Arm Angles in American Sign Language: The Textbook That Teaches What Other Textbooks Ignore

Watch any native signer and then watch an intermediate student. The difference is not in the handshapes. It is not in the facial expressions, though those matter. The difference lives in the arms. The native signer’s shoulders engage when emphasis requires it. The elbows extend and contract with meaning. The signing space expands for formal address and contracts for intimacy. The student, trained to focus on hands and face, moves through space as if the arms were merely transportation for the fingers. This is the gap that Arm Angles in American Sign Language addresses. It is the textbook we wished existed twenty years ago.

Most ASL instruction concentrates on the parameters everyone agrees matter: handshape, location, movement, palm orientation, non-manual markers. These are the building blocks, the phonological primitives that distinguish one sign from another. What gets lost in this necessary attention to fundamentals is the architecture that supports everything else. The arm is not merely a delivery system for the hand. It is an articulator in its own right, and its positioning carries semantic weight that affects meaning, register, and comprehension in ways that intermediate and advanced learners rarely understand explicitly.

ASL Linguistics Series

Consider the sign UNDERSTAND. In citation form, the index finger flicks upward near the forehead with a wrist movement. The arm positions the hand, but the movement itself is distal, located at the wrist and fingers. Now consider the same sign in emphatic use: the forearm moves, the signing space expands, the shoulder engages. The handshape has not changed. The location has not changed. What has changed is proximal articulation, the engagement of shoulder and elbow and upper arm in the production. That engagement signals emphasis, formality, certainty. Reduce the arm involvement further than citation form and the sign reads as casual, rapid, intimate. The same lexical item carries different pragmatic meaning depending on how the arm participates.

This is what we mean by proximal articulation, and this is what the textbook examines across twelve chapters and comprehensive supplementary materials.

The Collaboration

Janna Sweenie has taught American Sign Language at New York University for over thirty-five years. She created the ASL 5 course for the NYU minor, served as Program Coordinator from 2017 to 2020, and has worked as a consultant for Microsoft, Google, and New York City museums. She is a two-time recipient of the NYU Steinhardt School Administrator Award. She was born Deaf in Council Bluffs, Iowa, and graduated from the Iowa School for the Deaf. For eighteen years she has served as a Vocational Rehabilitation Counselor for the Deaf in the State of New York Department of Education.

David Boles has taught American Sign Language at NYU and other institutions for over two decades. He holds an MFA from Columbia University and founded David Boles Books Writing and Publishing in 1975. His background in dramatic literature informs the textbook’s attention to register, performance, and the expressive possibilities of signed discourse.

Together we have written Hand Jive: American Sign Language for Real Life, Picture Yourself Learning American Sign Language, Level 1, Day One: Learning American Sign Language in 24 Hours, Hardcore ASL Textbook for Levels 1-7, and American Sign Language Level 5. Our work spans beginning to advanced instruction, print and video, classroom and self-study. What we have not done until now is write the book that addresses what we kept having to explain in person: why the arms matter, how they function, and what happens when you get them wrong.

What the Textbook Contains

The book opens with anatomy. Not because anatomy is inherently interesting, though it is, but because understanding the skeletal framework, joint system, and muscular apparatus of the signing arm clarifies everything that follows. Why can the shoulder rotate in ways the elbow cannot? Why do certain sign movements fatigue the arm while others remain sustainable? What does neutral position mean anatomically, and why does departure from neutral carry meaning?

From there the textbook moves through the three spatial dimensions of signing space: vertical (height carries semantic information distinguishing verb tenses and marking formality), horizontal (enabling reference establishment and tracking), and sagittal (the temporal plane that maps time onto space, with forward movement indicating future and backward movement indicating past). Each dimension involves arm positioning. Each dimension affects meaning in ways that isolated attention to handshapes cannot capture.

The core theoretical concept is the proximal/distal distinction. Signs produced with more proximal involvement, engaging the shoulder and upper arm as primary articulators, tend to read as more emphatic, more formal, more careful, more public. Signs produced with more distal involvement, wrist and finger movements, tend to read as more casual, more rapid, more intimate, more efficient. This is not absolute. Sign-specific conventions override general tendencies. But the correlation provides a heuristic that helps learners understand how arm engagement affects the social and pragmatic meaning of what they sign.

