de l`Epée of the abbé
Transcription
de l`Epée of the abbé
SPECIAL ISSUE 2012 • www.art-pi.fr Performing Arts / Broadcast / Art / Publishing / Multimedia Art and Culture Magazine FREE SPECIAL ISSUE A FORGOTTEN PAST Pictures and artworks never seen before COMICs Through History and Deaf Community DEAF AND TALENTED agenda The Deaf Culture experience Painting, sculpture, press, theatre… Tercentenary 1 Art’Pi! of the abbé de l'Epée Art and Culture magazine for deafs and Sign Language Subscribe + for free You can receive your Art'Pi ! by email! Summer issues are translated in English. Don't miss one single event of the Deaf community, go on our website www.art-pi.fr click on “Subscribe” and you will receive your magazine by email as soon as it is published. + onAdvertise your events! Bimonthly magazine le vivant Spectac uel / Art / Audiovis / Édition Send your informations, press books, photographs (size 300 dpi) about the event you organise around Deaf community and Sign Language (in France or abroad): [email protected] or fill this on-line form: https://docs.google.com/spreadsheet/viewform? formkey=dHh3NzlMZ0dieTB6ZDlSR25aNkJvdlE6MQ#gid=0 dia / Multimé pi.fr / MAI 2012 • TUIT urel e cult Magazin COUP DE N°5 FÉVRIER 2012 - N°4 - www.ar t-pi.fr Spectacle vivant dock Swivl, un pour motorisé one votre iPh TENDAN Magazine cu lturel D'ART e La théori be du Cra / Art / Édition / Multimédia s Nicola Cheucle GRATUIT N°4 NDA AGE cles, COUP de COeUr Specta os, La vraie exp vie de cinéma... Matt Hamill 5940 09 / Audiovisuel RD CE SOU COEUR ou e Levent visualisé la pensée BILLET GRA Céline Hayat Billet d'art L'art Sourd, qui cela concerneraitil ? " Je me sen s artiste, pas artisan. " rps ins, le co « Les ma s outils sont de bles. » formida teNdaNCe your ad + Publish on Art'Pi ! SOUrd Un équivalent Sourd de Siri ? 18 9 7721 aGeNda Spectacles, expos, cinéma... 9 772118 594009 AVRIL www.artN°5 • e Subscrib i.fr p t r a . w ww If you want to promote a new service or product concerning deafs. If you feel our agenda is not big enough for it. We have some advertisement spaces for you. Art’Pi ! is the only media through which you can touch the whole French Deaf community. This free on-line referenced magazine generates its own network that makes your ad more efficient. No waiting! Contact us for prices and informations: [email protected] Why you should subscribe to Script : Sophie Laumondais, Noémie Churlet / Drawings : Alex Sambe What is QR Code? QR Code (or Flashcode) is a 2D barcode that encodes the information and allows you to access to multimedia QR code, c’estcontents quoi ? from a website very quickly on your mobile phoneest(videos, music, photos, information) ord’accéder simplytrès rapidement QR Code (ou Flashcode) un code barre en deux dimensions qui vous permet à du contenu multimédia (vidéos / musiques / photos / informations) sur un site Internet depuis votre to store the code for a later access. mobile, ou d’enregistrer en un flash un contact dans votre téléphone. Vous pouvez trouver des QR Code un peu partout autour de vous : dans des magazines, sur les arrêts de bus, sur les monuments historiques, sur les emballages de produits alimentaires, dans des annuaires, dans vos boutiques de vêtements… You can find QR Codes any place such as magazines, bus stops, landmarks, products packaging, yellow Le QR code web permet par exemple d’accéderfood à un site web ou à une vidéo, d’écouter une musique… pages, clothing stores and so on. For instance, QR Code web allows to access a website or a video as well as music... Mini© How does it work? Comment ça marche ? To read a QR Code, your phone must be equipped with the mobile application to decode 2D barcodes. You can find this free application in the main application stores on your smartphone (App Store, Android Market…) or you also can download it by SMS to get a link. It is very simple! Pour lire un Qr Code, votre téléphone doit être équipé d’une application permettant de décoder les codebarres 2D. Vous trouverez cette application gratuite dans les principales d’application votre Once your phone isboutiques equipped with thesur application that can smartphone (App Store, Android Market, …), ou vous pouvez également la télécharger par SMS. C’est decode QR Code, you simply need to launchtrès the application simple ! and scan the printed code on your mobile screen. You will instantlyqui enter thedewebsite without any further Une fois que votre téléphone est équipé de l’application permet décoder les Qr Code, il vous suffit manipulation. simplement de lancer l’application et de viser le code barre 2D avec votre écran. En un flash, vous accéderez au site Internet ! TEXTES TEXTES EDITORIAL Editorial A huge thank to our sponsor Emmanuelle Laborit who gave us support since the beginning of this big adventure! When we unofficially decided to make a special issue about the 300th anniversary of the abbé de l'Épée, I was not particularly excited about the man. What I was really into was an opportunity to push forward deaf artists from his time till now. But he... he was kind of getting on my nerves because people think he invented Sign Language! Which means deafs are idiots, with no communication needs and that bugged me! I thought it overrated to consider him as a savior. He has been claimed to be the first to teach the deaf children and that is also wrong. I had this urge to say: “Hold on! Let's not give him all the credits!”. But after all the work on this issue–the reading, the discoveries I made, the talking–I have totally changed my mind about him. I can picture now a man asking for nothing in return, giving everything to people who were put aside. His goal was to change society's mind, to kill a long-running prejudice. Yes, deafs can think, learn, achieve, initiate and take part to Society. He alone managed with great effort to turn deaf people into Deaf people–by giving back to them social status and knowledge. The first to embrace their differences and discover thus their intellectual skills. He showed the world deafs were human. Thanks to him, artists, writers, poets, journalists, contractors–all deafs–appeared and that was a first in History. That is what I had previously been unable to understand. Sure there had been other teachers for the deafs, but he was the only one who found the key to the secret place of the Silent people and to display these differences to the world–and needless to say, without broadcast or webcast at the time. Time, energy, a huge step towards humanism–all broken by the Congress of Milan in 1880. But he succeeded somehow: his teaching method and his tenacity spread all We use “Deaf” when referring to Deaf culture We use “deaf” when referring on a more general or medical level over the rest of the world. Europe would prevent deafs to get access to education and knowledge for a hundred years, but we nonetheless experienced an awakening thanks to Alfredo Corrado who came from the US to France in 1976. As a deaf, he initiated a coming-back to our roots and helped us to fight back for a place in French society. The education this man grew with was a legacy from the abbé de l'Épée himself and he gave it back to us. Had de l'Épée not been so stubborn we wouldn't have experienced the expansion of our culture and our identity as we know it. I now understand better the huge respect deaf artists of the time (and contemporary too) bore for him and why each of them had produced at least one work dedicated to him. Yes it could have been anyone but it has been CharlesMichel de L'Espée. To conclude I would like to add: “Thank you, Charles-Michel, you have truly been the starting point of our cultural, artistic and intellectual development. I was ungrateful, please forgive me! Thank you and happy anniversary!” And to you, dear readers, enjoy this special issue and prepare to be surprised! P.S.: I have only one regret. It's a shame but few deaf ladies stood up in art at the time. But it sure is different now! Noémie Churlet Art'Pi ! Director of publication Cover : Elza Montlahuc www.elzazimut. blogspot.fr OURDS NTERPRETES Director of publication Editor-in-chief Noémie Churlet Associate Editor Sophie Laumondais Editor Secretary Jeanne Bally Columnists Arnaud Balard Yves Bernard Véronique Berthonneau Fabrice Bertin Yann Cantin Adrean Clark Yves Delaporte Geneviève Pomet Sandrine Rincheval Olivier Schetrit Pauline Stroesser Agenda Editor Sylvaine Beaughon Célia Giglio Translation French/English Manager Sébastien Giozzet Translation French/English Irène Bartok Martin Dayan Didier Flory Pierre Schmitt Yaron Shavit Iconists Ivan Verbizh Richard Zampolini Art Director Jessica Boroy Photographer, Reproduction, Editing Richard Zampolini Layout Designer Jessica Boroy Sabine Salha Illustrators Jean-Marie Hallegot Daniel Le Coq Alice Messac Elza Montlahuc Alex Sambe Communication Director Sophie Laumondais Communication Assistants David De Filippo Céline Hayat Bufarull Webmaster Jax Prod Art Project holder Art’Sign 254, rue Saint-Jacques 75005 Paris www.art-sign.org N°SIRET : 4900848030025 Webmaster Assistant Tuan Le Anh Printing CPI Aubin imprimeur Make-up Artist Emmanuelle Rico-Chastel Summary 02 28 Subscribe, publish your event, advertise... Claude-André Deseine, a revolutionary artist. 04 30 Art'Pi ! advertisements What is QR Code? 05 Editorial 08 The abbé de l'Épée and the twin sisters: a deaf myth Nothing more surprising than the false beliefs running around de l'Épée's life! 1 10 Becoming Human thanks to signs Beyond prejudice, some works did participate in showing how signs make deafs back into Mankind. 16 Street signs 2 Once upon a time many deafs produced artworks which had been gathered in a place dedicated to the glory of the past. 34 Deaf influence on celebrities Artists have become famous thanks to their deaf relatives. 36 Galerie Some artistic portrays of the abbé de l'Épée. 40 Silent Press A history of the Deaf press. 44 18 46 Jean le Sourd by Yann Cantin, Céline Rames and Dano 22 Painters and sculptors: a forgotten glory A long time ago, deaf and hearing artists were competting as equals. 3 The Universal Museum of the Deaf-and-mutes Had the abbé de l'Épée never existed what would Deaf culture and art be like today? A comic book that highlights Deaf community during the Enlightenments. 6 Art’Pi! A committed sculptor Comic strip Deaf character in theatre Alternately saved by miracle, ridiculed or valorised, deaf character has been on stage for a long time. 52 Screening deafs The evolution of the role of the deafs in the cinema industry– and the way they had been screened–is profoundly linked to the Deaf culture's history. Who was the abbé de l'Épée 56 L'abbé de l'Épée by Michel Rouvière Focus on the first French film made by an all-deaf team. 58 Comic strip 59 Agenda A schedule of the important events of the season: a celebration of Deaf culture! 60 Performing arts Theatre, storytelling, workshops, readings, festivals... 61 Broadcast C harles-Michel de l'Espée was born on November, 24th 1712 in Versailles. After he had studied law he turned to a vocation within the Church. He then happened to encounter two deaf twin sisters who communicated in Sign Language. This event led the abbé de l’Épée to believe that he could offer a religious education to the deaf, whilst teaching them to read and write. He then set out to create the first school offering free education to deaf children from poor family. He was the first person who built a teaching method for the deafs on the basis of signs originating in deaf people themselves. By organising public sessions he demonstrated to all that the deafs could be considered as fully-fledged citizens and that signs could add up to a true language. Teaching the deafs became thanks to him a real vocation, to which he fully dedicated himself. 62 Art/Culture Architecture, History, plastic arts... and the tercentenary banquets. 64 Publishing Having brought together deaf pupils, he created an environment in which deafs could communicate regularly and abundantly. He thus brought about the development of French Sign Language (LSF, in French). Comics, papers, novels... 65 Multimedia What's new on the web? The abbé de l’Épée died in Paris on December, 23th 1789. In 1791, the Assemblée Nationale (NdT: the French Parliament) officially recognized his contribution to the advancement of Mankind, and the deafs were explicitly included in order to benefit from the Declaration of Human Rights. 66 Thanks ON THE LEFT 1 Paul Choppin with his friends de l'INJS de Paris. 2 Theatre play L’Abbé de l’Épée playing by deafs. © Amicale des anciens élèves de l’INJS de Paris 3 Shooting of L'abbé de l’Épée by Michel Rouvière. Guy Bouchauveau behind the camera. © Michel Rouvière 7 Art’Pi! © Archives from INJS Completely unaware of the task he put together a range of methodical signs in order to teach French mixing signs originating in his pupils' interactions as well as signs of his own invention. His teaching methods were not perfect but through his efforts, which have reached out beyond the borders of France to other European countries as well as the USA, he managed to open a new road. Cinema, video, visual art... next to the statue of abbé de l'Épée. © Amicale des anciens élèves The abbé de l’Épée teaching pupils Émancipation des Sourds-Muets. Deaf illustrator. Unknown name. © Archives from INJS The abbé de l’Épée’s dream was to set up a state-run school dedicated to the deafs. Two years after his death, the French state set up such an institution which remains active today: the National Institute for the Young Deafs (INJS), a Paris-based school in rue Saint Jacques. The Abbé de l'Épée and the Twin Sisters: a Deaf myth The abbé de l'Épée and Twin Sisters : aDeaf the myth Every civilisation has rites, tales and myths. For hearing people and inside the Deaf community, the abbé de l'Épée is often seen as a saviour guided by angels or praised by many. His legend goes beyond all cultural differences as well as actualities. As an ethnologist and a writer Yves Delaporte focuses on how this myth has been built. The riddle behind the myth A The pupils gathered below the statue of the Abbé de l'Épée, by deaf-and-mute Felix Martin, in the Institute of Saint Jacques. Litograph by Auguste Colas, deaf-and-mute, 1879. © Archives from INJS Right PAGE Charles-Michel de l’Epée désigné pour délivrer les sourds-muets. Litograph by Joseph Cochefer (18491923). © Archives from INJS Feast of the Central Society of the deaf-and-mutes for the anniversary of the Abbé de l'Épée's death. November 28th, 1886. Lithograph by Auguste Colas. © Archives from INJS great number of surprising misconceptions surrounds the life story of the abbé de l'Épée. He is often awarded for the invention of Sign Language and the finger-spelling alphabet. When witnessed within the Hearing people community, such misleading ideas are understandable: convinced as they are that a genuine language can only be vocal, they assume Sign Language is a mere transcoding method of the French one. Therefore, only a hearing man, teaching and caring for the deaf children, might have created it. No more no less another evidence of the widespread long-living ignorance about deafs. But when deafs themselves are reproducing those kinds of conceit–which happens a lot–this gets a little bit confusing. Here lies a difficult conundrum. In order to solve the riddle, we have to refer to the recount of the encounter between de l'Épée and the famous twin sisters. The story–told over and over for over two hundred years, mostly during the traditional feasts celebrating “the tremendous teacher of the deaf-and-mutes”–has been set during a stormy night, thunderbolts streaking dark sky. Looking for a shelter, de l'Épée entered a gateway and caught sight of a light coming from a dwelling. He