Stuttering pride
[3] The movement advocates for societal adjustments to allow stutterers equal access to education and employment opportunities.
[1] The sstuttering is the most honest part of me It is the only thing that never lies It is how I know I still have a voice I am still -being heard Central to the stammering pride movement is the recognition and appreciation of the diversity of communication styles in society.
[3] Under the neurodiversity paradigm, stuttering can be seen as intrinsic diversity in brain function that alters speech production.
The 2011 book, “Voice Unearthed: Hope, Help, and a Wake-Up-Call for the Parents of Children who Stutter” described how author Doreen Lenz Holte encountered advice she found on balance counter-productive for her and her child.
[9] The book has developed into advocacy for greater understanding by professionals of the needs of families with young stutterers.
An early culmination of the grassroots movement was the 2019 publication, “Stammering Pride and Prejudice: Difference not Deficit”, which collected together essays investigating applying the social model of disability to stuttering.
[11] Charities for stuttering have traditionally been based on information, therapies and interpersonal contact (e.g. workshops, open days and conferences).
It brings together people who stutter, employers and allies from different countries and cultures to transform the world of work for the 50 million people of employable age who stutter worldwide, through activities designed to tackle discrimination, to educate and to share learning.
[17] Stuttering pride has challenged some of the concepts that historically underlie some approaches to speech and language therapy.
Additionally, speech-language pathologists (also known as speech and language therapists in the U.K.) work with people who stutter to explore the emotions, attitudes, self-stigma and societal stigma about stuttering/stuttering.
[25] These two philosophies have directly shaped therapy practice, research priorities and services offered, resulting in significant variations in the dominant approach adopted in different countries across the world.
[26] In this sense, stammering therapy using a social model framework does not focus on reducing stuttering or striving for fluent speech.
[7] Therapy within a social model context examines the role of stigma and identity, self-acceptance, and advocacy.
[29] The lived experiences of people who stutter need to be heard to ensure the community has an active role in social, cultural, political, scientific and health-related discussions.
As allies to those who stutter, some speech and language therapists see their role as more far-reaching than individual clinical work.
For example, they include words such as: Another writer of the late nineteenth and early twentieth century who stuttered was Henry James.
[2] In addition, James' later style is considered to have influenced other novelists that followed him, fundamentally changing the shape of literature.
King used to communicate has a special connection with stuttering because of the shared tone and atmosphere, such as experiences of oppression and segregation.
The song Scatman (ski-ba-bop-ba-dop-bop) armed Larkin with resistance against fluency-related societal norms and enabled him to talk about stuttering publicly.
His current practice explores Blackness, music, and disabled speech as forces of refusal and healing.
The repeated staccato syllables found in these two songs generate an element of surprise and desired tension.
Finally, notable musicians drawn to music because of their own experiences of stuttering include Carly Simon, Kendrick Lamar, Ed Sheeran, Stormzy, and Big Heath.
The central theme of Sibinović's artwork revolves around exploring the complexities of human beings through art, in particular stuttering.
His contributions include the bespoke typeface 'Dysfluent Mono', in which he explores the voice of stutterers and the aesthetics of disfluency.
Foran uses expressive stretches and repetitions to resist conventional representations of dysfluency, giving stuttering its own identity and sense of pride.
Finally, other performance artists celebrating stuttering include actor and podcaster Scroobius Pip, Daniel Kitson and comedian Callum Schofield.
And from an educational standpoint, they can even be a powerful way to help parents understand their kids living with a stutter.
The medical model can also provide a reference point for ‘the norm’ to enable applications for support and accommodations arising from disability.
[45] Another critique is that the ideals and concepts of the stuttering pride movement come from Western, primarily white and privileged perspectives.
In particular, stuttering pride advocacy may be particularly difficult to apply in societies with more limited or no legal protections around disability.
