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Self-Care

Breana Cross-Caldwell, CI and CT RID VIEWS Columnist

Elevating Diverse Perspectives? Care for your nervous system

As interpreters, we are charged with understanding and communicating diverse perspectives for most of our work. As professionals and citizens in this community, we also strive to be open to, consider and elevate the diverse perspectives of our colleagues.

How does our nervous system’s capacity affect our ability to elevate diverse perspectives?

Let’s take the example of an interpreting situation, where a deaf person is angry and feels mistreated by a hearing person.

As the interpreter, my identity, my relationship with the participants, and my understanding of their feelings and needs may play a significant role in my capacity to hold space and do my job effectively while in proximity to their emotions.

What’s your relationship to emotions?

Suppose being angry is a state I’m familiar with, comfortable with, and I understand the purpose of anger in this context. In that case, I’m likely able to convey it more efficiently and accurately.

In this scenario where my alignment with the emotion of anger matches the speaker’s, we might not consider this a ‘diverse perspective’ - as it is not inherently different from my own.

If being angry is a state I’m uncomfortable with, either in myself or in others, or if I don’t understand its purpose in this context, then I am likely unable to be in proximity to and convey it without having some activation of my nervous system.

What’s your relationship with the people?

Emotion is one layer of this interaction that can be diverse. The identities of the people involved are another.

When information, and especially emotion, comes from a person who holds different identities than we do (as the interpreter), it can become exponentially more difficult to understand and convey accurately. This difficulty is especially true if others in the situation hold undervalued identities, and the interpreter does not (Nieto & Boyer, 2007).

Reflecting on and growing our capacity

The Feeling Wheel represents the 360-degree range of human experience, and it’s a helpful tool in growing our capacity to conceptualize and convey diverse perspectives (Theodore, 2020).

Bringing awareness to our experiences of feeling and being in proximity to different emotions grows our ability to stay regulated (Price & Hooven, 2018).

On a scale of 0 - 10, how comfortable am I feeling this emotion?

On a scale of 0 - 10, how comfortable am I when people around me display this emotion?

After an interaction, interpreted or otherwise, reflect on the interaction by asking:

What emotions were present during this interaction - in me or displayed by others?

On a scale of 0 - 10, how comfortable was I while feeling or conveying this emotion?

What supports and resources do I have access to?

Building our nervous system’s capacity takes gentleness, mindfulness, and time. As you engage in this process, consider what can support you and what resources you have access to?

Here are a few ideas to get you started:

People - friends, family, colleagues, therapists, coaches, mentors, teachers Animals - pets, wildlife, archetypes Nature - trees, ocean, rivers, sky, plants, soil, sand Practices - movement, bathing, meditation, prayer, music

Over time, with practice and support, we grow our ability to stay regulated in various situations with a variety of perspectives. This regulation allows us to act with intention and remain rooted in our values, even in the most challenging circumstances.

References

Theodore. (2020, September). The Emotion Wheel [Images + How to Use It]. Retrieved from https://practicalpie.com/the-emotion-wheel/.

Nieto L. & Boyer M. (2007). Understanding Oppression. ColorsNW Magazine. Retrieved from: https://beyondinclusionbeyondempowerment.com/wp-content/uploads/2019/12/nieto-articles-understanding-oppression-2006.pdf

Price C. & Hooven C. (2018). Interoceptive Awareness Skills for Emotion Regulation: Theory and Approach of Mindful Awareness in Body-Oriented Therapy (MABT). Frontiers in Psychology. doi: 10.3389/ fpsyg.2018.00798

Reflections from an Old Hand

Phil Giambaresi, Certified (inactive) RID VIEWS Columnist

You may have noticed that my column submission to the Fall 2021 VIEWS was not published. I contracted COVID Pneumonia and could not do my writing! I was able to recuperate in six weeks.