Subsequent chapters address classifier predicates and arm-as-referent, two-handed coordination and symmetry constraints, elbow mechanics and sign modification, non-manual marker integration with arm positioning, biomechanics and signing health, acquisition and pedagogy, and variation across dialect, generation, and individual style. The final chapter considers future directions in ASL research, including technological developments in sign language recognition and the evolving landscape of ASL instruction.

For Whom This Book Is Written

This is not a beginning textbook. Readers should have completed at least intermediate ASL coursework or possess equivalent proficiency. The book assumes familiarity with basic phonology, parametric structure, and glossing conventions. It is written for advanced students preparing for interpreter certification, working interpreters seeking to refine their skills, ASL instructors developing curriculum for upper-level courses, Deaf education professionals, and researchers in sign language linguistics. It is also appropriate for mature signers who want to understand the theoretical foundations of what they do intuitively.

The supplementary materials include a comprehensive glossary, notation guide for representing arm angles in written form, practical exercises for each chapter progressing from observation to production, self-assessment checklists, and additional resources pointing to video materials and research literature. Instructor materials include lesson plans, syllabus templates, frequently asked questions, observation guides, and assessment rubrics. The book is designed for both independent learners and classroom adoption.

The Problem This Book Addresses

ASL instruction in the United States has improved dramatically over the past four decades. Recognition of ASL as a legitimate language with its own grammar and syntax, rather than a simplified gestural system for the hearing impaired, has transformed both research and pedagogy. Yet instructional materials continue to treat arm positioning as secondary, intuitive, something that will come naturally with exposure. It does come naturally for some learners. For others it does not, and they plateau at a level of competence that never quite reads as fluent even though their vocabulary and grammar are technically correct.

The plateau is not a vocabulary problem. It is not a grammar problem. It is a register problem, a prosodic problem, a spatial problem that lives in the arms. The signer who never learns to modulate proximal and distal articulation across contexts will sign like someone reading aloud from a phrasebook: comprehensible but mechanical, correct but not native. This textbook addresses that gap directly, providing the explicit instruction and theoretical framework that allows learners to understand what they need to practice and why it matters.

Getting the Book

Arm Angles in American Sign Language: A Study of Proximal Articulation in Signed Discourse is available now as a Kindle edition for $14.99 at Amazon and paperback version for $19.99. A free PDF is available at David Boles Books for those who prefer that format or who want to evaluate the textbook before classroom adoption. Additional materials are available at HardcoreASL.com.

The arms have always mattered. Now there is a textbook that explains why, that teaches how, and that gives learners and instructors the tools they need to address what other materials ignore. This is the book we wished we had when we started teaching. We are glad to finally offer it to everyone else.

#angle #armAngles #armMovement #articulation #asl #bolesBooks #davidBoles #direction #iowaSchoolForTheDeaf #jannaSweenie #language #learning #linguistics #medical #proximity #teaching #textbook

[UPDATE: September 12, 2023; our ASL Opera Project website is now live! Join us there for new videos, translation updates, and for consultation concerning the right interpretation of Opera in American Sign Language!]

On July 11, 2023 — the anniversary of our being married for 35 years — Janna and I had the complete delight, and the absolute honor, to meet with The Metropolitan Opera to discuss our ASL Opera project intended to bring live and “High Art” American Sign Language interpretation to MetOpera productions! The meeting was positive, forward-thinking and inclusive! If you are interested in working with our High Art ASL Opera Project, or if you want more information, please Contact Us and we’ll be happy to meet you! Our ASL-Opera.com and ASLopera.com domains currently point to this article!

[youtube https://www.youtube.com/watch?v=0W8xGnw_sjI?start=1785]


One of our friends has a memory of attending a Metropolitan Opera performance in the 1980s that was ASL interpreted. When we mentioned that to The MetOpera, they were not aware of that history, and planned to ask The Met archivist if there was anything recorded in the record about the performance.

[UPDATE: July 14, 2023: Our friend just shared with us that he has a memory of the New York City Opera — NOT the MetOpera — having some interpreted ASL performances in the 1980s when Beverly Sills was performing and director of the NYC Opera Company.]

