Music is often assumed to be a purely auditory experience, leading to the misconception that it is inherently inaccessible to d/Deaf and Hard of Hearing (HoH) individuals (Torres, 2019). This would be a missed opportunity for connection. However, the interplay between music and deafness challenges this assumption, disrupting traditional understandings of musical engagement and redefines music as a multisensory phenomenon within a culturally Deaf paradigm (Skinner, 2014).
Although music therapists do work with d/Deaf and HoH people, there remains a lack of research and a gap in the training and shared knowledge regarding how to ensure that our musical practices are safe, inclusive, and meaningful for d/Deaf musicians/participants. As Music Therapists, we need to adapt our practice to be aware of potential sensory hierarchy and normalised ideas of music and shift our focus away from oral communication goals and music perception when working with d/Deaf and HoH people (Sutela, K., & Ahonen, O. (2024).
Emerging work by d/Deaf and HoH music therapists and musicians is reshaping the narrative, advocating for the recognition of Deaf musicking and Deaf knowledge, which prioritize visual and kinaesthetic cues, movement, vibration, and collective/social experiences (Sutela & Ahonen, 2024). This presentation, rooted in Deaf culture, draws on frameworks like post-ableist music therapy and crip theory. It reflects a growing emphasis in Music Therapy on lived experiences, challenging us to adapt, innovate, and guide the profession’s future.
We propose that deafness is a highly individual experience, and working with d/Deaf and HoH individuals requires a collaborative, culturally responsive approach. Both presenters, who identify as d/Deaf or HoH, bring personal insight, clinical reflection, and practical ideas. By combining Deaf cultural knowledge, HoH perspectives, and accessible resources, we aim to open a dialogue on what it means to enjoy and create music as d/Deaf or Hard of Hearing individuals.