ran into it and faced two deaf twin sisters. Here darkness and unleashed Nature are merely symbols of the confusion deafs were in at the time whilst the light seen from the house of the sisters holds the promise of a turning from ignorance to culture. A founding tale The story contains every elements to make a good origin myth which is intended to explain in a way both convincing and consistent to a group of human beings who they are and where they come from in order to unite them with common values. Back to his place de l'Épée created Sign Language (or just the fingerspelling alphabet, depending on the version) through the night. The divinity within the recount also lies in the words used to describe the fair clergyman. Most of them have a tight relation with the religious field: “Apostle of the deaf-and-mutes”, “Messiah of a too longly deprived people”, “a new Redeemer”, “an angel coming from the sky”... This beautiful legend is built on other elements: the fact that de l'Épée was an outstanding man, his almost miraculous encounter with the twin sisters, the visit the Austrian Emperor gave to the pupils of the school that was in the rue des Moulins, the death of the abbot after he refused to use his money to heat his room and instead kept it for his works. Indeed by gathering a group of deaf children in the same location for the fisrt time in the history of the world, it is fair to say that de l'Épée did initiate what in the nineteenth century was called “the deaf-and-mute nation”. Only one piece was missing to make the myth complete: the “Spiritual Father of the deaf-and-mutes” had to make Sign Language up and offer it to them. YVES DELAPORTE 8 Art’Pi! 9 Art’Pi! 10 Art’Pi! Becoming Human thanks to signs Becoming Human signs thanks to I n the minds of many–as well as in arts–deafs are often regarded as monsters, fools or lesser beings. There is a lot of books about the way to treat them. In a letter written in 1780 Pierre Desloges who became deaf at the age of seven recounted that he had faced “an endless struggle against poverty, insults, prejudice and the most painful mockings from relatives, friends, neighbours, colleagues…” who treated him as a “a fool, an imbecile”. Surdité, surdi-mutité et mutisme dans le théâtre français written by René Bernard (1941) provides a similar harsh account: “ Deaf-and-mutes were stuck in an unenviable situation. Simple folk would avoid them considering such an encounter as a bad omen. They considered their presence to be lethal to pregnant women, or accused them of bringing bad luck upon their relatives”. According to L'éducation des sourds-muets de naissance (1827) by Joseph-Marie Gérando the abbé de l’Épée would have claimed “in several countries the Deaf-and-mutes are executed, at the age of three at the latest, since they are considered to be freaks”. Ferdinand Berhier observed in his book L'abbé de l'Épée, sa vie, son apostolat, ses travaux, sa lutte et ses succès (1852) : “For centuries, these sad victims of nature were weighed down by a barbarian prejudice. The indifferent crowd looked down upon them as a new inferior race, which lived amongst them. These unfortunate beings languished as unwitting slaves: they awaited the Messiah who would break off their chains”. Sign language became the key to the outside world and the knowledge of it enabling deaf people to become human beings amongst other human beings. Illustration 11 Art’Pi! : Elza Montllahuc Not until 1760 was this situation to change. “A man walked forth, whose powerful gaze said to the deaf and dumb: You too shall be human!” (from L’abbé de l’Épée, a play written by Bouilly in 1790). With the advent of de l’Épée regards towards the deafs began to evolve. His chance encounter with two deaf twin sisters who communicated in Sign Language made him see the injustice of prejudice against the deafs. From there he never ceased to try and inform the rest of the world. The discovery of a language that was specific to them shed a light on a simple truth: the deafs were able of thinking, communicating amongst themselves and could thus process knowledge if Sign Language were to be used. Le Comité National Français. First line spells “Égalité” (Equality). Second line spells “Humanité” (Humanity). “Sign Language liberates the deafs, it enables them to be citizens and actors of the world they live in.” (Christian Cuxac) Denis Diderot (17131784), writer and French philosopher, is the author of Lettre sur les sourds et muets à l’usage de ceux qui entendent et qui parlent (1751). To bring the proof that signs can give access to the abstract, he described a checkmate game including a Deaf man who warned that the mate was unavoidable. Numerous works were to follow presenting the deafs in a different more realistic and favourable light. Two of such works are Éloge historique de Charles-Michel de l’Épée, fondateur de l’Institution des Sourds-Muets by French author Auguste Bebian (1819) and Finger's Orchestra (1991) a manga by Osamu Yamamoto, based on the true story of the Japanese teacher Kiyoshi Takahashi. Both of these works show how Sign Language was crucial in making the deafs fully human: in their own eyes as well as to others. Bebian and Takahashi were both hearing teachers, defenders of Sign Language. Both were to play an important role in the emancipation of the deafs, though living thousands of miles and a century apart from each other. © Archives from INJS DID YOU KNOW? Becoming Human thanks to signs Éloge historique de Charles-Michel de l’Épée by Auguste Bébian The author Roch-Ambroise Auguste Bébian (1789-1839) was born in Guadeloupe and although he was a hearing man, he was a fervent defender of Sign Language. Godson of the abbé Sicard–director of the Institute for the deafand-mutes in Paris–he grew up amongst deafs who he befriended and from whom he learned Sign Language. He became a teacher at the Institute and authored several essays on the topic of Sign Language. His preference of a genuine Sign Language over de l’Épée’s methodical signs was controversial, given the evergrowing influence of oralism. He was ousted in 1821 but his pupil's never ceased to request his return–in vain. The book Éloge historique de Charles-Michel de l’Épée has been written and delivered in 1819, as part of a contest by the Royal Academic Society of Science in Paris. Bebian wan with this work who was judged as “well written and well thought out”. The work paid vibrant homage to de l’Épée as well as to “natural” Sign Language, Roch-Ambroise Auguste Bébian painted by Marie Auguste Chassevent © INJS Collection 12 Art’Pi! demonstrating Bebian’s point of view regarding the education of the deafs. Main protagonist The abbé de l’Épée (1712-1789) How can Sign Language make deafs human? Auguste Bébian begins his demonstration by showing in what absurd manner the deafs had been previously rejected by their families, kept away from all sources of knowledge and thereby from the History of Mankind. “Through an absurd and humiliating prejudice, the deafs were portrayed as some sort of automates responsive to physical impressions–yet with a spirit totally bereft of reason, and whose heart had never been warmed up by emotion. Strangers within their families, these children, abandoned by Providence and Human beings, were rejected far from the heart of society, because of their parents’ self-esteem, to a place where they only inspired a humiliating feeling of pity”. Thanks to the abbé de l’Épée and to Sign Language, the deafs gained the esteem of their peers as well as a place in company of human beings. “The success of the education of the deafs has given proof that they are only different from common human beings by the prejudice from which they suffer and thus their parents no longer have to be ashamed to have given birth to them. The deaf-and-mutes can therefore appear with no shame”. Thus deafs reached knowledge as well as the right to live: “… and it appears that their numbers have grown, since their situation has improved”. In Bebian's mind, this improvement as well as the change of perception of the deafs are undeniably due to Sign Language. “The results obtained by several teachers, each dedicated to the education of one or two deaf children, are entirely due to the use, albeit partial, of Sign Language, the only available means of communication, in principle, between a teacher and a deaf-and-mute pupil”. L’abbé de l’Épée instruisant ses élèves en présence de Louis XVI by Gonzague Privat © Archives from INJS BACKGROUND First school for deaf-andmutes, 1876 © Archives from INJS A view of Éloge historique de Charles-Michel de l’Épée by Bébian, provided by Geneviève Pomet and Fabrice Bertin Having arrived in Paris in 1802, at the age of thirteen, Bebian–Sicard's godson–quickly established ties with the Deaf community. Thoroughly impregnated with the “mimics” of Sign Language his work could be renamed, nowadays, An appraisal of Sign Language–a critical study of the work of the abbé de l’Épée. The text, goes far beyond a simple homage to the “father of the deafs”. It is, first and foremost, a vibrant defense of the genuine Sign Language, as opposed to de l’Épée’s methodological signs. It is a text with many facets, addressing visionary topics such as the role of deaf teachers, the benefits of using Sign Language with hearing children, Sign Language considered as a primary human language or a universal language, etc. Addressing all of these different themes, wishing to make them intelligible and hoping to convince the reader was no mean feat. To this purpose the figure of de l’Épée turned useful. The clergyman had demonstrated, once and for all, that deafs were receptive to education when this was undertaken using their own language. Whilst providing praise for this feat and for de l’Épée’s selfless dedication, Bebian remained critical of his methodical signs, considering that his pedagogical approach was erroneous. This opinion was to be confirmed by Berthier in his writings. Bebian was utterly sincere in his praise of de l’Épée: “How can we fail to admire the superiority of his efforts.” But doing so he only paid homage to his moral qualities. Indeed, Bebian considered that not only did the abbé de 13 Art’Pi! l’Épée fail to follow his intuition, all the way out, but that his pedagogical approach (the methodical signs) was fundamentally misconceived. Bebian believed that the methodical signs could even be harmful to pupils, and reiterated this claim several times. The problem then was how to express this position without taking away from the great Man’s achievement and depreciating the aura which surrounded him. Moreover, Bebian had to pay attention not to offense those who truly admired the abbot for fear of scaring away sponsors. Bebian ended up by addressing two separate aproaches. On the one hand, he addressed the moral issue where he praised de l’Épée’s selfless dedication. On the other hand, he developed his arguments regarding the technical aspects of education of the deafs, pointing out the critical factors to guarantee its success. Yet, Bebian remained a marginal figure, constantly struggling to gain supporters for his cause, whilst fending off his opponents. Even today this work remains visionary and rich but deserves a deeper critical analysis. It is safe to assume that the ideas have contributed to the emancipation of the deafs–a goal that was to be further advanced by Berthier. Bebian’s respect for the deafs and their culture, his moral backbone, remain nowadays a rare commodity in this field. FABRICE BERTIN GENEVIÈVE POMET Association Bébian, Un Autre Monde Becoming Human thanks to signs Finger's orchestra by Osamu Yamamoto The author Osamu Yamamoto As a Japanese scenarist and mangaka, he often evokes the topics of disability and music in his works. He published in 1988 Harukana Köshien before Finger's orchestra. It is the true story of a group of deaf high school pupils who set up a baseball team and attempt to compete in a tournament, in spite of the opposition of the baseball federation. The book was later adapted as a feature film as well as a TV show. Yamamoto learned Japanese Sign Language (JSL) in order to be capable of correctly drawing these stories about the history of the deafs in Japan. The book Finger's orchestra is a manga written in 1991, recounting the life of Kiyoshi Takahashi. It was inspired by the autobiographical books ( The finger bones and Sign Language is our heart ) by Yoriko Kawabuchi, Takahashi’s adopted daughter, which deal with the Deaf community in Japan. It is an emotional tour de force which shows how Takahashi resisted the overwhelming move to an oralist education for the deafs, which prevailed during his life time. The main protagonist Kiyoshi Takahashi (1890-1958) Takahashi became the principal of the Osaka School for the Deafs at the turn of the 20th century. Although he was scorned for this, he persisted in advocating the use of Sign Language, as well as individual projects for each pupil, as a means for ensuring his pupils’ happiness. He participated in the creation of the Japanese hand alphabet which is still used nowadays, created the first song in Sign Language and helped install in Japan the tradition of commemorative banquets in honour of the abbé de l’Épée. How can Sign Language make deafs human? At the outset of the story, Takahashi meets Issaku Toda, un young deaf boy from a hearing family. As a recent arrival at the Osaka school for the Deafs and Blinds, the child has a violent temper and is aggressive with his peers, shouts and is unable to understand what is being said to him. He steals food and in return gets beaten, creating a vicious circle of violence and rejection. The lack of any means of communication pushed Issaku into isolation where violence and incomprehension prevail. Issaku and Takahashi discover together Sign Language, the only path left to them as they seek mutual comprehension of the world. A small girl, Matsue, shows Issaku that each object can be represented by a sign, that all things can be named, that he himself has a name. Finger's orchestra, volume 1 to 4 by Osamu Yamamoto © 2006 Éditions Milan 14 Art’Pi! Through Sign Language and the visual dimension which it introduces, he can at last understand the world surrounding him and communicate with others. Sign Language provides Issaku with access to the world which surrounds him, thereby giving him a name and making him into a fully-fledged citizen. Painted portray of Kiyoshi Takahashi © Photo by Naomiki Sato BACKGROUND Cherry tree's flowers from Japan © Hiroyoshi Takeda Interview with Naomiki Sato, translator of Finger's orchestra into French What was your role in the translation of this work? I arrived in France seventeen years ago, in order to carry out my studies in the field of linguistics. Before leaving for France, I met with an interpreter from JSL to Japanese. After spending a year in France, I wished to study French Sign Language (LSF). I registered for a course in Paris and in parallel I followed the course on the subject of LSF given by Christian Cuxac in a university of Paris. While in Japan I ran into Finger's orchestra at a local bookstore and was profoundly moved. Years later I ventured to propose a French adaptation of this work to several book editors whom I had already worked with. Eventually it was the Éditions Milan, a Toulouse-based editor which accepted this project, thereby launching me on this adventure. Wishing to add an authentic “Deaf dimension” to the translation. I joined forces with Fabrice Bertin, met through mutual friends, who was experienced in the field of education of the deafs. He offered significant help in translating the manga. Were you familiar with the Japanese Deaf community? Not at all, nor do I know JSL, since