I’m happy to report that I did see the new movie, “CODA.” The actors were great, and I really identified with the hearing daughter of the deaf family. As a hearing CODA myself, I felt similar to the situation of being the family interpreter and not wanting to let my parents down. Also, there was the idea that music and singing were something that deaf parents could not experience. As I often repeat, each of us who are CODAs has our own experiences and stories. I remember when I was a teenager, one of my Christmas gifts was a stereo record player with speakers. It overwhelmed me so much that I actually cried to think my parents would give me such a gift.

There were many times I felt a sort of guilt over being able to hear things that my parents could not hear. They’d often ask me questions like, “what do the birds sound like?” Or other sounds for me to try to explain. It could be frustrating to describe, but I did the best that I could. In high school, I joined the choir and continued with singing for three years in school. My “ASL” father wasn’t as interested in music and the words as my “ASL/PSE” mother. She would enjoy me “sign-singing,” which I did for her. The thought that they could not even hear my speaking voice or my singing voice often made me sad - sad for myself and sad for them. Mom liked to sign-sing songs when she knew words to create the old songs. Some deaf people liked it, and some did not really appreciate it.

There are so many reasons why the Deaf may have attitudes that vary from loving music and its vibrations to those who really find music problematic because it reminds them that they can’t hear. Perhaps you have experienced the same spectrum of attitudes and even have seen how some deaf people could make fun of hearing people’s “culture” of music and singing? So many examples of comparing the “Hearing World” with the “Deaf World!”

On another topic. Theater interpreting for dramas or musicals. It was a challenge to interpret lines of English into ASL/PSE to make the meaning have some sense to it. Also, it was a challenge trying to please a deaf audience who had a variety of deafness, from slightly hard-of-hearing to totally deaf. From manual users of sign to oral users, we theater interpreters had to do the best translations to please that variety of deaf audiences. It was sometimes a struggle and often could be very pleasurable in translating the scripts. We’d have a panel of deaf and hearing observers of our rehearsals to ensure that we did a good translation. Partners could relay the actors speaking/singing on the stage and take on various characters. Here, facial movements could let the audience know the actors’ character personalities.

It is interesting how we can relay the stage performers’ attitudes and emotions. And one of the many things I learned was how to connect with my interpreter partner without taking away the main focus of what the actor would say and do. Many times, we’d “throw focus” to the stage to allow the audience to see what was happening. Theater interpreting is a whole situation where creativity and expressions have to be rehearsed repeatedly, like making expressions on the face of “flat” to “expressive” or “serious” to “comedy.” And sharing various roles where, for example, the male or female interpreter would change a signing style to reflect the male/female actor; to alter one’s signing from a masculine to a feminine style. I’ve mentioned in past columns how an interpreter often needs to be “neutral” in their approach to interpreting and not overly strong or weak. In theater, interpreting it is different.

always easy to adjust one’s signing in connection with the situation. Have you ever noticed how many sign language students will close their mouths when signing or be somewhat “flat” in their signing? We know that with ASL, the mouth has appropriate movements, some of which cannot be easily explained or taught. Mouthing in ASL relates to a person’s personality, be it shy or outgoing! It truly makes the teaching of signs quite an art, not to mention producing the signs by the learner. And also, doing so stresses the importance of associating with deaf people for practice and observation.

Regarding another topic regarding teaching: I once had a phone call from a fellow who wanted to learn sign language. I stressed that I was more of an interpreter than a teacher, but his interest was so great that I decided I’d make it my goal to help him begin the process of using sign language. The real surprise came at the end of the phone conversation. He said, “by the way, I happen to be totally blind.” We met at various locations, and he realized that ASL required a lot of facial movements to communicate effectively. The more “English” approach (Signed English) to a sometimes PSE approach was best. It wasn’t easy for the student or the teacher, but we’d talk about a lot of deaf culture and language. He was amazing, and in his own life, he earned a living by being a high school teacher. The subject he taught? Reading! (He used Braille books to help students read their printed book versions.) I am glad he and I remain friends to this day.

Any comments or questions? Email me at pgiambaresi@aol.com.

Please join us in congratulating our newly certified members. These certifications were awarded between November 2021 and March 2022.