Our “ASL Opera Project” pitch was simple, and three-pronged.

First, immediately provide ASL interpreted performances for all Metropolitan Opera performances. There is no excuse to delay the justice of Deaf inclusion. Live interpreters, using our invented “High Art” style of interpreting performances, will match the definition of “Work of Art” in Opera translation! This cannot wait. ASL interpreted performances cannot be sidebarred or downsized. We have moved too far beyond the idea of “separate, but equal” to accept separation now. The Deaf have the right to experience the fullness of a Metropolitan Opera performance — staging, singing, orchestration, lighting, costumes, sets — IN THE SAME MOMENT, IN THE SAME WAY, AND IN THE SAME TIME as a Hearing person. There is no replacement for equality in accessibility — except equal accessibility in situ.

Second, we proposed an outreach educational program that would help expose, and inform, new audiences to High Art ASL interpreted MetOpera performances. Small meetings before the performance would help explain the story, create context, and define expectation of a brand new operatic experience.

Finally, we believe a “High Art” Opera interpreter training program is needed to train new interpreters how to uniquely interpret live Opera performances. Interested interpreters, both Hearing and Deaf, from around the country, and, perhaps even the world, should be invited to spend a couple of weeks at The Met to work with new-opera-stars-in-training, understand operatic staging and experience, and to then sign a performance on the main stage as the high conclusion of their training. There is no replacement for direct exposure and direct experience.

We were also thrilled to learn that all Met Opera On Demand performances are in the process of becoming entirely closed captioned! Right now, only the “operatic translation” part of the Opera stream is captioned. Moving forward (and backward in the existing catalogue of shows) all MetOpera recorded performances will have the introductions, and the interstitial interviews, and anything else, closed captioned. There are more than 150 recorded performances in The Met library, and all of them will eventually be closed captioned. That project will take time, but closed captions are vital for an accessibility accommodation that has been required, by law, for all broadcast television programs since 2006. New Met Opera performances from now on will always be closed captioned!

The MetOpera had a few questions. One was why would ASL interpreters be needed if the Operas are open captioned in English. As we detailed in our earlier article on this topic — ASL is not English-based grammar, it is French-based grammar — and many of the “new” foreign-born Deaf (the new audience) do not arrive in the USA literate from their home countries, and so they try to learn ASL here as their first, real, fluent language, and ASL is not English. There’s then a triple layer of interpretation/complication happening in an Opera. First level is the language of origin, second layer is the English captions, then the target visual language of ASL is applied on top of both of those vocalized and written languages. Plus, ASL is not a word-for-word interpretation of a performance. You have to “sing” for the entire Opera in ASL, and you do that by creating images for the eyes with your face, torso, and hands. Singing, in ASL, is different from just “speaking” dialogue — same as in the Hearing world. A whole new set of special talents are required to sing in ASL for three hours!

The other concern the MetOpera had was that having interpreters would be distracting to the performers, and the audience and, we agreed, that was a possibility — but Broadway musicals have been ASL interpreted since 1980 without issue — but there’s really no way around that concern in an Opera performance because the Deaf deserve to be in the same room with the Hearing people to experience the Opera with all senses and feelings of participation. The interpreters would not be on stage. They’d be House left, and the first several rows of that section would be reserved for Deaf audience members. The Interpreters would need to see the live captioning, and be lighted in some way so the Deaf could see the ASL being signed. Yes, inclusion can be complicated and distracting. Yes, accommodating the disabled can inconvenience the non-disabled. Janna and I like to say, when it comes to education and experience, “You have to do what’s best for the Deaf person, not what’s easiest for the Hearing.” Some people get that, and some do not, and will not; but aesthetic should never be used as an excuse to exclude certain people from the mainstream experience. Taste and vision change over time. Sometimes doing the right thing is tough, and imperfect, but that’s okay. Dealing with difficult things is how the moral world learns to behave in a right way; because it is cruel to separate those who do not have from those who have, based solely upon the ability to comprehend.