my discovery of the deafs and Sign Language was made in France. I have only a superficial knowledge of the Japanese Deaf scene thanks to my Japanese friends, both deaf and hearing. I have the impression that the French and the Japanese deafs reacted very differently to the forbidding of signing in specialised schools for the deafs. In spite of this situation, the French were able to relay their Sign Language on to future generations, whereas in Japan there are deaf people who have no knowledge whatsoever of Sign Language in spite of the fact that they were educated in specialised schools for the deafs. I attribute this to a spirit of résistance which has prevailed in France. What difference do you see between the Deaf scene in France and in Japan? I have learned that signed Japanese (a signed version of spoken Japanese, rather than a fully-fledged Sign Language) has become a standard form of communication for the hearing impaired or for those whose deafness is recent. The existence of signed japanese has created serious confusion in Japan, and it is often this version which is taught as the Japanese version of Sign Language. There is a single private school (primary and junior high) with a program based on JSL and written Japanese, but in other specialised schools, JSL has no official status. I consider it to be a serious step forward that the use of Sign Language in schools is not forbidden as it was. What did working on this manga give you? Firstly, it significantly increased my knowledge of deafness and Sign Language. I am most pleased to have introduced to the French public the figure of Mr. Takahashi who was an admiror of the abbé de l’Épée and who organised an annual banquet in his honour at a time when oral methods had virtually conquered the entire field. I keep in touch with Ms. Kawabuchi these days, and she is also very happy that her father is known in France, home of the abbé de l’Épée. Human no matter what The abbé de l’Épée changed the mindset of many, throughout the world, when he recognised the role of Sign Language as a stepping stone to knowledge and to citizenship. Others, like-minded, such as Bebian and Takahashi, who took his teachings, yet further, followed him. In spite of their valiant efforts, prejudice and scorn towards minorities die hard and many works still present the deafs as disabled, invalids, beings in need of repair. Changing people's view is still a long way. Yet the life work of the abbé de l’Épée continues to be celebrated throughout the world. No matter what, going back is no longer an option. What de l’Épée revealed will remain, forever, inscribed in the annals of history. SOPHIE LAUMONDAIS 15 Art’Pi! Signes de rue / COMIC Strip SIGNES DE RUE Had the Abbé de l’Épée never existed what would Deaf culture be like today? Fabien Alban Rachid Brigitte Bruno Nicolas Thomas Annette Others would have taken his place, for sure! Either deaf or hearing. IVT for instance was created by Alfredo Corrado, a deaf American. It is likely that other people would have opened specialised school for the deafs. There would have necessarily been other people, but probably later. Maybe 200 or 250 years later. We can also suppose that the Milan Congress would never have happened. How is one to know? In any case, the deaf people would not have remained passive for much longer. Something had to happen, one way or the other. It’s difficult to imagine how things would have turned out without him. I suppose that Deaf culture and art would have developed anyway, but differently. We would be using different signs and France would not have been the first country to create a school run in Sign Language. One shouldn’t get confused between Deaf culture and the abbé de l’Épée. Deaf culture was around long before him. He acted as a catalyst, amongst many others. He demonstrated to influential hearing people that the deafs had a language of their own. It happened to be him, but it could have been another. He was a unique personality. He was the first to encourage deaf people to read and to write. He also gave them a sense of a shared effort, by creating boarding schools for the deaf. What if he were never to encounter the two deaf sisters but a lonely deaf instead? How would he have witnessed Sign Language in action? Deaf culture may not have developed as much without him. It could have been worse, taken a hundred years or even longer to emerge. The abbé de l’Épée gave deaf people the basis for all that was to come: education. From there, they handled things and went in different directions: first sports and then art and culture. Who knows how things would have looked like today? CATHERINE COINTE http://monde-catherinecointe.blogspot.com 16 Art’Pi! It is likely that none of what was to follow would ever have taken place. Since he was the son of Louis 14th’s architect he was well introduced into influential circles, and was already open to art, which allowed him to introduce the deafs to art and culture through education. Even without the abbé de l’Épée, we would never have given up. Other historical figures are even more important for the Deaf community, like Ferdinand Berthier, for instance. E AT 17 Art’Pi! SIGN LOVE 18 Art’Pi! Jean le Sourd by Yann Cantin, Céline Rames and Dano Jean le Sourd by Yann Cantin, Céline Rames and Dano At last, a comic book that highlights the Deaf community during the Age of Enlightenment! Dano Yann Cantin & Céline Rames First comic book about the deafs during the 18th century The story of deaf people intertwined with History ith this book the three authors take their first step into the Comics world. Although each of them comes from a different universe, they are unquestionably complementary. Yann as a historian keeps on digging with inquisitiveness into archives to know about the History of the deafs. Celine as a stage director creates stories full of sensitivity. And the illustrator Dano adds a brilliant visual touch to books. It's a pretty unique and original production which has been made up by these three authors who chose to write a historical comic book through the daily life of deaf people. Our attention is focused on the habits and everyday stories of the deafs in order to eventually recount History, the recorded one of the French revolution. Thus we find out with satisfaction and surprise the cheerfulness of the deafs and their passion for Sign Language in spite of all the obstructions and frustrations they might encounter at the time. W Cover of Jean Le Sourd © Monica Companys ON THE LEFT Extract from Jean Le Sourd © Monica Companys Sketches of Pierre Desloges–an actual deaf personnality–and Jean le Sourd 19 Art’Pi! Since 2007, they have put their great abilities together to create a book foregrounding the interactions between the abbé de l’Épée and the 18th century Paris Deaf community. The story is about Jean, a young deaf orphan working as a cabinet maker. He will be at the same time a witness–and an actor–of History with a capital H, the History of the deafs as well as the master of his own destiny. Page after page he will meet famous characters such as the abbé de l’Épée or Pierre Desloges, but also a young and charming deaf teacher. The goal of Celine, Dano and Yann was to create a lively and human comics about the Paris Deaf community. They manage to show that the 18th century did indeed enlighten France, the World and the deaf people. This century has been a symbol of social and intellectual revolutions and permitted the rise of Sign Language until the crucial day that would be shaking the Deaf community for a long time. But that is another story. Maybe Dano, Yann and Céline will be happy to tell it in another book. Jean le Sourd by Yann Cantin, Céline Rames and Dano The authors The making of this book– though it took a very long time–was a nice, a really nice adventure. Yann Cantin is a specialist in History of the deafs. He is currently preparing at the EHESS (School of High Studies in Social Sciences) a thesis about the deaf-andmutes during the Belle Époque and is a scholar at the CNRS (National Centre for Scientific Research). A very interesting team work, with rich discussions about History. Daniel Le Coq aka Dano is a draughtsman. He worked as a freelance graphic artist and illustrator for Le Dernier des Sourds (The last of the Deafs) with Claire Garguier and Didier Flory, Picto Mag with Laurent Valo, La Montagne du Silence (The Mountain of Silence) and Les Signes Bleus (Blue Signs). DID YOU KNOW? François Rabelais (1494-1553), author of Gargantua and Pantagruel, had used deaf figure and Sign Language several times. For him deafs were skilled with double vision and the capacity to read into the future. 20 Art’Pi! I sure hope there will be a continuation, but not too soon ;-) Céline Rames is coordinator and manager of cultural projects for Art’Sign association since 2007. Stage director by training, she works on theatrical creations mixing deaf and hearing artists. Jean le Sourd Colour comic book, limited edition Publishing : Monica companys Support : Association Art’Sign Authors : Dano, Yann Cantin et Céline Rames Suitable for all ages, 21 x 28 cm, 84 pages (including a 10-page documentary section) Release date : september 2012 The dates for autograph tour are available on the website : www.art-sign.org A translation in English is currently examined. If you want to keep in touch about it, please send a mail via the website www.monica-companys.com ARNAUD BALARD & SOPHIE LAUMONDAIS Un coup de fil à passer ? En LSF ? En LPC ? Par écrit ? N’hésitez plus ! téléphonique Paris public 9h/12h45 14h/17h45 Lundi OUVERT Mardi OUVERT Mercredi OUVERT Jeudi Vendredi Communication, the heart of our work LESSONS & TRAINING COURSES Relais République Training center OUVERT Open to everyone Beginner to expert level Weekly lessons or à la carte Month-long, intensive training courses... PROFESSIONAL TRAINING Support for inter-company training Intra-company training Tailored courses TRAINING FOR SPECIFICS SKILLS To lead a group To interpret for a qualified teacher To master sign language OUVERT Adresse 8, rue Taylor - Paris 10ème Métro M° Jacques-Bonsergent (5) M° République (3/5/8/9/11) M° Strasbourg Saint-Denis (4/8/9) Informations et plan sur www.aditus.fr/cabine 21 Art’Pi! Tutoring Translation French-Sign Language Expertise in FSL Individualized training sessions STEUM 7, rue des Tamaris - 44300 NANTES Fax : 09 70 06 88 58 - E-mail : [email protected] Skype ou oovoo : steumcontact w w w.steum.com Graphic creation : A.PERRAUD - [email protected] ADVICE & EXPERTISE Painters and sculptors, a forgotten glory Painters and aforgotten sculptors, glory Today in France, few deaf people succeed in the visual arts (paintings, sculptures, drawings ...). But has it always been the case? What about the time of the abbé de l’Épée? Research on the History of the deafs in France are only twenty-five years old, so that precise information about artists is still very rare. Yann Cantin, historian, shares his discoveries with us. Delay in France I n France it seems that deaf artists were few during the Renaissance (a period of cultural and artistic renewal which originated in Italy in the 15th century and spread throughout Europe in the 16th century). The artistic models radiating at the time are Italian. Deaf artists, such as Cristoforo De Predis, Milan illuminator (around 1440–around 1486) and Bernardino di Betto, better known as Pinturicchio (1454-1513) were widely famous. From Spain Baroque art was exported including artists such as Juan Fernandez Navarette, a deaf painter also known as El Mudo (1526-1579). Self-portrait by Pinturicchio (Bernadino di Betto) Deaf pupils in the class of abbé de l’Épée © Archives from INJS French artists' influence grew later on. France getting out of the Hundred Years’ War in 1453 displayed an art of old-fashioned Gothic style and would only discover the Italian Renaissance in the 1470s. It had been able to flourish and impose its style only for a very short time between the years 1480 and 1550, before plunging into the Wars of Religion (1562-1598). French artists being quite unknown, the deaf artists were even less so. They had to wait until the 18th century and the oncoming of de l’Épée to be referenced. At the time deafs were much more easily seen as part of society than other minorities (maimed, blind, etc.). Living standards being harsh, poverty widespread, if a deaf infant was able work he would do so. The tasks being mostly manual, physical skills overrode any other deficiency. Thus, many deaf men became farmers, butchers or craftsman but also sculptors, engravers and painters. The workers were not identified as deaf nor did their artwork mention the use of Sign Language as it can be seen now. They only were typical paintings and sculptures of the era considered the same way than any other work. The deafs’ main goal was to show that they were able to do quality works just like anyone else, or even better. The abbé de l’Épée providing free education allowed them to climb the social ladder much faster than the hearing people. Claude-André Deseine (1740-1823), former student of the abbé de l’Épée, is the first deaf artist who can be precisely tracked back. He is known for his sculptures and his political views in favor of the French Revolution. LEFT PAGE Deaf artists during the exhibition of the Silent artists in 1912 for the bicentenary of abbé de l'Épée. © Archives from Amicale des anciens élèves de l'INJS de Paris Statue of the abbé de l'Épée by Félix Martin in the INJS courtyard, Paris. Drawing by Auguste Colas © Archives from INJS 22 Art’Pi! 23 Art’Pi! Gustave-Nic Léopold Loustau (1815-18 Abbé de l'Épée (1712-1789) XVIIIth century XIXth centur French Revolution (1789) Claude-André Deseine (1740-1823) The Golden Age During La Belle Époque, from the 1830s, the number of deaf artists increased. The painter Leopold Loustau (1815-1897), alumni of Saint-Jacques, and the sculptor Gustave-Nicolas Hennequin (1834 -1918), a former student in Nancy School for the deaf were the first ones ever to participate in the Salon des Artistes which took place every year. This show exhibited the greatest artists from France and abroad: Manet, Monet, Renoir, Degas, Rodin, Claudel, etc. From them until the 1930’s two generations of deaf artists would follow. The Indian bear hunters by Douglas Tilden. © Archives from INJS DID YOU KNOW? Pierre Pélissier (1814-1863) is a unique widely famous poet. His pieces of poetry even caught Alphonse de Lamartine’s (17901869) attention. 