Connecticut

Jonny Landon Sahlin

Massachusetts

Isabel Cohen Snyder Krystal Chung Meaghan Cooney

New Hampshire

Darah Dal Pra Jola Lillian Lindstrom

New Jersey

Chelsey Lynn Cahilly Vincent Sylvester

New York

Cassie Marie Raguso Eric Severson Monica A. Coppola Nora S. Lewis

Pennsylvania

Alexandra Dean Miller Katherine Helene Ewing Mary Fagan Megan Elizabeth Hoyt Meredith Miller Baxter Tiffani Ashlyn Johnson District of Columbia

Abigail Renee Weimer Candice Johnson

Florida

Alisa Jean Etkie Cori Lane Jacobs Elizabeth Anthony Emily Rose Cooke Kaylea Black Kenneth Ramirez Mackenzie Velez Sarah Serralta Sienna Weiner

Georgia

Kyaundra Kitt Sarah Elizabeth Condra Illinois

Desiree Edwards-Smith Colorado

John Olson Solis Fast Kylie Anne Mosell

Indiana

Carly Shively Catherine Elizabeth Hoare-Stout Haylie Buckingham Jessica Willman Madison Evermore Kansas

Alicia Heier Tia Welsch

Michigan

Alexandria Starr Gemmill Missouri

Kaci N Gill

Minnesota

Breanna Renee Boyce Joseph Scott Lambrecht Justine Ruby Virock None Ahyicodae New Mexico

Jaime A Luce Jayme Phelps Liana Wingerd

Maryland

Antonio Burkett Brandon Glass Colleen Shaugnessy Firl Lydia Coleman Rachel Ford Ohio

Akilah Richardson Erica Layton Joseph Phelan Mikayla Perry Sarah Nicole Patterson Hardin Theodore Langston Logan Thomas Burgess Wisconsin

North Carolina

Tammy Jean Muraszewski

Tiffany Smith Arkansas

South Carolina

Chelsea Fauling Patricia Abigail Reach Cheri Courtright Rose Elizabeth Burleson South Dakota

Samantha Dawn Matl

Texas

Amanda Roberts Emmanuel Martinez Arizona

Sydney Rainey

California

Brenden David Darche Jessica Ashley Snyder Julia Vandermat Karen Hicks Mikyla Ann Kerr Rachel Gordon Rebecca Lucas Reid Michael Tabatha Marie King Valerie DeSimone Whitney Elaine Pavelich

Nevada

Rosetta Teresa Maravilla

Oregon

Andrew Richard Weaver Dawn Riddle Jamie Clara Antonick Morgan Grundstein-Helvey

Utah

Morgan Eastin Wongsuwan Zoe Jay Parmeter

Washington

Aimee R. Adams Austin Pelkey David Michael Rice Jonathan Everett Robinson Laura Bietman Rebecca A Butz-Houghton

In accordance with the Ethical Practices System (EPS) Policies, the following members were found to have violated the NAD-RID Code of Professional Conduct (CPC):

MEMBER: Brenda Dawe TENETS: 2. Professionalism 3. Conduct 6. Business Practices 7. Professional Development

REGION: Region III

SANCTION(S): 1. Suspension of Certification and membership for at least three (3) months and until completion of sanctions 2. Work with an RID-appointed Mentor for at least nine (9) hours to complete: • Assigned readings • Submission of a mentor-approved Reflection paper that a) thorougly summarizes the situation that gave rise to this grievance and explains each offense; b) explains what should have been done differently as an RID Certified Interpreter; c) addresses the harm done to the profession and consumer; d) describes the overall experience and learning with 1-1 coaching/mentoring; e) lays out a plan for monitoring and maintaining an ethical practice in the interpreting profession, including how to separate dual roles of membership and interpreting within an organization. 3. Reflection paper will be shared with the individual that filed this complaint. 4. Only after approval of the reflection paper by the panel can suspension be lifted. Failure to comply will result in revocation.