The final concern the MetOpera expressed was how to replicate 50 people singing on stage with only two interpreters. Plus, they added, in a scene with five people singing, how could two interpreters possibly interpret all those singers? Janna told them the answer is simple: Role Shifting. The interpreter sets the character in space, and the Deaf person understands who is speaking and why. Role shifting is a common method of communicating in ASL. As well, male interpreters can interpret female characters on stage and vice versa. Gender, cultural identification, and skin color do not matter in interpreting. The only thing that matters is if what is being signed is being understood. “One interpreter,” I said in the meeting, “can interpret a thousand voices.”

We were also asked how Janna is able to interpret for the Opera if she is Deaf. Janna explained she was born Deaf and grew up in the gospel Church signing songs in ASL, she has performed ASL hymns in Israel, and has been a Broadway musical Juilliard advisor, and an interpreter performer. Opera is her most astonishing, and amazing, challenge for her to meet as an interpreted performance. Janna went on to share that she still has some residual hearing, and that she had to practice her Maria Callas ASL performance song “about a hundred times” to get down the meaning, intention, and correct vibrato. Memorization is a big part of live stage interpreting, and you must not only know the story, and the lyrics, but you need to understand the original intention of the author and composer in order to do a right, proper, job in the interpretation. Opera interpreting is not for every Deaf interpreter, that’s for sure!

Our meeting finished with Janna interpreting, in our ASL High Art Style, the Maria Callas performance of O Mio Bambino Caro — and the response to Janna’s performance was marvelous! What an honor!

After our meeting with the grand Metropolitan Opera people, Janna and I “swam” outside into the 93 degree, and 90% humidity heat, and landed smack in the heart of the Lincoln Center plaza to record, and memorialize, her ASL interpretation of O Mio Bambino Caro — and here are the original Italian lyrics followed by the English interpretation for that aria.

O mio babbino caro
Mi piace, è bello, bello
Vo’ andare in Porta Rossa
A comperar l’anello!
Sì, sì, ci voglio andare!
E se l’amassi indarno,
Andrei sul Ponte Vecchio,
Ma per buttarmi in Arno!
Mi struggo e mi tormento!
O Dio, vorrei morir!
Babbo, pietà, pietà!
Babbo, pietà, pietà!

Oh my dear papa
I like him, he is so handsome.
I want to go to Porta Rossa
To buy the ring!
Yes, yes, I want to go there!
And if my love were in vain,
I would go to the Ponte Vecchio
And throw myself in the Arno!
I am pining, I am tormented!
Oh God, I would want to die!
Father, have pity, have pity!
Father, have pity, have pity!

This is Janna’s recorded ASL High Art interpretation of O Mio Bambino Caro — with the Callas performance she’s interpreting right underneath. If you have fast fingers, you can click on Janna’s video, and then quickly click on the Callas video, and they’ll play pretty much in sync so you can get a rough idea of how an ASL interpreted High Art performance of an Opera Aria works!

[youtube https://www.youtube.com/watch?v=l1C8NFDdFYg?start=10]

We shot Janna’s performance in 4K on an iPhone 14 Max Pro using Filmic Pro software with no recorded audio. That raw, two-minute, 4K video was 17 GB! I remember when we first started HardcoreASL.com in 1996 — the best possible video recordings were no more than 100K — and those videos all look low resolution today, because they are, but back then, they were not! Always, always record in the best possible resolution available because, even in a few years, your effort will not look as good as you remember. This is my technical advance mantra: “Best today, better tomorrow, okay yesterday.”

There was also some sort of musical event being set up at Lincoln Center, and I couldn’t resist taking a quick video of the famous Lincoln Center fountain being topped by a bouncing, giant, mirror Disco Ball! The rushing sound of the fountain will cool you down at least a few degrees. Enjoy!

Our 35th wedding anniversary was a day to never forget. We appreciate The Metropolitan Opera giving us a chance to pitch our ideas for an interpreted “work of Art” solution; and we certainly felt heard.

We hope to move forward with The MetOpera to complete the accessibility vision of our “ASL Opera” project — and we will continue to produce, and share, our “High Art” ASL Opera interpreted arias until the day is won!

In the end, we must all continue to lift our gaze to find the sun, and sing — sing in a way we understand how we wish to be understood!

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https://bolesblogs.com/2023/07/13/yes-the-deaf-just-may-sing-at-the-metropolitan-opera/

ASL Opera

ASL Opera Project

Today, we celebrate the Deaf and, we hope, interpreted opera performances at The Metropolitan Opera in New York City. Help us get there! Ask The Met to be accessible for all Deaf audiences!