24 Art’Pi! Deafs competed on equal terms with major artists in this very selective exhibition. Whoever entered it was sure to enjoy a national reputation, be commissioned by the government and even sell artworks to them. Paul Choppin (1856-1937) received an order for a sculpture of Dr. Brocca (it disappeared during the Second World War because it was melted to re-use the bronze). The painter Armand Berton (1854-1927) was also one of the most regular artist of the Salon and many of his works has been appearing in museums. Felix Martin, cousin in-laws of Gustave Hennequin, has been one of the most famous sculptors because of his statue of de l’Épée standing in the courtyard of the INJS in Paris. These artists standed for the elite of the Deaf community and were often participating in de l’Épée's anniversary banquets. These feasts were organized to extend social networks of the deafs by inviting personalities from the Hearing world. Subsequently they were mainly used by the deafs to get together, use Sign Language and fight against the rise of oralism. Between the years 1870 and 1920 the French deaf artists had had many students. They seem to have been influent abroad, especially in the United States. The first American deaf painters and sculptors who moved to France to get a training there were Douglas Tilden (1860-1935) and Granville Redmond (1871-1935) who had been remaining the most famous. Redmond played in Charlie Chaplin's movies and taught him ASL (American Sign Language). Self-portrait by Léopold Loustau. © Archives from the Amicale des anciens élèves de l’INJS de Paris Surprise by a deaf artist. Unknown name. © Archives from INJS. Armand Berton (1854-1927) René Princeteau (1849-1914) colas Hennequin (1834-1918) Universal Museum of the Deaf-and-mutes (1920) 897) y Belle Époque (1870-1914) XXth century Musée universel des sourds-muets (1892) Congrès de Milan (1880) Disappearance of the Universal Museum of the Deaf-and-mutes (1968) Paul Choppin (1856-1937) Douglas Tilden (1860-1935) Fernand Hamar (1869-1943) Paul Choppin and his statue of the abbé de l'Épée © Archives from the Amicale des anciens élèves de l'INJS de Paris. La Belle Époque has been a flourishing art period, with a large range ofdeaf artists performing in every field. As far as France is concerned, some fifty names are referenced. Fernand Hamar (1869-1943) and Paul Choppin are the last emblematic deaf sculptors of the French Belle Époque. The initiation of a decline Educational reforms had a great impact in France and in countries that applied the recommendations of the 1880 Congress of Milan. Giving up intellectual education for the benefit of oral education, specialized institutions did not allow the new generations to flourish intellectually. Thus, the deaf artists became fewer and fewer over the years. The Seniors decided to found the Salon des Artistes Silencieux in the 1920s in an attempt to interest young people in the art. But after the 1940s mainstreaming deaf artists were nowhere to be seen. There have been since drawing artists, recreational painters, but no longer on a professional level. Many artworks had disappeared, were damaged or melted to re-use materials. Only some of them were saved and restored by the Universal Museum of the Deaf-and-Mutes. In France after a hiatus of forty or fifty years, since the beginning of the 1970’s deaf artists are slowly re-emerging. But will they manage to overcome those of la Belle Époque? It is too early to tell, so wait and see. YANN CANTIN & SOPHIE LAUMONDAIS Exhibition of the Silent artists, 1912 © Archives from INJS 25 Art’Pi! Cover of the “Salon International des artistes Silencieux” catalog. © Archives from the Amicale des anciens élèves de l'INJS de Paris. Galerie The artists and the Organization Committee of Deaf artists exhibition 1st line : MM. Vivien (standing) / O. Chéron / A. Colas / F. Martin / V. Collignon / G. Hennequin / B. Thonon / A. Legrand 2nd line : MM. J. Ebstein / L. Lambert / Mlle J. Bomsel / M. J. Gras / Mlle J. Léothand / MM. Graff / R. Hirsh / Mme P. Choppin / MM. E. Monlin / F. Plessis / M. Colas 3rd line : MM. L. Morice / G. Picaud / Tournaude / Asser / Paul Choppin / F. Hamar / Y. Uffler © Archives from the Amicale des anciens élèves de l'INJS de Paris 26 Art’Pi! Félix Plessis in his workshop © ARSCA Paul Choppin Statue of Dr. Brocca © Archives from INJS Léon Morice in his workshop © Archives from the Amicale des anciens élèves de l'INJS de Paris 27 Art’Pi! Art’Pi! 27 A committed sculptor A committed sculptor Claude-André Deseine (1740-1823) B orn in Paris on Tuesday, April 12th 1740, he was the eldest of eight children brotherhood and the only deaf in a family of carpenters and locksmiths. At age 22, when his great-uncle died, he received a 100 french pound pension for life which was a sufficient amount of money to live comfortably. When his father died in 1777, the regency of the family estate was given to his mother because he was unable to read nor to write (and not because he was deaf). Later he learned a bit of reading and writing with de l’Épée, and signed his works by “Deseine, deaf and mute.” At age 38 he joined the Royal Academy of Painting and Sculpture (state institute from 1648 to 1793, created to raise the artists's status and to distinguish it from the craftsman’s one) with his brother Louis Pierre Deseine (1749-1822), sculptor as well. He became student of one of the most famous artists of the time, Augustin Pajou (1730-1809). During one of the many art competitions organized by the Royal Academy, he was awarded with the third price: a great honour that no French deaf artist had received before. Gradually, the sculptor's reputation spread in the aristocratic milieu and he received several orders. From 1789 to 1794, committed to the French Revolution’s cause (unlike his brother, sculptor of Prince de Conde and loyal to the Bourbon dynasty), his former works on busts and sculptures of aristocrats’ figure gave way to those of revolutionaries like Mirabeau, Robespierre, Danton's wife, etc. Portray of Claude-André Deseine. Sanguine by Louis- Pierre Deseine (1749-1822), his brother. © Archives from INJS. Committed to the Revolution’s cause, his works on busts of aristocrats’ figure gave way to those like Robespierre ... After Robespierre's fall, Deseine, considered too close to the Montagnards (Robespierre’s political group sitting on the left side of the assembly), experienced a decrease of the numbers of orders. When his mother died in 1795, his brother became curator. The archives show that the brother didn’t seem to be very open to the requests of his elder brother. This would explain the financial aid that had been regularly granted to him by the government. Claude-André Deseine died in December, 23th 1823 in Gentilly Petit, in a small elderly home. YANN CANTIN & SANDRINE RINCHEVAL Bust of the Abbé de l’Épée The bust is famous because it is the only one that have been created during the lifetime of the abbot. The clergyman had always refused that his features would be reproduced, not willing to enter vanity. The sculptor offered it to the National Assembly in 1791. © Archives de l’INJS 28 Art’Pi! Busts of Maximilien Robespierre, terra-cotta made in 1791 and 1792, Museum of the French Revolution, Vizille and Conciergerie, Paris Even today the bust of Maximilian Robespierre is mentioned as one of the few authentic portraits of the Incorruptible (nickname given to Robespierre because of his uncompromising and virtuous character). This bust catches the eye by its psychological features: vivacity of the gaze, a natural authority and the sense of voluntarism of Robespierre are perfectly reproduced by Deseine. A tour you mustn't miss Exhibition Claude-André Deseine et la Révolution Française, at la Conciergerie de Paris. LSF visits from November 19 to 24 November. SI visits on request. Contact the CMN (National Monuments Centre): [email protected] Mortuary bust Antoinette Gabrielle Danton, bronze and plaster, made in 1793, Museum of Troyes Bust of Mirabeau, plaster, made in 1791, Museum of Fine Arts, Rennes In April 1791, in a competition launched in memory of Mirabeau, the bust made of plaster by Claude-André Deseine from the death mask of the deceased, won the votes. This bust is defined as providing “a perfect likeness, the expression and the energy” of the famous orator of the people that was Mirabeau. 29 Art’Pi! In 1793, Deseine painted the portrait of Antoinette Gabrielle Danton, Georges Danton's wife, who died after the birth of her fourth child. It is said that three weeks after her death, the revolutionary man fetched for ClaudeAndré at his shop on the Faubourg Saint Marceau and brought him to the cemetery. In the middle of the night, the wife's coffin was exhumed for the sculptor to make a death mask and produce a posthumous bust of Antoinette Gabrielle. This scene is visible in the film Danton, with Gerard Depardieu. 30 Art’Pi! The Universal Museum of the Deaf-and-mutes The universal Museum of the deaf-and-mutes There was a time when many deaf artists would create artworks and won competitions considered as they were equal to hearing people. Did you know that, in 1892, a Universal Museum of the deaf-and-mutes was created in Paris to immortalize that prestigious era? Well, Yves Bernard–a former INJS(*) teacher–discovered some traces of it in 1970. A fter he abbé de l'Épée had died, his work was continued, and the deafs were still taught and kept blossoming. The best students from the Paris Deaf-and-Mutes Institute (currently the National Institute for Young Deafs, located in St Jacques street), would become engravers, cabinetmakers, photographers, painters, sculptors. They would be welcomed in the greatest art schools where they would be taught by the greatest masters. Many deafs won awards during competitions in France and abroad. But the era was also rich with discoveries, and developments in other fields, and medical doctors as well as other scholars showed quickly a keen interest in deafness. An oralist philosophy spread little by little and eventually prevailed in 1880 during the Milan Congress which from then forbade the use of Sign Language.The deaf teachers were dismissed. The teaching was then orientated towards speech access rather than knowledge resulting on the fall of the pupils' marks. Older deaf generations began to feel nostalgic towards their glorious past. They who thanks to the abbé de l'Épée and to signs had shown the world their skills and knowledge, became according to oralism different creatures that had to be “fixed”. A museum to glorify the past It was made up of two sections: a historical section, with all the pieces about the art of teaching the deafs, and an artistic section, gathering pieces from deaf artists. There were busts, medallions, photographies… from Choppin, Colas, Deseine, Etienne de Fay… the paintings Les derniers moments de l'abbé de l'Épée by Peyson, Une leçon de l'abbé de l'Épée by Ginouvier, Carnot à Wattignies by Loustau, and many others. Works awarded during competitions in France or abroad were displayed in a showcase. In 1896, 2,096 art works were displayed in a large hall under the present theatre of the Institute. The elite of the deaf Society, including former deaf teachers, artists, famous craftsmen, perfectly bilingual deaf journalists would contribute to its enrichment. “Museums are spaces where time freezes and memory awakens.” On Sunday, november 29th, 1891, as the 179th anniversary of the abbé de l'Épée was celebrated, the honorary president of the day, Théophile Denis, a civil servant at the Ministry of Interior, declared: “...One would be surprised to meet, as if by chance, a deaf-mute who wouldn’t be a total ignorant [...] So in order to try and make appreciate the world of the deaf-and-mutes as it is worth, I am working at gathering in a dedicated museum all the elements that can make you better known.” From 1875, Denis started to build up a collection inside the Paris National Institute for the Deaf-and-mutes, gathering a few pieces about the history of the institute. He wanted to reward the philanthropic greatness of donors, administrators, thinkers, philosophers, pedagogues and medical doctors who, since Antiquity, contributed to the recognition of deaf people's educability. The gallery successful as it was, was planned to be extended to a world level. This is how the Universal Museum of the deaf-and-mutes has been created. Universal Museum of deaf-and-mutes in the INJS © Archives from INJS 31 Art’Pi! Portray of Théophile Denis © Archives from INJS LEFT PAGE Une leçon de l’abbé de l’Épée, Oil on canvas inspired by a painted sketch by Frédéric Peyson, 1891. By Nachor Ginouvier, deaf-and-mute © Collection from INJS The Universal Museum of the Deaf-and-mutes Museum curator from father to son In 1932, my father, René Bernard (1907-1985) entered the Institute. With the help of the administration, he published the catalogue of the library since nothing substantial existed before 1940. He got back to the job of librarian only after he had retired and until he died, i.e from 1973 to 1985. His contribution to the Museum was purely cultural, as he was very interested in Arts. He was often asked for advice about the history of some works, their myths and other researches. After 1968, the Museum disappeared as the number of services increased, the works were stocked at many risks: destruction, dust, dryness and heat from overheated cellars. As for me, I discovered how the pieces of the Museum had been neglected in the cellars of the Institute in 1979, as I was looking for a full-length portrait of Bebian by Chassevent. I then turned to the headmaster of the time, Mr. Dessaint who immediately got me in touch with the IFROA (French Institute for the Restoration of Art Pieces). I was therefore involved in the salvation of art works, as responsible of documentation, in addition to my job as a teacher. Les derniers moments de l’abbé de l’Épée by Frédéric Peyson, deaf-and-mute, 1839 © INJS collection ON THE RIGHT Cover of the catalog for the deaf-and-mutes Museum–a historical and artistic collection from the National Institute for Deafand-Mutes in Paris. © Archives from INJS Abbé Sicard According to a writer who had visited it, the Museum was supposed to “dash the ignorance and prejudices of some people and set the victims of this ignorance and those prejudices back to the place they deserve in society”. But as time went by the Museum turned away from its true humanist grounds that aimed at giving a soul to an unknown part of humanity. The discourse of founders, and more particularly Théophile Denis’s, was eventually altered, promoting the oral method in France. Denis would even end up inviting the abbé Balestra–the most fanatic advocate of oralism–to the Paris Institute. In the book Silent Poetry, Nicholas Mirzoeff dares to describe the Museum as the celebration of a lesser culture doomed to disappear. In the end of the 19th century and beginning of the 20th century, a sick curiosity arose within the public opinion towards the Museum, associating it to the study of a pathology, a kind of human zoo, showing the gap between exotic or different beings and the so-called “normal” civilization. From 1912, the State refused to employ people seen as “disabled”. The best pupils from the typography, print, bookbinding and engraving workshops could no longer find jobs to fulfill their success. Pupils would go back to their families after a seven year instruction without signs. This meant for a large number of them to be cast aside from any intellectual, relational and social life. DID YOU KNOW? In the work of Jérôme-Martin Langlois (1806) Sicard au milieu d’un groupe d’élèves, the sentence “Way to articulate sounds through pressure feeling” is written on the black board. During the painting’s restoration, a previous inscription voluntarily hidden so far reappeared. It was a quotation from Massieu reading “the gratitude is the heart’s memory”. 32 Art’Pi! Apart from the Bebian’s painting it was a set of bronze plates by Felix Martin about the life of the abbé de l'Épée that impressed me most. I do remember too carrying a portrait which paint covering looked like small macaronis. I thought that nothing could be done to restore that painting cooked by the heat and the dryness of the old cellars of the INJS. IFROA called me a few months later asking me to identify restored paintings. One of them didn’t ring any bell to me as I had never seen it. I thought they had made a mistake, and they replied that I had been right to give them a work that seemed lost forever. It was the painting burnt by time that they had dunked in a bath so the re-humidified paint would lay down back on the canvas. A miracle. Apart from bringing up pieces from the cellar, a real removing work, most of my work consisted in hours of readings and researches in the Paris library–mainly pre-1947 deaf newspapers and specialized magazines. After the school was renovated, the art works were put back in institutional areas: meeting halls, walking areas were named after famous pedagogues–Hall Bebian, Hall Berthier–where busts and paintings were displayed. Pupils, members of the staff and any visitor can freely access this patrimonial dimension, the roots of a history which secrets are kept in the library.And on the occasion of commemorations, these works come to life again, accorded to their initial goal: the recognition of a difference more and more respected as an heritage we all share. Still, many works remain stocked in various places in the Institute, waiting to be brought back to light soon. YVES BERNARD & SOPHIE LAUMONDAIS (*) Institut National de Jeunes Sourds in Paris, formerly, Institut National des Sourds-Muets (INS-M). 