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Out-of-Class Exercise: Deaf & DeafBlind Communities and Spaces

Name: Donna Melena
Course: SOCI-240 Deaf & DeafBlind Communities and Spaces by Professor Amiee Whyte
Date: February 2025

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Part 1: Community Cultural Wealth

What is Community Cultural Wealth (Yosso, 2005)?
Community Cultural Wealth (CCW) is a strengths-based framework that shifts the narrative from deficit thinking. Instead of viewing marginalized communities as lacking, CCW acknowledges the unique skills, knowledge, and social resources these communities possess, such as aspirational, linguistic, familial, social, navigational, and resistant capital.

What is Deaf Community Cultural Wealth (DCCW)?
DCCW is an adaptation of Yosso’s CCW, tailored to highlight the distinctive strengths within the Deaf community. These include the richness of ASL, shared lived experiences, Deaf clubs, Deaf schools, mutual support systems, and pride in Deaf identity.

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Part 2: DeafSpace and DeafBlind Space

What is “The Huddle” and who invented it? When?
Paul Hubbard created the huddle in 1894 at Gallaudet University. It was developed so football players could discuss plays without the opposing team seeing signed communication.

Define “Ontology.”
Ontology is the philosophical study of the nature of being, existence, or reality. Within DeafSpace and DeafBlind communities, ontology focuses on how people “be” in space and relate to their environment and each other through visual and tactile ways of being.

What is DeafSpace?
DeafSpace is an architectural approach based on Deaf experiences and sensibilities. It addresses sensory reach, mobility, light and color, and proximity, fostering visual communication and environmental safety. DeafSpace allows Deaf people to claim space as their own, shaping their culture and how they experience the world.

Examples of DeafSpace Patterns:

• Wide walkways for visual access (“Deaf Walkway”)
• Open and connected interior spaces
• Use of natural light and color contrasts
• Sensory thresholds (e.g., soft flooring materials to indicate room transitions)
• Conversation circles for clear sightlines.

Rules of DeafBlind Space:

• “Air space is dead space.” Touch is essential for communication.
• Backchanneling (such as tapping or squeezing) is critical for interactive dialogue.
• Everyone shares responsibility to create and maintain connection through touch.
• Autonomy is key—DeafBlind individuals should lead interactions (Protactile philosophy).

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Part 3: Apply Community Cultural Wealth Using Rochester Community Film

Types of Capital → Examples from Rochester Deaf & DeafBlind Communities

Capital	Examples in Convo Film (Rochester)
Aspirational	Deaf individuals expressing hopes and dreams, including young students discussing goals and personal growth.
Linguistic	Rich ASL conversations and exchanges visible in the film, fostering connection and accessibility.
Familial	Close-knit relationships, community support, and intergenerational ties within Rochester’s Deaf community.
Social	Frequent social gatherings, shared spaces such as Deaf clubs and events fostering bonding and networking.
Navigational	Deaf individuals navigating both Deaf and hearing spaces (e.g., accessing education, employment, public services).
Resistant	Deaf leaders advocating for inclusion and resisting audist and ableist systems (e.g., pushing for accessibility and Deaf leadership).

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Part 4: Reflection and Preparation

This exercise deepened my understanding of how Deaf and DeafBlind spaces are more than physical places — they are intentional, cultural, and political. DeafSpace principles create equitable environments, while Protactile in DeafBlind spaces reclaim autonomy and reject isolation. Both challenge traditional power structures by centering lived experience and rejecting exclusion.

IIn Thursday’s (February 27, 2025) discussion, I am ready to collaborate on designing an intersectional Deaf and DeafBlind space that reflects:

• Visual accessibility and touch-based interactions
• Intersectionality (race, age, ability, etc.)
• Deaf and DeafBlind autonomy and cultural wealth

I am also prepared to consider integration rather than a siloed design, ensuring that all users share the space respectfully and equitably.

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Sources Referenced:

• Holcomb, T.K. (2023). Introduction to Deaf Culture (Ch. 12 & 18)
• Bauman, H. (2014). DeafSpace and Architecture
• Leland, A. (2022). DeafBlind Communities May Be Creating a New Language of Touch
• SOCI 240 Week 7 PPT & Documents
• Finding Spaces to Belong
• DeafSpace Documentary
• Rochester – Our Community – Convo

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