected through several structured viewings of Harris’ film. Data were analyzed using process coding, reflective writing, and memo coding. Our study concludes with implications for further study in the disparate domains of a new 21st Century deaf education, including (but not limited to) pedagogy, discourse, ideology, and aesthetics.
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In this exploratory study, two different researchers offer complimentary analyses that explore multidisciplinary theoretical lenses to decompose this film artifact. These orientations include: culturally relavent pedagogy, multimodal communication, deaf epistemology theory, and deaf gain theory (Ladsen- Billings, 1995; Kress, 2010; Paul and Moores, 2012; Bauman and Murray, 2013). Our findings reveal that our unique researcher positionalities, as well as the distinct theoretical orientations we employ affect the analysis. Blair and Skyer chose different, though related theoretical frameworks that align with their perspectives regarding teaching deaf students as presented by Harris (2015) in her film.
Blair views the film through the lens of culturally relevant pedagogy (CRP), as exemplified by Ladsen-Billings (1995a; 1995b). CRP is based on the notion that all students are capable of academic success, all can gain and maintain cultural competence, and all can develop critical consciousness within the classroom. This framework focused on the teacher’s conception of self and others, as well as the teacher’s conceptions of knowledge as a basis to analyze the facilitation of student learning, especially in a marginalized group, in this case, Deaf culture. Skyer draws from an eclectic array of post structural education and communications research to explore the ideological and aesthetic dimensions of this artifact of teaching. This approach uses Larson (2014), Ranciere (2013), and Kress (2010), among others, to explore the multimodal, multisensory avenues for teaching as exemplified by Harris’ (2014) film. This orientation reveals some of the ontological flaws of the 20th Century model of deaf education. It reveals the need for radical equipotentiality in all deaf educative contexts, and offers new ways to explore the political and aesthetic dimensions of teaching deaf students.
This interpretive, qualitative study employed specific analytic approaches in order to offer a complex picture of contemporary deaf education issues and dilemmas. We situate deaf studies in the 21st Century and explore recent philosophical “turns” of deaf education by investigating it historically and conceptually through hybrid empirical methods. Data were collected through several structured viewings of Harris’ film. Data were analyzed using process coding, reflective writing, and memo coding. Our study concludes with implications for further study in the disparate domains of a new 21st Century deaf education, including (but not limited to) pedagogy, discourse, ideology, and aesthetics.
In this exploratory study, two different researchers offer complimentary analyses that explore multidisciplinary theoretical lenses to decompose this film artifact. These orientations include: culturally relavent pedagogy, multimodal communication, deaf epistemology theory, and deaf gain theory (Ladsen- Billings, 1995; Kress, 2010; Paul and Moores, 2012; Bauman and Murray, 2013). Our findings reveal that our unique researcher positionalities, as well as the distinct theoretical orientations we employ affect the analysis. Blair and Skyer chose different, though related theoretical frameworks that align with their perspectives regarding teaching deaf students as presented by Harris (2015) in her film.
Blair views the film through the lens of culturally relevant pedagogy (CRP), as exemplified by Ladsen-Billings (1995a; 1995b). CRP is based on the notion that all students are capable of academic success, all can gain and maintain cultural competence, and all can develop critical consciousness within the classroom. This framework focused on the teacher’s conception of self and others, as well as the teacher’s conceptions of knowledge as a basis to analyze the facilitation of student learning, especially in a marginalized group, in this case, Deaf culture. Skyer draws from an eclectic array of post structural education and communications research to explore the ideological and aesthetic dimensions of this artifact of teaching. This approach uses Larson (2014), Ranciere (2013), and Kress (2010), among others, to explore the multimodal, multisensory avenues for teaching as exemplified by Harris’ (2014) film. This orientation reveals some of the ontological flaws of the 20th Century model of deaf education. It reveals the need for radical equipotentiality in all deaf educative contexts, and offers new ways to explore the political and aesthetic dimensions of teaching deaf students.
This interpretive, qualitative study employed specific analytic approaches in order to offer a complex picture of contemporary deaf education issues and dilemmas. We situate deaf studies in the 21st Century and explore recent philosophical “turns” of deaf education by investigating it historically and conceptually through hybrid empirical methods. Data were collected through several structured viewings of Harris’ film. Data were analyzed using process coding, reflective writing, and memo coding. Our study concludes with implications for further study in the disparate domains of a new 21st Century deaf education, including (but not limited to) pedagogy, discourse, ideology, and aesthetics.