33 Art’Pi! Universal Museum of deaf-and-mutes © Archives from the Amicale des anciens élèves de l'INJS de Paris Bas-reliefs carved in bronze by Charles Marie Félix Martin (1846-1916), picturing the life of abbé de l’Épée, 1909 © INJS Collection Deaf influence on celebrities influence Deafcelebrities on Famous artists have been influenced at some point in their careers by Deaf acquaintances who offered them–one way or the other–help, support and knowledge. Here are some of them. Toulouse-Lautrec (1864-1901) student of René Princeteau (1849-1914) Henri de Toulouse-Lautrec was a painter and lithographer. He was famous both for his disordered way of life and his paintings about Paris Cabarets, especially Le Moulin Rouge, depicting so vices and reality of life. His work influenced important artists such as Picasso and Matisse. Charles Chaplin (1889-1977), friend and colleague with Granville Redmond (1871-1935) C harlie Chaplin as an actor, film-maker, producer and scenarist is seen as an icon of silent movies. His most memorable on-screen character was the Tramp (also known as Charlot in several languages) a sophisticated vagrant wearing a bowler hat and holding a cane. Granville Redmond was a deaf painter and was seen as a leading exponent of California Impressionism. Because of World War I, the number of orders for paintings decreased and he took a stab at cinema. While in Los Angeles he became friend with Charlie Chaplin who impressed by his skills gave him a studio on the movie lot, collected his paintings, and sponsored him in silent acting roles. In return Redmond taught him pantomime and Sign Language. We can watch Chaplin using the signs “Child” and “Baby” in A Dog's Life. Chaplin has been admired for the amazing expressiveness of his features and body. He was the only actor performing without any lip movement or enunciation. He experienced a tremendous success and became the most famous silent actor. Living daily with a deaf person certainly helped. ABOVE Extract from You'd Be Surprised (1926) 34 Art’Pi! Poster of A Dog's Life René Princeteau is a famous deaf painter whose favorite topic was horse scenes. Neighbour and friend with Henri’s dad, he taught him how to draw. He shortly noticed the skills of the 7 years old boy and convinced the family to work on them. At age 17, Henri entered Princeteau’s workshop. He quickly overcame his master and even succeeded in reproducing perfectly one of his pieces. In a letter sent to the family, Princeteau seems ecstatic: “Young Henri de Toulouse is valiantly workin in my workshop and make some marvelous progress with me. He tends to mimic me as a monkey would.” Lautrec suffering from physical malformations was impressed by this tall elegant painter who seemed to overcome his deafness. As they became friends the two of them kept meeting until the death of the young prodigy at age 37. Toulouse-Lautrec painted more than 6,000 pieces and had never ceased to regard Princeteau as his master. Toulouse-Lautrec photographed by a friend, Paul Sescau. Around 1800-1890 Painting by Lautrec. René Pinceteau in his workshop. Mona Lisa by Leonardo Da Vinci © Louvre Museum Leonardo Da Vinci (1452-1519) hosted by Cristoforo De Predis (around 1440-around 1486) Leonardo Da Vinci was a multi-talented genius (drawings, paintings, sculptures, architecture, urbanism…) and a visionary man who broadly marked Art History. With infinite curiosity this man would explore new ways of expressing his ideas and would even use Sign Language in his paintings. In Treaty of Painting, he considered hearing a lesser skill than seeing and commended the use of signs which according to him enabled “to reintegrate life in a period of pictorial art renewal”. He used finger-spelling in paintings such as The Last Supper or St John the Baptist (the finger is pointing upward forming the letter D for “Dio”– “god”) and so added a speaking dimension to them. The reasons why Da Vinci was so interested by the deafs and their signs stands in his several encounters with them. One of his studying mates Il Perugino had a deaf assistant, Bernardino di Betto (Il Pinturicchio), one of the greatest fresco painters of the Renaissance. Around 1483, in Milan, Leonardo worked and lived in De Predis brothers’ workshop where he met Cristoforo De Predis, a deaf miniaturist and illuminator. The genius was thrilled by Cristoforo’s deftness but nevertheless worked with the other brothers, Ambrogio and Evangelista, on Madonna of the Rocks. He was also very close to Giralmo Cardano who stated–according to Rudolph Agricola’s De inventione d'Agricola dialectica–that deafs could learn how to read and write without learning how to speak first. All these encounters obviously influenced Da Vinci’s works. It has been even said that the face of Mona Lisa–his most famous painting–may have been the one of a deaf woman. Given what his life seemed to be, it may actually be so. Unfortunately, we have no proof. MIDDLE Morte del Sole, della Luna e caduta delle stelle by Cristoforo De Predis © Torino, Biblioteca Reale 35 Art’Pi! Portray of Lon Chaney, 1926 Lon Chaney (1883-1930), child from deaf parents Leonidas Frank Chaney aka Lon Chaney was a cinema actor and make-up artist. He was famous for his transformation abilities and was nicknamed “The man of a Thousand Faces”. As an expert of pantomime he would–when performing the role of a disabled person– inflict tortures on himself in order to look more realistic. His contortions are his brand mark. As a child of deaf parents, he learnt Sign Language and was aware of body language. During family reunion, he would entertain by acting short pieces and miming what he saw on the streets. He got his first act at age 19 and then climbed rapidly the social ladder to the top. He knew how to perform realistically using accurate and profound body moves. At the end of his life he suffered from a throat cancer and lost the ability to speak. His only way to communicate was Sign Language. He died on August, 26th 1930, at age 47. The movie L'homme aux mille visages tells the story and career of this man who influenced a large number of contemporary actors by his unique acting. SOPHIE LAUMONDAIS & PAULINE STROESSER DID YOU KNOW? Joachim du Bellay (15221560), member of the Pleiade, is the author of a certain Hymne à la surdité (1558), dedicated to his friend Ronsard who was suffering from early deafness (Ronsard became deaf when he was sixteen years old) just as he was. © BnF Galerie L’abbé rayonnant Arnaud Balard, transdisciplinary artist (France) 2012 Digigraphie (300 ex.) 21 cm × 30 cm www.facebook.com/Surdism [email protected] 36 Art’Pi! Hommage à l’abbé de l’Épée Stephane Delame, painter (France) 2012 Acrylic on canvas 60 cm x 60 cm ma-galerie-virtuelle.over-blog.com Abbé Charles Michel de l’Épée Nancy Rourke, painter (USA) 2011 Oil painting 12 cm x 17 cm www.nancyrourke.com 37 Art’Pi! Art’Pi! 37 L'anatomie de mots Remus Illisie, transdisciplinary artist (Roumanie) 2012 Black ink 21 cm x 30 cm [email protected] RIGHT PAGE L'arbre Guy Bouchauveau, artist (France) Pencil Unknown format La révolte après le congrès de Milan Françoise Casas, artist (France) 1988 Oil painting, canvas on plate 70 cm x 130 cm [email protected] 38 Art’Pi! 39 Art’Pi! Hors-série 2012 : Tricentenaire de la naissance de l'abbé de l'Épée • Art’Pi! Art’Pi! • 39 The Silent Press TheSilent press La Belle Époque–The Golden Age of the Deaf Press L Portray of Ferdinand Berthier © Archives from INJS ON THE RIGHT Lithography workshop in the Royal Institute for the Deaf-and-Mutes, © Archives from INJS Le sourd-muet illustré, September 1897 © Archives from INJS a Belle Époque (a prosperous era of technical scientifical and social progress between 1870 and 1914) is the most prestigious period of the Deaf press. In the meantime, as much as the Deaf associations', its history remained chaotic. The first-ever reference to an all-Deaf press dates back to 1870. The Société Universelle des Sourds-Muets (Universal Deaf-and-Mutes Society), run by Ferdinand Berthier would publish every proceedings and argumentations occurring within. Unfortunately, due to the 1870 French-Prussian war and the 1871 Paris Commune (a two-month insurrection after France was defeated) the publishing of the paper stopped after a few months of existence and impede the rise of a Deaf press for another decade. Eventually in 1883, a newspaper entitled La Défense des sourds-muets, run by Joseph Turcan and committed in fighting The Congress of Milan was released. But after only two years of publication, the paper died quickly away due to financial difficulties. Between 1870 and 1920 we can count about twenty short-living papers altogether. To name a few: L’abbé de l’Épée (1888-1889), La Sincérité (April-May 1887), L’Écho de la Société d’appui fraternel (1889-1890), Les Annales françaises des sourds-muets (only one issue in February 1898), Le Philantrope (1903-1904), La Silencieuse (1898), Lectures et 1 revues (1899), La libre tribune silencieuse (1906-1907), La France 4 des sourds-muets (1902-1907), L’entente cordiale des sourdsmuets (1910). 1 Portray of Henri Gaillard © Archives from INJS 2 La Défense des sourds-muets, 1886 3 Portray of Joseph Chazal 4 Journal des sourds-muets, 1895 © Archives from INJS 40 Art’Pi! (1) Controversy after the Congress of Milan One reason for this outbreak was the need for local associations to display a tool of information. Another reason lays in the will of counteraction and response to two powerful newspapers: Le Journal des SourdsMuets, and La Gazette des Sourds-Muets. Both are run by Henri Gaillard (1866-1939) who was strongly committed in the question of education for deaf children and believed Sign Language should be allowed in schools again. Nevertheless he was a highly controversial figure because of his positions and influence. He ruffled some feathers on his way and particularly Joseph Chazal’s who became his arch-enemy from 1890 to 1910. Chazal run the newspaper entitled Le Sourd-Muet Illustré obviously dedicated in criticizing Gaillard's actions–nicknaming him Grigrine due to his rebellious and protesting personality and accusing him of fraud and manipulation. 2 3 41 Art’Pi! La Défense des Abbé de l'Épée (1712-1789) XVIIIth century XIXth century Freedom of the Press (1867) First Deaf newspaper (1870) The argument between the two men was based on the question of getting back–or not–to “the old method” or to put it in other words, promoting or not Sign Language. Unlike Gaillard, Chazal thought that the will to turn back time was vain and that people should embrace progress and engage in oralism. This fight induced a spectacular growth of the number of publications including fierce texts and could only be finished by trials in Court. The fading of Deaf press Between 1920 and 1950 the number of publications decreased and the papers became more and more local and linked to associations. Every single paper created during La Belle Époque had died off because of financial struggles or the death of their founders. Deaf press was getting less passionately concerned and began a long declining process. Only La Gazette des Sourds-Muets succeeded on living on till 1961. Thanks to Eugène Rubens-Alcais (1884-1963) who bought it from Gaillard in 1931 and managed it until the Confederation Nationale des Sourds de France changed its name toLa Voix du Sourd (1961-1993). The title itself (the Voice of the Deafs) is 42 Art’Pi! emblematic of the paper's new orientations. Changing its name once again it became Actua’Sourd, the information tool of FNSF (National Federation of the Deafs of France) which ceased to exist about ten years ago. Throughout the 1970's and 1980's apart from some association's newsletters it remains the only paper, together with L’Écho –created in 1908 but known today as Écho magazine. But both had focused on a medical perception of deafness and supported the oralist method. As far as press was concerned the Deaf Awakening(2) occurred twenty years later it had actually begun. Nowadays the internet has clearly made it easier to release publications and it seems that Deaf press experiences a revival. But it needs strong figures such as Gaillard in order to become long-lasting media. The Golden Age surely had happened during La Belle Époque. Proofs are some briliant texts and stiff arguments, both signs of a Deaf intellectual arousal. But are we to witness a new one? We sure hope so! YANN CANTIN FROM LEFT TO RIGHt Echo de famille, 1935 Actua'Sourd, 1995 La voix du sourd, 1976 (1) At the time Deafs would have rather talked about themselves as “Silencieux” (Silent) because this term could also easily refer to Codas who used Sign Language as well. (2) After the 1968 May Protest a wave of interest and rediscovery of cultural and linguistic minorities took place. Deafs rediscovered their own culture and have been since willing to protect their language. Le Sourd-Muet Illustré / La Gazette des Sourds-Muets (1890) s sourds-muets (1883) Deaf Awakening of the Press (1990) Eugène Rubens-Alcais (1884-1963) Henri Gaillard (1866-1939) y XXth century Belle Époque (1870-1914) Law on the Freedom of the Press (1881) L'Echo (1908) Actua'Sourd (1993) La Gazette : La Voix du Sourd (1961) Le Journal des Sourds-Muets (1895) noétomalalier, French verb Who is he? Henri Gaillard is the toughest deaf activist in France during the 19th century. He was a pupil in the INJS (Institut of Paris) and was a member of La Société des Gens de Lettres (an association run by authors to promote literature). He authored several written materials to promote Deaf culture, fight for Sign Language and support Deaf authors and artists. Moreover he created–and it is rare enough to to be noticed–the long-forgotten word “noetomalalier” (express oneself with gesture, using Sign Language) which seems to appear again nowadays. The life of Gaillard is bright unique and passionate. Nevertheless he died alone, cast aside by Deaf community for loving Sign Language too much and by his own children for being so proud of his deafness. Press and laws The growth of publications is due to two major legislative acts: the liberalisation of the Press in 1867 which allowed cheaper publications and the Law for Freedom of Speech in the Press, making censorship less strict. Interesting facts DID YOU KNOW? Gaillard created L'Imprimerie des sourdsmuets which had been economically viable by publishing a large number of mainstream authors. The writer Victor Hugo (1802-1885) was deaf by the end of his life. His famous character Quasimodo is a deaf bell-ringer talking in Sign Language. Victor Hugo will tell: “No matter the ear’s deafness, when the mind hears; the only deafness, the true deafness, the incurable deafness is the one of the intelligence”. That sentence had been long inscribed under La Gazette des sourds-muets banner. The financial outcomes enabled to maintain Le journal du Sourd-Muet although it enjoyed few readers and also to pay the authors and employ some deafs. As far as La Gazette was concerned, its sustainability was linked to Gaillard strong connections with important people: Francisque Sarcey (French dramatic critics and journalist) and Paul Deschanel (writer and politics during the 3rd French Republic) were columnists for those two newspapers. 