This paper analyzes how singer-songwriter Rozalén, her collaborator Beatriz Romero, and Deaf flamenco performer María Ángeles Narváez (La Niña de los Cupones) create performances that reach both Deaf and hearing audiences. I will consider how these performances can be transformative in building new interpretive frameworks in Spanish society in which to incorporate Deaf language and culture. These frameworks challenge models of disability that pathologize individuals with impairments and expand upon traditional performance practices and aesthetics in order to incorporate Spanish Sign Language.

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