2020

Thematic analysis

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• Social model of disability: The article suggests the barrier is not deafness itself, but the lack of accessible concert design. Coldplay’s provision of interpreters and Subpac vibration vests shows how changing the environment enables participation.

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• Accessibility: The central theme is making live music accessible to deaf and hard-of-hearing audiences through SgSL interpreters, Subpac vibration vests, designated viewing areas and advance preparation. The "game-changing standard" theme is important. The article argues that future concerts, TV programmes and major shows should plan accessibility early on. This advocates for policy change or change in industry standards. 

 

• Ableism / audism: The article challenges audist assumptions indirectly, especially the misconception that deaf people cannot enjoy music. It also implies that mainstream concerts usually exclude deaf audiences by default.

 

• Representation: Deaf artistes, local interpreters and deaf audience members are described as active participants in cultural life by hearing interpreters. The Rihanna / Justina Miles reference also connects this to broader public visibility.

 

• Discrimination / exclusion: Major concerts in Singapore have generally not provided access for deaf audiences at this scale.​

 

• Cultural participation: The article is about the right to take part in mainstream arts, music and entertainment and be included through accessibility provisions.

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This article is mainly about accessibility through sign language interpretation, deaf inclusion,  and the social model of disability.

 

At the same time, it challenges audist assumptions about music and deafness from the perspective of hearing interpreters. However, much of the authority to speak is given to hearing sign language interpreters rather than deaf concertgoers themselves. That creates a tension: the piece challenges the misconception that deaf people cannot enjoy music, yet it mostly lets hearing sign language interpreters explain the deaf experience. So, the article is inclusive in one sense, but still limited in another. 

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The issue is not that hearing interpreters should not speak at all. They have relevant expertise about interpreting music, preparation, rhythm, visual translation and access work.

 

But when the topic becomes “how deaf people experience music” or “what the deaf community needs”, the strongest voices should ideally be deaf people themselves, specifically deaf audience members, deaf artistes, or deaf interpreters.

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Points for consideration...

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• Representation: Who gets quoted as an expert on deaf experience?

 

• Speaking for vs speaking with: The article risks having hearing interpreters explain  deaf people's experiences rather than centring deaf people’s own accounts. This can be viewed as hearsplaining, which is a form of audism, because hearing interpreters are positioned as the main explainers of deaf people’s relationship to music, rather than centring deaf audience members or deaf performers themselves.

 

• Paternalism: Even well-meaning accessibility coverage can reproduce a pattern where disabled people are discussed through professionals or service providers.

 

• Deaf agency: Deaf people appear mainly as beneficiaries or audience members, not as the main narrators of their own cultural experience.

 

• Audism: It appears in indirect manner where hearing perspectives of sign language interpreters are treated as more available and authoritative.

 

• “Nothing about us without us”: The article partly supports this principle through accessibility, but does not fully practise it in who is representing deaf people. 

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The article appears both progressive and imperfect. It celebrates an important accessibility breakthrough, but its framing still reflects a common media pattern. Inclusion of deaf people and accessibility is discussed through hearing intermediaries.

 

A stronger article would have included direct quotes from deaf concertgoers about what the concert felt like, whether the access worked, and what they want future events to do differently.