43 Art’Pi! Photograph of printing house's deaf-and-mute workers. © ARSCA Art’Pi! 43 COMIC STRIP In 1972, the painter Francisco Goya (17461828) became totally deaf at the age of 46. He learnt Sign Language and taught it to his friends. This experience freed his mind and he was able to develop a unique style. The pieces of work related to this period are considered as uncanny and the most fascinating ones of his career. He was the first artist ever to express his feelings through the art instead of using religious motifs. Alfred de Musset (1810-1857), poet, playwright and French novelist, authored Pierre et Camille (1848). This story is about two deaf persons meeting and falling in love during the Abbé de l’Épée’s time. It had been published four years after the first wedding between deaf people was celebrated in Paris. DID YOU KNOW? Paul-François Choppin (1856-1937), became deaf when he was two years old. He had many bronze artworks exhibited in Paris: La laveuse in the Montsouris park, Un vainqueur de la Bastille in the Parmentier Square and Docteur Broca in the Boulveard SaintGermain. They were destroyed during the Second World War. In 1852 Ferdinand Berthier came and watched the theater show L’Abbé de l’Epée. He criticised the mimics and styles that he regarded as “old-fashioned” because of the linguistic evolution of the Sign Language. In 1870 he was called in order to advise and update the show. Adrean Clark Bruno Braquelhais (1823-1875) was part of the photography emergence and was a photo-journalism precursor. He is well-known for his photographs of female nude, but is mainly seen as the Commune photographer: because he was deaf nobody stopped him when he ventured through the barricades. Frédéric Peyson (deaf painter,1807-1877) was a student, maybe the best one, of Ingres. The public and art critic praised his painting Les derniers moments de l’abbé de l’Épée. Deafs all over the world signed a petition in order to encourage the Minister of the Interior to buy it. The Government got in touch with Peyson but he decided to give it to the Institute for the deafs in Paris, because he thought the offer too cheap. www.adreanaline.com / www.aslwrite.com As a deaf artist, I want to show my native Sign Language in my artwork. It is challenging to take a moving visual language and freeze it on paper. Writing ASL on paper works like written English, giving us enough information to let us “see” the full dialogue in our minds. Written ASL can be changed to become written LSF. If you want to learn more, watch for my comic strip in the next issue. Adrean Clark is an author, illustrator, and comics artist. 44 Art’Pi! 45 Art’Pi! 46 Art’Pi! Deaf character in Theater Deaf character in theater Theater has been interested in deaf people for a very long time now. The deaf character used to be saved by a miracle, then ridiculed or highlighted following the evolution of Society. In the same way Deaf theater, whose past has been more difficult to observe, is slowly emerging to burst from shadows to enlightenment. From mockery to respect F irst references to deaf characters in theater began in the Middle Ages. At that time, in front of the churches' squares, hearing actors would perform scenes from the Bible to teach Catholic religion to the people. In those pieces disabled people would heal miraculously–deaf people would hear, blind would see. In parallel the profane theater used deafness as a comic element. The characters would fake deafness to get out of embarrassment or to merely annoy others. The real deaf, dumb fool of the play, would keep on experiencing misunderstandings or would be ridiculed. For centuries as far as playwrights had been concerned, the “deaf factor” would create some misunderstandings, comical situations and mockeries. Referring to role parts, stage directions would say “the deaf” as one might say “the stammerer”, “the mute”, “the lame”. It would be long before audience could attend a show offering a role of a life-like deaf character and it is still more seldom to see one that is played by a deaf actor instead of a hearing one. F rom the eighteenth century, influenced by the works of the abbé de l’Épée, the hearing audience as well as the deaf one, became very fond of shows about deafness. Eventually, the plays would increasingly integrate deaf characters into their plots. Unfortunately, these roles were generally performed by hearing actors. They would go to the Royal Institute of Deaf-Mutes in Paris–currently, the National Institute of Deaf Youth of Paris-to try and get closer to the “Deaf feeling”. Deaf men such as Massieu, Berthier or Gaillard would offer their suggestions and go backstage to give their minds right away. Many plays went on exploiting the burlesque of disability and giving the audience a laugh at the expanse of the disabled character. However, a new trend appears with a different perspective on deafness, trying to be more expressive and understanding. But the abbé de l’Épée having succeeded in rendering to society human beings previously excluded, many authors wanted to honor his memory and his works. Deaf character became an intelligent one, claiming for justice, able to love and be loved in return. 47 Art’Pi! O ne particular play hit drama History by its incredible success and helped giving a positive image of deaf people. L’Abbé de l’Épée–a five acts play written in 1799 by the hearing author Jean-Nicolas Bouilly–would be performed for over a hundred years. ON THE LEFT Unknown deaf actors © Amicale des anciens élèves de l’INJS de Paris Bust of Jean-Nicolas Bouilly © Archives from INJS L’Abbé de l’Épée, a play in five acts by Jean-Nicolas Bouilly in 1799 The plot is about the Law case–also known as “L'Affaire Solar” which took place from 1776 to 1792. Bouilly changed names and facts in the play. The play is about Théodore, a deaf-mute orphan who had been raised and educated by de l’Épée. The clergyman found out that Théodore was actually the sole heir of the Count of Harancour. He then helped the young man who never ceased to try and get back his name and his deeds. Bouilly played freely with reality and highlighted the righteousness of the young deaf fellow. Eventually, in spite of remaining doubts, the Court would state against him after several twists and the incriminated man would be freed of charges. Actually after he attended the show, this man felt offended and tried and forbade the remaining venues. The play however was a huge success and has since been played in major French and European auditoriums. The role of the deaf fellow has generally been played by young hearing women. Few deaf actors, such as Ballestrier or Charles Sinobre, managed to get a part for the tour. This unfortunately has remained very rare. Poster of L'Abbé de l'Épée, 1890 © Archives from INJS Le Pauvre Pêcheur with unknown deaf actors © Amicale des anciens élèves de l'INJS de Paris Braün brothers' shows Since the first half of the 20th century, behind the doors of various deaf institutes, pantomime had spread. André Braün and his brother Albert wrote and put on plays, pantomime sketches, comedies, mimes, dramas in the Baguer Institute (Asnières): Le Rêve de Bébert, À la Caserne, Les Conséquences du Train Manqué, L’Innocent, Le Bossu ou Le Fils d’Alcoolique… One of the brothers would later perform solo love stories or comedy sketches–Le Chagrin d’Amour, Le Chewing-gum… Drama has always been feeding on actual events– each new case hitting headlines would thus become a source of inspiration. It would also shadow the changes in education method applied to deaf people through the centuries. With the rise of the oralism and the influence of Milan Congress in 1880, the portraits depicting deafs would then turn from positive to visions of mere disabled people. eaf authors and actors–quite discrete until then–kept on existing in an even more confidential way. Deaf theater evolved in schools, committees, International Deaf Congresses or sport associations who had become more and more numerous. L'Abbé de l’Épée, after its withdrawal from public theaters, reopened in deaf institutes and associations. D Sign Language, put aside as it was, gave way the pantomime and dance performances. The mime became a way of playing with rules and keeping on expressing freely oneself in public. Artists such as Ginette Baccon (deaf dancer) and the brothers Albert and André Braun (deaf authors and actors) emerged and have since contributed enthusiastically to Deaf theatre. Ginette Baccon on the right front stage © Archivres from the Amicale des anciens élèves de l'INJS de Paris 48 Art’Pi! The two characters which the two brothers usually embodied, was an officer and a soldier. When the officer (André Braün) would give a “kick in the ass” to the soldier (Albert Braün), the latter would pick up a shovel of dungs and throw it to the officer's back who would receive it all over the face and uniform. Excrements that the audience would believe fresh and real were actually fake, handmade by the Braün brothers out of gingerbread, oats and straws! Pantomime comdey by Albert Braün À la Caserne in the Institute for the Deaf-andmutes in Asnières. December 21st 1929 © Archives Olivier Schetrit A play about the abbé de l'Épée,1938 © Archives from the Amicale des anciens élèves de l'INJS de Paris Rehearsals for 1x80, IVT © Archives from Jean Grémion Deaf Drama's renewal In 1976, after a century of prohibition against Sign Language, deaf people in France were ashamed of their language and hid themselves to use it. Jean Gremion, hearing stage director, who had gone to the United States in search of new theatrical forms, met there American deaf artist Alfredo Corrado, then assistant of puppeteer Robert Anton (hearing). Together they programed a show that would be performed for a whole year in the Tour du Village of the Château de Vincennes. Alfredo Corrado, discovering that “French deaf people had lost confidence in their own language”, decided together with Gremion to create a pedagogical research center for theatrical expression of Deaf culture. Bill Moody as an American hearing actor and professional ASL interpreter, and Ralph Robbins as a hearing actor as well, joined them. With twenty young French deaf adults already aware of theater thanks to the work they did with Ginette Baccon, they settle down in the rooms of the Château de Vincennes. The International Visual Theatre–IVT–were born. One hundred and sixty years after the departure of Laurent Clerc (a French deaf who exported the method of de l’Épée into the United States and established the first deaf school there), Alfredo Corrado was bringing passion for their culture back into french deafs' hearts. Starting in February 1977, Corrado would make some theater-based researches on the actuality and originality of Deaf culture. The first IVT show was performed in 1978, in complete silence and was entitled [ ]. “In the minds of the performing deaf actors, this was the symbol for a community looking inward for its own identity, culture, and theatrical tools to express it. This highly visual performance was primarily intended for deaf audience. The second show, in 1979, was entitled ] [, which meant the opening of the community toward to others. Although it was a work-in-progress performance still held in total silence, it felt more attractive to a hearing audience.” 49 Art’Pi! DID YOU KNOW? Bill Moody Alfredo Corrado In 1993, big USA hit Children of a Lesser God got adapted and run for the second time in France. French actress Emmanuelle Laborit would receive an award for her performance in it. Children of a Lesser God of Mark Medoff, 1993 A young deaf woman, Sarah, falls in love with a hearing professor, Jacques Leeds, and makes him understand that her world is way different from what he can imagine. She refuses lip-reading with hearing people in order to preserve her Deaf identity. Children of a Lesser God (French: Les Enfants du Silence) is an American play by Mark Medoff. This screenplay is adapted by Pierre Brouton, in 1982 and performed at Le Studio des Champs Élysées starring Chantal Liennel, Monica Companys–both deaf actresses–and Jean Dalric–hearing actor. The resumption of the show in 1993 by Jean Dalric with the assistance of Levent Beskardès won two Molière Awards (Best Screenplay Adaption and Best First Appearance in a Leading Role to a deaf actress, Emmanuelle Laborit). Poster of the play Les enfants du silence, 1993 Pär Aron Borg from Sweden decided to take care of the deafs after watching a show by Jean-Nicolas Bouilly, entitled L’Abbé de l’Épée. In 1809 he succeeded in convincing the King of Sweden to settle a school for the deafs. Laurent Clerc (1785-1869) Jean Massieu (1772-1846) Ferdinand Berthier (1803-1886) Abbé de l'Épée (1712-1789) XIXth centur XVIIIth century Solar Case (1776-1792) L'Abbé de l'Épée (1799) The Molière award had been given to a deaf actress and this would invigorate and encourage deaf people and Deaf Art. Deaf people in France, completely unaware of their theatrical past, found out that they could perform on their own. Along with this a door opened and allowed hearing people to get back to deaf people and Sign Language. The deaf character in Hearing performances–as well as in Deaf ones–has since become bigger and more profound and is nowadays no longer used for systematic misunderstanding moves. Deaf Awakening generated one richer and more innovative art creations after another. We can name a few: Hanna by Levent Beskardès (1993), Metroworld by Levent Beskardès (1993), Le Divan Violet by MathiasHenri Glénard (2011) or Héritages by Emmanuelle Laborit and Estelle Savasta (2011). Hanna by Levent Beskardès, 1994 The plot is about Hanna, a young deaf girl, who is trying to escape from sterilization policy which Nazis forced on “congenital abnormals”. The deaf girl runs away towards places and people willing as much as she does to access to a right to live. The play has been rewarded and acclaimed by deaf audience in France and the United States: Best Stage Director at Deaf ceremony Mains d’Or in 1999 and Best Drama in 2004. A play was shown recently, in July 2011, during the Clin d'Œil Festival, as a previously unpublished workin-progress; a workshop based on the artistic meeting between three European theatres operating in Sign Language: Teater Manu in Norway, Tyst Teater in Sweden and International Visual Theatre in France. This research on visual expression and signs should lead, if all goes well, to an international creation on visual theatre in 2013. This gives proof, if any's needed, that French Deaf theatre is today on the right path to find its place in the enternaiment world. What it needs is more Hearing productions with deaf characters performed by actual deaf actors. Actors of Hanna © Archives Claire Garguier 50 Art’Pi! OLIVIER SCHETRIT & SOPHIE LAUMONDAIS European workshop of creation around visual expression and signs, Clin d'œil Festival, 2011 © Archives from IVT ][ by IVT (1979) Henri Gaillard (1866-1939) ry Les Enfants du silence (1982) [] by IVT (1978) Metroworld (2010) Hanna (1993) XXth century Congress of Milan (1880) Folk danse group (1967) Creation of IVT (1976) Ginette Baccon deaf artist and dancer, from Gustave Baguer Institute Her background Ginette Baccon, born Schmitz in 1919 in Saint-Ouen–France, studied in Gustave Baguer Institute (Asnière-sur-Seine). At twelve years old, she was dreaming to be an actress which would become her ultimate goal. She loved to dance so much–either on stage or hanging out with friends... As soon as she turned eighteen she left