Below, please find a link to a page on our website that lists individuals whose certifications have been revoked due to non-compliance with the Certification Maintenance Program or by reasons stated in the RID PPM. The Certification Maintenance Program requirements are as follows: • Maintain current RID membership by paying annual RID Certified Member dues • Meet the CEU requirements:

CMP CEU Requirements:

• 8.0 Total CEUs with at least 6.0 in PS CEUs • Up to 2.0 GS CEUs may be applied toward the requirement • SC:L’s only–2.0 of the 6.0 PS CEUs must be in legal interpreting topics • SC:PA’s only–2.0 of the 6.0 PS CEUs must be in performing arts topics • Follow the RID Code of Professional Conduct

If an individual appears on the list, it means that their consumers may no longer be protected by the Ethical Practices System, should an issue arise. This list is available on the RID website and can be accessed by the community at large. The published list is a “live” list, meaning that it will be updated as needed if a certification is reinstated or revoked. To view the revocation list, please visit the link HERE.

Should a member lose certification due to failure to comply with CEU requirements or failure to pay membership dues, you may submit a reinstatement request. The reinstatement form and policies are outlined HERE.

VIEWS

Vision:

VIEWS, RID’s digital publication, is dedicated to the interpreting profession. As a part of RID’s strategic goals, we focus on providing interpreters with the educational tools they need to excel at their profession. VIEWS is about inspiring, or even instigating, thoughtful discussions among practitioners. With the establishment of the VIEWS Board of Editors, the featured content in this publication is peer-reviewed and standardized according to our bilingual review process. VIEWS is on the leading edge of bilingual publications for English and ASL. In this way, VIEWS helps to bridge the gap between interpreters and clients and facilitate equality of language. This publication represents a rich history of knowledge-sharing in an extremely diverse profession. As an organization, we value the experiences and expertise of interpreters from every cultural, linguistic, and educational background. VIEWS seeks to provide information to researchers and stakeholders about these specialty fields and groups in the interpreting profession. We aim to explore the interpreter’s role within this demanding social and political environment by promoting content with complex layers of experience and meaning.

While we publish updates on our website and social media platforms, unique information from the following areas can only be found in VIEWS:

• Both research- and peer-based articles/columns • Interpreting skill-building and continuing education opportunities • Local, national, and international interpreting news • Reports on the Certification Program • RID committee and Member Sections news • New publications available from RID Press • News and highlights from RID Headquarters

Submissions:

VIEWS publishes articles on matters of interest and concern to the membership. Submissions that are essentially interpersonal exchanges, editorials or statements of opinion are not appropriate as articles and may remain unpublished, run as a letter to the editor or as a position paper. Submissions that are simply the description of programs and services in the community with no discussion may also be redirected to a more archival platform on the website. Articles should be 1,800 words or fewer. Unsigned articles will not be published. Please contact the editor of VIEWS if you require more space. RID reserves the right to limit the quantity and frequency of articles published in VIEWS written by a single author(s). Receipt by RID of a submission does not guarantee its publication. RID reserves the right to edit, excerpt or refuse to publish any submission. Publication of an advertisement does not constitute RID’s endorsement or approval of the advertiser, nor does RID guarantee the accuracy of information given in an advertisement.

Advertising specifications can be found at www.rid.org, or by contacting the editor. All editorial, advertising, submission and permission inquiries should be directed to (703) 838-0030, (703) 838-0454 fax, or publications@rid.org.

Copyright:

VIEWS is published quarterly by the Registry of Interpreters for the Deaf, Inc. Statements of fact or opinion are the responsibility of the authors alone and do not necessarily represent the opinion of RID. The author(s), not RID, is responsible for the content of submissions published in VIEWS.

Statement of Ownership:

VIEWS (ISSN 0277-1088) is published quarterly by the Registry of Interpreters for the Deaf, Inc. Periodical postage paid in Stone Mountain, GA and other mailing offices by The Sauers Group, Inc. Materials may not be reproduced or reprinted in whole or in part without written permission. Contact views@rid.org for permission inquiries and requests.

VIEWS electronic subscription is a membership benefit and is covered in the cost of RID membership dues.

VIEWS Board of Editors Kelly Brakenhoff, NIC Royce Carpenter, MA, NIC Master Amy Parsons, Associate Member