Please read our article and respond and act!

#Opera #MetOpera #TheMet #ASL #JannaSweenie #Interpretation #AI #Midjourney

https://bolesblogs.com/2023/06/01/will-the-metropolitan-opera-allow-the-deaf-to-sing/
Will The Metropolitan Opera Allow the Deaf to Sing? | David Boles, Blogs

[UPDATE: July 11, 2023.  Janna and I met with the Metropolitan Opera to discuss heightened ASL interpreting for their performances. The meeting was positive, forward-thinking, and hopeful! We will …

David Boles, Blogs

[UPDATE: September 12, 2023; our ASL Opera Project website is now live! Join us there for new videos, translation updates, and for consultation concerning the right interpretation of Opera in American Sign Language!]

[UPDATE: July 11, 2023.  Janna and I met with the Metropolitan Opera to discuss heightened ASL interpreting for their performances. The meeting was positive, forward-thinking, and hopeful! We will soon update with more information! Here’s the July 11 update!]

My delightful wife Janna Sweenie and I are big lovers of opera. Opera is the pinnacle of all the Performing Arts — Painting, Acting, Voice, Costumes, Lights and Sets — and when put together, in unison, in an exaggerated and elevated performance, the entire world glows and resonates! We have always been dismayed that opera is not often, if ever, interpreted in American Sign Language for the Deaf like all Broadway shows are interpreted. Janna and I are currently working on our “Opera Project” where she will present ASL renderings of famous opera arias. We will place those performances online as proof-of-concept. This is a challenging, but rewarding, and complex academic process of interpretation and adaptation, and implementation.

Here’s my Boles.tv live stream discussion of the Deaf singing at The Met:

Here are some of the dramatic, visual, description-rich arias we plan to present in ASL. We will begin with:

O mio babbino caro

Una Furtiva Lacrima

Here are other arias we plan to perform — these recommendations are thanks to our friends in the Reddit /opera group — many who who believe in us and who are helping us:

Der Holle Rache

L’amour est un oiseau rebelle

Votre toast, je peux vous le rendre

Madre diletta abbracciami

Che gelida manina

Ariadne auf Naxos

Pif, Paf, Pouf

I Am The Very Model of a Modern Major-General

Non, Pagliaccio Non Son

Tu qui, Santuzza

In Questa Reggia

If you have a favorite opera aria you think would make a good, dramatic, visual, ASL performance, please leave a comment here, or send us a note!

In the spirit of this dramatic ASL aria project, we sent a letter to The Metropolitan Opera in New York City asking if we might help them set up select American Sign Language interpreted performances. We were not able to find a single point of contact for that request at The Met, so if you happen to know someone there who might be amenable to our request, please get in touch with us!

What follows is the letter Janna and I submitted to The Met asking them to let us work with them to create select, accessible, ASL interpreted opera performances for the Deaf.

American Sign Language Interpreted Performances at The Met

Hi There!

Will you allow the Deaf to sing at The Met?

We apologize for including more than one point of contact for this inquiry, but we didn’t know who is responsible for accessibility for performances at The Met, and we didn’t want this message to get blackholed, and finding specific email addresses has proven a challenge. If we don’t have the right person, might you please forward this email to the correct point?

My wife and I are interested in providing American Sign Language interpreted performances for The Met.

My wife, Janna Sweenie, originally from Iowa, is Deaf and has been teaching ASL for 50 years. For the last 35 years, she has been teaching ASL at NYU and at other major universities in the Tri-State area. She is a language pioneer, and served as a Julliard/TDF instructor for interpreting Broadway musicals for interpreters from around the world. Janna also finds jobs for the disabled as a rehabilitation counselor for the State of New York.

I am Hearing, and I have written several ASL books with Janna. I created the ASL program at CUNY-SPS, and I operate the HardcoreASL.com and sosASL.com websites. I also teach American Sign Language, Theatre, Dramatic Literature, and Public Health. Fresh from Nebraska, I started in New York City as a graduate student at Columbia. I was Peter Stone’s associate. I was Al Carmine’s librettist and lyricist. Milos Foreman and I worked together on film theory in performance. Liviu Ciulei and I collaborated on my Wozzeck adaptation. I was an editor and consultant for Helen Merrill. I fixed dramaturgical structure for Marty Richards and Sam Crothers at The Producer Circle. Since then, I’ve written several books on a variety of topics, done a lot of teaching, and I am now embedded in AI Art, Voice, and Performance research, and revolution.