the Institute and would quickly be offered by deaf friends– including the Braün brothers–the opportunity to act in various shows happening during festivals, which she gladly accepted. Le Divan Violet, Héritages, European workshop (2011) It was the beginning for her of an uninterrupted series of Drama plays and then dance performance. She was aware of her own beauty and tuned it into an asset in order to put her projects together, one after the other: performances at foundations, committees (former name for “associations”) or deaf Federations. Deaf Ms. Bascoul would sign many drama productions in which Baccon played together with Ms. Pruvost who has been a deaf dancer as well–she is now 92 years old. On many occasions, Baccon enjoyed working with Paul Durand, a deaf artist who created several sceneries for her plays. All of them put together various plays with a wide repertoire from burlesque mime to visual shows (visual transcriptions, script adaption such as Madame Butterfly) including sketches and pantomime… Milan Congress which lessened Sign Language had always had an impact on Ginette Baccon. Expressing Sign Language in public made her feel uncomfortable so she preferred to refer to “visual transcription” and “mime theatre”. As an avid follower, she thought mime very rich and aesthetic–and normative which is a relief for her–so she stood up for it with all her heart. Around 1967, in order to value deaf community and to prove they were as capable as hearing people, Ginette Baccon decided to run a group of folkdance for deaf people: she was proud to be able to dance for the first time in the auditorium of the National Institute of Deaf Young Deafs of Paris. In 1970, there had been a dozen of deaf dancers taking part to Ginette Baccon's folkdance group: Chantal Liennel, Joël Liennel, Victor Abbou, Jean-François Labes, Germaine Woringer, Yannick Bienfait, Brigitte et José Vazquez, Michel Octon… Some of them became well-known actors at IVT. The group organised a touring around France–and across Europe as well. During rehearsals Ginette Baccon would 51 Art’Pi! Molière Award to Emmanuelle Laborit (1993) Ginette Baccon in Oh France, Mon Pays, 1944 © Archives Olivier Schetrit conceit and direct choregraphies while Nelly, a hearing dancer, would dance with deaf students to show them the rhythm. The group had been existing for more than ten years. Ginette Baccon passed away on 26 March 2010 at age of 91. Her accomplishments • Madame Butterfly, directed and played by Ginette Baccon with Aline Bascoul, scenery by Paul Durand. • Oh France, Mon Pays, mime-dance solo by Ginette Baccon in 1944. • Dancing spectacle, 1935: Ginette Baccon dressed up as a soldier. Backdrop painted by Paul Durand. Screening deafs Screening deafs Deaf actor or hearing actor? Which of them performs deaf characters in the plots? What are the dominant traits of these characters? The changing status of the deafs in the film industry, and how they are represented, are intimately linked to the history of Deaf culture. In movies as in society W e had to wait until 1937 to see for the first time in the history of French cinema, a deaf actor on the screen. In the film Chéri Bibi by Leon Mathot, Maurice Humbert plays a deaf prisoner–one of the major role in the plot– whose Sign Language will allow to fool the warden’s' attention and to elude the prohibition on communication. However, most often, the deafs are identified in movies as victims (rape, orphan) or as the local half-wit–sometimes violent and murderous. The deaf character is mocked or seen as the origin of all disasters. Plots focusing on education The Miracle Worker (USA–1962) by Arthur Penn tells the story of Helen Keller, deaf and blind, who succeeded in graduating from university. In 1970, in France, a film will screen an educator's work on a child found alone in nature and believed to be deaf and dumb. L’enfant sauvage by François Truffaut shows the painful “oralisation” of Victor by the Dr. Itard, at the Saint-Jacques Institute, right in the middle of the 19th century. What appears as mental retardation is presented as the product of the lack of contact with other human beings. UP Extract from L'enfant sauvage DOWN Extract from The Miracle Worker RIGHT PAGE Extract from L'enfant du secret © France 2 / Laurent Denis 52 Art’Pi! 53 Art’Pi! Abbé de l'Épée (1712-1789) XVIIIth century XIXth centur Deafs performing deafs We had to wait until the 80’s for deaf roles to be no longer performed exclusively by hearing actors–always thrilled to face the “difficuties” of this kind of performance–but also by deaf actors who got professional. It is true that in the meantime Sign Language had been restored in France. The deaf character is no longer shown as an ill person. A genuine work of expression is initiated by the deafs themselves. Deaf actors and directors are nowadays highlighting the issues of harm and suffering from the past, their relationship with the hearing world and the role of Sign Language in creating acts. L’abbé de l’Épée, filmed between 1982 and 1989 by Michel Rouvière is the first ever French film directed and performed exclusively by deaf people. It recounts the life and work of the abbé de l’Épée in the 18th century. In 1995, Patrice Leconte's Ridicule won four trophy during the Césars Awards. Three deafs–Laurent Valo, Claire Guarguier and Bruno Zanardi–who made their first steps on the stage of IVT–International Visual Theater–do not act the major roles of this historical movie but they are positive figures who here again are referring to the work the abbé de l’Épée. The number of movies with deaf comedians playing the roles of deaf characters has increased. This unfortunately do not prevent ridiculous representations such as the sour servant in Jean de Florette (1985) by Claude Berri, played by a deaf actress, Chantal Liennel. Extract from Ridicule, 1995 We had to wait until the 80’s for deaf roles to be no longer performed exclusively by hearing actors Shooting photo from Jean de Florette © Archives from Chantal Liennel DOWN ON THE LEFT Extract from Jean de Florette, 1985 Shooting photo from L'abbé de l'Épée © Archives from Guy Bouchauveau 54 Art’Pi! Charles Chaplin (1889-1977) L'abbé de l'Épée (1982-1989) Lon Chaney (1883-1930) Granville Redmond (1871-1935) ry XXth century Silent films (until 1927) The Miracle Worker (1962) Chéri Bibi (1937) Birth of cinema (1895) Jean de Florette (1985) Ridicule (1995) L'enfant du secret (2006) L'enfant sauvage (1970) Shooting photo from L'enfant du secret, 2006 © France 2 / Laurent Denis Making way for youngsters Somehow, most of the time, deaf children are not as much concerned by this fatility and enjoy a good share of the fame. L’enfant du secret (2006), is a TV movie directed by Serge Meynard inspired by the Solar affair. Deaf actor Joshua Julvez plays the role of Joseph who has been abandoned by a wealthy family and seeks with the abbé de l’Épée his true identity. Several deafs play the roles of students of de l’Épée. Before shooting the scenes, the actors received a DVD containing the abstract of the film and the dialogues in Sign Language. On the set, many professionals and interpreters were present. Michel Aumont, who plays the character of the abbé de l’Épée, took about thirty lessons from a deaf Sign Language teacher, Bachir Saïfi. In recent years, dozens of productions have screened deaf people, and if the roles have evolved and deepened, too few characters are played by deaf people themselves. Today, France has yet dozens of professional deaf comedians of all ages. But very few of them are actually living from their practice on stage or screen. VÉRONIQUE BERTHONNEAU (Based upon L’écran sourd by Guy Jouannet) DID YOU KNOW? A documentary about Ginette Baccon’s work, filmed by Olivier Schetrit, has just been presented at the 8th Festival of DHI–Deaf History International– hosted by the Ontario Deaf Foundation in Toronto, Canada and won the first Prize of Documentary film. Guy Jouannet Journalist and educator who worked at the INJS in Paris. Author of L'ÉCRAN SOURD. - Les représentations du sourd dans la création cinématographique et audiovisuelle. He has written an updated version of his book but has not found a publisher yet. 55 Art’Pi! THE MOVIE L'abbé de l'Épée BY Michel Rouvière The movie L'abbé de l'Épée by Michel Rouvière L'abbé de l'Épée is the first french movie ever produced by an all deaf filming team and is still unknown from both hearing and deaf public. M ichel Rouvière is a movie fan. He had already non-professionally produced some short movies when he discovered in Le Journal de Tintin (N°545, April 2th 1959) a comics based on the abbé de l’Épée’s story. He remembers his emotion when, at age twelve, he entered the INJS and discovered the priest’ statue in the schoolyard. “Everyone, every culture has a raw model, a symbol. The abbé de l’Épée has been embodied many times in theatre shows, but I had an itch to immortalise him by making a movie, in order to carve his name the best as possible in the book of History.” 56 Art’Pi! Board from L. & F. Funcken's L'Abbé de l'Epée in Tintin, le journal des jeunes de 7 à 77 ans, N°545, 2 avril 1959. © Le Lombard Michel Rouvière made up his mind and gathered a team, invested money and resources. The film shooting started in 1986 and would last almost three years. Every Saturday and Sunday, around twenty-five people would meet in the INJS (St Jacques school), at friends places, in a borrowed house, and even at the occasion, in a church!Self-management and resourcefulness were Rouvière’s motto. At the time, there were no cell phones, no Minitel (NdT: French pre-Web Videotext online Service). The movie maker run everywhere from right to left to give appointments, look for theatre costume rental, to pick up some materials at the last minute… The intrepid director thought of Guy Bouchauveau for playing de l’Épée because his features matched the clergyman’s so well–roundness calm and good nature shone on Guy’s face as they did on de l’Épée. The movie recount a part of de l’Épée’s life, from his meeting with two deaf twin sisters until his death. It shows, through key-moments, his fight for opening and maintaining a public school for deaf children. The movie has known several versions, but the last one’s length is thirty-five minutes. 57 Art’Pi! It was planned to extend the movie shooting. But the sudden accidental death of camera operator André Denys put an end to it. Later, the movie would be screen many times in France, but also in the United States of America and Germany. Although the movie seems clumsy and incomplete in its narrative construction, it remains a significant part of Deaf History. It stands for the testimony of an important man’s life as well as the amazing energy and motivation of a passionate team. Film making’s anecdote: During the shooting of de l’Épée’s death, friends and family were gathered besides the bed. Guy Bouchauveau had to play as a dead man. He did it so well that he fell deeply asleep. PAULINE STROESSER Shooting photo © Archives from Guy Bouchauveau BD Drawing : Jean-Marie Hallegot / Coloring : Daniel Le Coq 58 Art’Pi! Agenda Performing Arts Theatre, storytelling, workshops, readings, festivals... 60 Broadcast Cinema, video, visual art... 61 Art/Culture Architecture, History, plastic arts... and the tercentenary banquets Illustration for Froid dans le Dos, IVT 62 Publishing Comics, papers, novels... 64 Multimedia What's new on the web? 65 59 Art’Pi! Performing Arts THEATRE Quatre lettres sur l'éducation des sourds This theatrical adaptation of extracts from the book of the abbé de l’Épée is performed in LSF by the actor Bashir Saïfi, with voicing by an interpreter in French, and will be followed by a debate. November 9th at 6pm Salle des fêtes, Versailles (78) www.injs-paris.fr/documentsdu-site/fichiers-a-telecharger/ Tricentenaire-de-la-naissancede-l.pdf WORKSHOP STORYTELLING THEATRE Come and have fun playing rhythm and hand games, and learn how you can adapt a traditional song in Sign Language. Booking is obligatory. Librarians from the deaf library services of the city of Paris present stories in French and French Sign Language at the BPI. Using voice and signs Olivier Schetrit and Olivier Quinzin–directed by Annie Mako–will make you discover a novel for children written by Emmanuel Arnaud: a young teenager has discovered Illuminations written by Rimbaud and the book changes his life. Heure du conte Singing in LSF October 20th, 3pm December 1st, 3pm December 15th, 3pm Chaptal Library, Paris (75) http://bibliotheques.activites. paris.fr/liste/index/aid/34095/ aname/Comment%20chante-ton%20en%20langue%20des%20 signes%20?%20:%20ateliers Une Saison Rimbaud November 10th 4pm and 5pm November 17th 4pm and 5pm November 24th 4pm and 5pm December, 1st. 4pm and 5pm BPI-Centre Pompidou, Paris (75) www.bpi.fr November, 28th. 5Pm BPI-Centre Pompidou, Paris (75) www.babdp.org/spip.php?article29 STORYTELLING Heure du conte David with his hands, Anne Laurence and Fabio with their voice tell stories for children and grown-ups. Bilingual LSF/French. READING Ma parole This show aiming to raise consciousness has been written by Jean-Yves Augros in order to advocate communication issues with Deaf world. It questions the customs, practices and behavior patterns between people who have different ways of sharing. THEATRE Compagnons de route A mysterious companion, a rude inn-keeper, a desperate king, his daughter as beautiful as she is bewitched... Karine Feuillebois embodies all these characters using LSF with voices of interpreter Alexandra Bilisko. A mix of skills and cultures in order to tell this barely known story of Andersen. December, 8th, 4pm Chaptal Library, Paris (75) www.spectacle-des-fous.com November 15th, 7pm Chaptal Library, Paris (75) November 21st, 7pm BPI-Centre Pompidou, Paris (75) FESTIVAL EUROPÉEN THÉÂTRE ET HANDICAP La Llama Doble Exercices de style THÉÂTRE / FRANCE Pantomime Jomi PANTOMIME / ALLEMAGNE Les Chaises THÉÂTRE / FRANCE Marcel Loeffler Around Gus Quartet MUSIQUE / FRANCE Né… 2 fois MIME / FRANCE Snails & Ketchup SPECTACLE VISUEL / ÉCOSSE Le Cirque Ouïlle CIRQUE / CABARET / HUMOUR / THÉÂTRE / BELGIQUE Bien vu Miro ! Personimages EXPOSITION Acte 21 THÉÂTRE / FORMATION ET ÉDUCATION ARTISTIQUE November, 8th. 6Pm BPI-Centre Pompidou, Paris (75) www.bpi.fr DU 28 SEPTEMBRE AU 20 OCTOBRE 2012 THÉÂTRE MONTANSIER 13, rue des Réservoirs / Loc 01 39 20 16 16 www.orpheefestival.com Dossier de presse THEATRE Contact : Personimages FESTIVAL Melt down the walls between acting, singing, puppeting, acrobatic lifting and plastic arts this show aims to express complexity of the world and put reality into perspectives. It's been adapted in LSF and other translated venues are to be programed. Orphée festival is celebrating its 10th edition and is offering moving performances and plenty of humorous sketches coming from France, Spain, Germany, Belgium and Scotland. Come and discover not only the latest creations of companies that have made the success of one of the finest festival, but also new artists with original accents. Orphée Until October 20th Versailles (78) www.orpheefestival.com CONFÉRENCE International Visual Theatre Emmanuelle Laborit (Director), Stephane Jude (Deputy Director) and Jean-Yves Augros (Cultural activities and deaf public Manager) offer a conference about the presentation of IVT: a cultural exchange for deaf and hearing people. November, 8th. 7Pm BPI-Centre Pompidou, Paris (75) www.bpi.fr Cher Monsieur Berthier EN PARTENARIAT AVEC : THEATRE 60 Art’Pi! Froid dans le dos THÉÂTRE / HUMOUR / FRANCE Dépasser son handicap par l’expression artistique October, 2nd and 9th Theatre Varia, Brussells (Belgium) www.varia.be/fr/ READING Designed by Bachir Saïfi and Antoine de la Morinerie for deaf and hearing audience, from selected fairy tales where ogres and blue beards come interweave with the ghosts of the Grand Guignol. This show will be presented at IVT (International Visual Theatre) in December from 3rd to 23rd. DANSE CONTEMPORAINE / ESPAGNE www.yanous.com Alaska October 10th 10:30am and 11am October 13th 11am and 4pm Chaptal Library, Paris (75) www.dailymotion.com/video/ xsvlnn_10-et-13-octobre-2012-paris-chaptal-75-heure-du-contebilingue_lifestyle Didier FLORY 0675861711 [email protected] Based on Fabrice Bertin’s Ferdinand Berthier, ou le rêve d’une nation sourde, this play by Didier Flory is entirely performed in Sign Language and is interpreted live by voiceover. October 20th ASCSRR, Rouen (76) November 10th Régates Rémoises, Reims (51) November 17th Nancy (54) November 30th Limoges (87) December 7th Théâtre du Tiroir, Laval (53) Broadcast CINEMA VIDEO An evening of screenings and debates in order to discover the point of view of three different filmmakers on the status of deaf youngsters in our society. Born deaf, this artist explores what she has named “sound's physicality”. She makes experiences on sounds and vibes materiality. Young deafs in Society Christine Sun Kim November, 15th. 8Pm Cinéma l'Entrepôt, Paris (75) www.huffingtonpost. com/2012/09/10/christine-sunkim-deaf-pe_n_1870489.html www.ffsb.be/documents/ Actualite/node4729_babdp.pdf CINEMA DVD VIDEO Les visiteurs This videoclip displays the feelings during the MONUMENTA (Daniel Buren) exhibition's guided tour, both in LSF and French, in the Nef du Grand Palais in Paris: magic and fraternity around an impressive event. www.babdp.org/spip.php?article198 61 Art’Pi! The HeART of Deaf Culture : Literary & Artistic Expressions of Deafhood This multimedia interactive twoDVD set explores Deaf visual art, ASL and English literature, Deaf theater and Deaf cinema and features more than 300 artworks. https://www.ntid.rit.edu/ntidweb/ products/?controller=product&path =23&product_id=33 Festival international du film lesbien et féministe de Paris A lesbian and feminist festival with 70 screenings with French subtitles, interpreted conferences, exhibitions... For women only! October, 31st–November, 4th Théâtre de Ménilmontant, Paris (75) www.cineffable.fr/fr/edito.htm CINEMA Festival Européen du Film Court The European festival of shortmovies programed this year two screening sessions translated in LSF. Be warned: short-movies are coming to Brest and they will make you laugh! November, 13th–18th Brest (29) www.filmcourt.fr Art/Culture International Conference In collaboration with GERS and INS-HEA, FNSF offers for three days in row conferences about Deaf culture (History and culture, education, medical approach and ethics, politics). Many prestigious speakers from France and abroad will be present. November 21-23th www.fnsf.org/300ans/2012les-temps-forts/ conference-internationale PARIS PARIS Anniversary banquet FNSF offers an outstanding evening in Théâtre du Merveilleux's period scenery and secular fairgames. Unique guests will be present and will perform cultural events, Deaf comedy sketches and other surprises... À pleines mains ! The Bibliothèque Publique d'Information in Centre Pompidou with the FNSF and other associations hosts an installation dedicated to Deaf Culture and Sign Language: exhibition, debates, interactions, library, storytelling, screenings... Museum of Fairground Art BPI From November 5th until December 3rd www.fnsf.org/300ans www.bpi.fr/fr/la_saison_culturelle/evenements/a_pleines_ mains.html November 24th at 6pm www.fnsf.org/300ans/2012les-temps-forts/24-novembre2012-lanniversaire-spectacle-etbanquet PARIS Panthéon PARIS Chapelle–INJS November 24th at 3pm http://fr.sgb-fss.ch/images/stories/pdf/Programme_Paris.pdf 300th anniversary of the abbé de l'Épée An exhibition based on the life of the abbé de l'Épée, and a timeline replacing History of deaf community in the History of France. Association des Sourds de Reims et de Champagne-Ardenne avec la participation des associations rémoises Club Sportif des Sourds de Reims Association du 3e Age des Sourds Des Gestes Pour se Comprendre CinéSourds GUADELOUPE Musée Schœlcher Accessibility This museum is a hommage to Victor Schœlcher and his struggle against slavery and inequalities. Guided tour in LSF once every month. Next dates: Victor Schœlcher et l’abolition de l’esclavage October, 29th Comment fonctionne un musée ? November, 26th Informations [email protected] Institut National des Jeunes Sourds Tercentenary commemorative plaque On a saturday morning at INJS under the portico will take place the unveiling of a commemorative plaque for the 300 years anniversary of the abbé de l'Épée by the Alumni Committee. November 24th www.injs-paris.fr/documentsdu-site/fichiers-a-telecharger/ Tricentenaire-de-la-naissancede-l.pdf 62 Art’Pi! Peplum This exhition make get backstage of a peplum and discover influences and technical anecdotes. Learn about this specific movie genre which remains one of the public's favs. November, 10th, 3PM February, 9th, 3pm www.musees-gallo-romains.com AVIGNON MDPH Des mains qui signent This exhition realised by Christian Rocher invites you to discover Sign Language. Through photo art you'll have to re construct a lifestory connecting 15 photographs of moving hands. This will push you towards the others, talk about differences and perceptions. Until October, 5th Until December 21st www.injs-paris.fr/3eme-centenaire-de-labbe-de-lepee PARIS Gallo Romain Museum Commented in LSF. © Aristoi A guided tour Deaf guide Alexis Dussaix will show you the church of Sainte Geneviève, a typical example of neoclassical architecture built in 1764. During French Revolution, the building changed its function to become a republican Hall of Fame temple. Since 1791 this local landmark is the necropolis of the Great Mind of French nation. SAINT-ROMAIN-EN-GAL LOUHANS Musée des Sourds samedi 10 & dimanche 11 novembre 2012 Le programme officiel sera publié avant l’été - contact : [email protected] REIMS Cercle de l'abbé de l'Épée Deaf Artistry Fair Organized by the Association Cinesourds in collaboration with Deaf Association of Reims and Champagne-Ardennes, this Art Exhibition is to highlight deaf skilled artists to show their artwork (paintings, sculptures, jewellery...). Vernissage November, 9th at 4pm Exhibition November, 10th www.asrca.fr PARIS Cité des sciences Léonard de Vinci, projets, dessins, machine Through this interactive display, get into the amazing rich universe of Leonardo Da Vinci and discover 40 models created from his sketch-books. From October, 23rd www.cite-sciences.fr/lsf/ala_cite/ expositions/leonard-de-vinci/presentation-expo-leonard-vinci-lsf.php Event The first ever Museum of the Deafs opened recently on the 12th of September in Louhans (Saône-etLoire). Located in the former HôtelDieu, it is a part of of the celebration for the 300th anniversary of the abbe de l'Épée, first educator of the deaf youngsters in Sign Language. www.unapeda.asso.fr/article. php3?id_article=1823 © Le Journal de Saône et Loire - photo A.B. University © Bpi - photo C. Desauziers NANTERRE Art/Culture PARIS Panthéon Le Panthéon des Grands Hommes Discover this landmark and learn why deafs want de l’Épée's relic to be moved in its crypt. LSF: November 19th 10.30am, November 21st 10.30am November 23rd 10.30am November 24th 3pm GRENOBLE Town of Grenoble Introduction to Deaf Culture The Comittee for the Organization of the tercentennial of abbé de l’Épée is planning an “accessibility month” including discovery and initiation to the language and culture of Deaf community for the hearing public. Until October, 15th grenoble300ans.canalblog.com COUDEKERQUE-BRANCHE Foyer Raimu Scrapbooking all day long Come and discover scrapbooking for a whole day. Meet some new friends and produce your own Christmas album. CoudekerqueBranche's home plans a lot of diverse activities throughout the year. SI/ASL: November 20th 10.30 am November 22nd 10.30 am. You must book : [email protected] ROUEN ASCSRR Anniversaries This year is the 90th anniversary of the founding of the Deaf Home and the 300th anniversary of de l’Épée. Both will be celebrated by the Association Socio-Culturelle des Sourds de Rouen et de sa Région: conferences, exhibitions, shows, banquet. October 20th and 21st Informations and booking: [email protected] November, 4th. Starts at 9:30am Informations and booking (before October 15th): [email protected] PARIS Église Saint-Roch On the path of the abbé de l’Épée Guided tour from the churh where de l’Épée rests in peace and the nearby area to where he lived, rue des Moulins. November 19th-23rd LSF: 4pm; SI/ASL: 3pm You must book : public.sourd@ monuments-nationaux.fr http://handicap.monumentsnationaux.fr/fr/Visiteurs_malentendants_et_sourds/ 63 Art’Pi! ARRAS Musée des Beaux-Arts Roulez Carrosses ! For the first time an exhibition devoted to the hippomobiles, sedans, horse-drawn vehicles, etc… is displayed on a square mile area including an innovating chronological scenography of frames, sculptures, sleds… Until November, 10th 2013 www.versaillesarras.com/index.php/fr www.trefle.org Publishing NEWSPAPER BOOK This special issue of Journal de Saint-Jacques will celebrate the 300th anniversary of the abbé de l'Épée and will be released on November. Available on the INJS website. CNFEDS (National training center for teachers following sensory deficiency) publishes its first book on the occasion of the 300th anniversary of the abbé de l'Épée. Institut National de Jeunes Sourds www.injs-paris.fr L’Héritage de l’Abbé de l’Épée www.cnfeds.univ-savoie.fr FORUM Jean le Sourd Come and meet the authors of the comic book Jean le Sourd, published on the occasion of the 300th anniversary of the abbé de l'Épée. WORKSHOP Learn how to draw manga-like October, 6th Chaptal Library, Paris (75) http://bibliotheques.activites. paris.fr/liste/index/pmr/5/tri/ age_min,age_max/ordre/DESC As an illustrator Sinath is influenced by manga as well as European Comics. Website: http://sinath.ultra-book.com You must book. LSF/French interpretors. INNOVATED AND ADAPTED SERVICES A social enterprise, Websourd develops accessibility services for deaf and hard of hearing people. Websourd promotes the fulfillment of all within the civil society. Elision Allows deaf, hard of hearing and hearing people to communicate freely, choosing amongst FSL, Cued Speech and by text elision-services.com October, 13th and 27th, 3pm Chaptal Library, Paris (75) 3DSigner Allows you to diffuse your messages through a virtual signer who uses a perfect sign language NOVEL 3dsigner.fr Au péril de ma vie, restez prudent ARCHIVES Écho Magazine 100th anniversary Écho Magazine, the Deaf newspaper–previously known as Écho de famille–celebrated its 100th anniversary in 2009. WebSourd offers you an exclusive three-part report about its history and its edition: evolution of the paper and the publishing team, richness of the archives, follow the editing of an issue step-by-step. www.websourd.org/spip. php?article60107 Philippe Autrive is a lawyer and a fighter for the rights of deaf people for over twenty years. He is currently publishing a crime novel which story takes place in the Deaf community. http://philippe-autrive.publibook. com Jobsourd Allows you to diffuse your recruitment announces in sign language (Free for bilingual organizations) jobsourd.fr DEDICATION Jean Le Sourd Dano, Yann Cantin and Céline Rames–authors of the comic book Jean le Sourd–will be touring conferences and will sign the book all over France. Starting in September. More informations and dates: www.art-sign.org More information on our actions and solutions? websourd-entreprise.fr [email protected] 64 Art’Pi! Multimedia E-BOOK SITE An e-book for children to read with your body! Accompany your kid into a discovery of the world's animals through this unique e-book full of videos, mime, drawings, photographs, texts and Sign Language. Suitable for children from two years old and more. As a German deaf Painter, he began his carreer by studying Realism but eventually turned to Abstract arts. His creations are mindful and spontaneous, using as he has every kind of backing such as clean plastic wastes, steel, brass, photographs, canvas... and he focuses his works on movements and signs. Moving Animals www.dailymotion.com/video/ xt3a7w_teaser-animaux-en-mouvement_animals SITE Leon Lim As a deaf artist from Malaysia Lim uses a great range of diverse media: painting, devices, digital art, light, photography, printing, fire. His work is a recollection of his life without the perception of sounds or music. He explores such themes as segregation, communication obstacles, identity and culture. www.leonlimstudio.com 65 Art’Pi! Dieter Fricke www.fricke-art.com SITE www.cybernumerik.fr [email protected] +33 6 98 36 16 57 SMS +33 6 98 37 14 75 International Archive of Deaf Artists Presentation of deaf artists and their works for students, other artists or anyone interested in Deaf culture. You can discover diversed artistic approaches–wether they are Deaf-centered or not. Remote computer support http://idea2.main.ad.rit.edu/paddhd/publicDA/main/iada/index.htm Computer support at home Thanks A whole page to present and thank all the people and the partners without whom this special issue would have been impossible to make. A special thank for Emmanuelle Laborit's support and encouragements. And thanks to (in alphabetical order): Katia Abbou Victor Abbou Arnaud Balard Christelle Balard Jeanne Bally Raymond Barberot Niels Barraud Irène Bartok Sylvaine Beaughon Andréa Benvenuto Yves Bernard Véronique Berthonneau Yves Delaporte Clémence Devienne Monsieur Dutheil Madame Eisemman Didier Flory Corinne Gache Claire Garquier Célia Giglio Sébastien Giozzet Jean Gremion Christine Guerret Stéphane Mangaud Eliza Mac Donald Florence Médina Alice Messac Elza Montlahuc Bill Moody Aliza M'Sika Mercedes Perez Lopez Geneviève Pomet Céline Rames Emmanuelle Rico-Chastel Evelyne Rigot Art and Culture Magazine Fabrice Bertin Vincent Bexiga Xavier Boileau Fabrice Bon Jessica Boroy Maryline Bouchut Jérôme Bourgeois Yann Cantin Igor Casas Hélène Champroux Noémie Churlet Sylvain Churlet Adrean Clark Pierre Cosar Isabelle David Martin Dayan David De Filippo SPECIAL ISSUE Jean-Marie Hallegot Laïla Hassani Céline Hayat Bufarull Cécile Khamla François Kovacts Isabelle Lapalu Ronit Laquerriere-Leven Patrick Larwin Alain Laumondais Sophie Laumondais Tuan Le Anh Daniel Le Coq Elisabeth Le Quillec Ewen Le Quillec Sandrine Rincheval Sabine Salha Alex Sambe Naomiki Satô Olivier Schetrit Pierre Schmitt Yaron Shavit Dominique Soucarre Pauline Stroesser Yasuka Takeda Brigitte Vasquès José Vasquès Ivan Verbizh Richard Zampolini We also want to hearfully thank all the people who helped us by donating and those who sent us emails and encouragement messages, compliments, support and pieces of advice. 66 Art’Pi! Thanks to our partners: • Yehoudart • IVT (International Visual Theatre) • FNSF (Fédération Nationale des Sourds de France) • INJS (Institut National de Jeunes Sourds) • Mairie de Paris • Région Île de France • CMN (Centre des Monuments Nationaux) • Langue Turquoise • Mobil Média Sign • AFILS (Association Française des Interprètes et traducteurs en Langue des Signes) • Interprètes Sourds • Fondation Orange • Amicale des anciens élèves de l'INJS • ASRCC (Association des Sourds de Reims et de Champagne-Ardenne) • Passerelles & Compétences • BPI (Bibliothèque Publique d'Information du Centre Pompidou) Thank you all for your participation to the creation of this outstanding special issue! Deafs and Sign Language's Art magazine ions t a n o d Your e Deaf mak visible Culture € Help us hand on Deaf Culture Make a donation 67 Art’Pi! www.art-pi.fr © www.VincentSablong.fr 68 Art’Pi!