Janna and I both admire and appreciate opera, and we would really like to provide live ASL interpretation – stage right in the audience near the stage – for select Met performances. We are not seeking payment, we are just hoping to open a dialogue, and perhaps even begin a relationship with – The Met – to see if you are at least willing to try out this idea in some meaningful way for the Deaf Community.

Here are a couple of common concerns you may have:

1. You already provide text captions. Text captions are not ASL and text captions are for Hearing people who don’t understand the language being presented on stage. ASL is a visual language, and many Deaf people do not have good English comprehension, and so providing interpreted performances in ASL, in their language, honors their Culture, and facilitates inclusion in the experience. ASL grammar and syntax are more French than English. ASL was invented by Laurent Clerc, a French speaker. ASL does not equal English text.

2. You stream HD Video and Open Captions. Interview portions of the shows are not captioned. Text translation captions during the performance are not a substitute for experiencing a live performance. The Deaf have the right to be provided the same in-person opera experience that the Hearing audience is able to enjoy in real time, in the same building, with the orchestra and on stage performers. Few realize how much the Deaf enjoy the sounds of music and the vibrations of live music. The Deaf see with their eyes; the Deaf sing with their hands. The Deaf Community appreciates a full, immersive, experience that can easily be provided if you give us a chance to make this happen.

3. The Deaf Community isn’t interested in opera. Sometimes, as Steve Jobs famously said, “People don’t know what they want until they have it.” Opera is the same way for the Deaf. There has been no exposure to the music, no teaching of the ideal, no attendance of the aesthetic. Many Deaf have no clue what they’re missing in an interpreted opera experience at The Met. We can solve that with you. We can demonstrate the beauty of the Art and bring in a whole new audience of appreciation.

For many years, all Broadway shows have been live interpreted via the TDF. We understand The Met has been kind, and wonderful, in providing disabled wheelchair access for performances. Why doesn’t The Met offer the same, disabled, groundbreaking inclusion of the Deaf? You can if you decide in favor of a reasonable accessibility.

If you have any questions or concerns for us, we are delighted to answer them in email or in person.

Janna and I would love to have a meeting with you to discuss the viability of this idea. Janna will even do a live, ASL interpreted, presentation of “O mio babbino caro” for you if you are interested.

We realize ASL interpreted Met performances will require many hours of preparation on our side – the translation from the original language to English to ASL will be important to get right, and we will work with you to get there – as well as also involving several accommodations on your side; but we know this should be important to The Met, and for the Deaf community, to finally be brought together to unite in unison of purpose and performance.

Yes, together, we can help the Deaf sing at The Met!

Best Wishes,

David Boles
Janna Sweenie

We have yet to receive a response from The Metropolitan Opera. If, and when, we receive a reply to our inquiry, we will update this article as necessary.

In the meantime, be sure to get in touch with The Met and let them know you support American Sign Language interpreted performances for the Deaf!

(NOTE: All images in this article were created with AI. These people, places, and dreams, do not exist — even though, perhaps, they should find life.)

UPDATE: June 2, 2003
Via Medici.tv, we discovered a 2019 performance — Don Pasquale de Donizetti — at Opéra Orchestre national Montpellier Occitanie Pyrénées-Méditerranée that included French Sign Language interpretation on stage! Here is the PR blurp:

This highly theatrical staging by Valentin Schwarz at the Opéra Orchestre National Montpellier, starring Bruno Taddia in the title-role, Julia Muzychenko in her role debut as Norina, as well as Edoardo Miletti as Ernesto, is also the first time an opera is adapted and staged in the French Sign Language (LSF), with LSF actors Katia Abbou and Vincent Bexiga playing a full role in the action.

Here is a screenshot — (not AI!) — from the HD performance:

Now, it’s The Metropolitan Opera’s turn to stand up for accessibility and the disabled!

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ASL Opera

ASL Opera Project