6. Recitation as a way to express language identity

Recitation has always been the most popular performance series at the Culture Days. For the first ten years, nearly a half of all competition entries were recitation performances.

Based on her research on the recitation performances, Maija Koivisto groups the performances into four separate eras. 1956–1969 was the era of dominant Finnish language, 1970–1978 the era of visual expression, 1979–1996 the era of actual sign language, and finally from 1997 onwards the era of native signing.

During the era of dominant Finnish language, the deaf felt negatively about their own language – an effect brought on by oralism. The deaf adopted ideals from the dominant culture and failed to appreciate the unique characteristics of sign language. Recitation was seen to provide positive effects for the development of sign language. This is because the competitors had to carefully consider how to express the poem in the most beautiful manner.

Works by major poets set the bar very high for the competitors. Coming from an oralistic school, their Finnish language skills were weak. Initially, poems were performed using signed Finnish language rather than actual sign language. However, this kind of performance felt out of place for both the performers and the audience. The performances were awkward and tiresome. In poems, for example, the surface structure of the text could be signed fairly well. However, it was difficult to convey the underlying meanings behind the words. Due to their popularity, the recitation performances were divided into several series: A series for the more experienced, B series for beginners and Master series. A series competitors were likely to include people who were deafened and who were therefore better skilled in the Finnish language than those who were born deaf.

During the era of visual expression, the appreciation of sign language and the deaf culture started to rise as the power of expression of signed language and the signed culture were seen as something to be proud of. The deaf community history was also highlighted and oralism was subjected to criticism. At first, the term visual expression was used for plays, and visual theatre was specifically performance for the eyes. Visual expression started to become more common throughout deaf culture and it separated the deaf community's own culture from the Finnish hearing culture. Various new competitions were introduced at the Culture Days, including visual storytelling, visual theatre and visual poetry.

The era of actual sign language was heated by discussions on deaf awareness, sign language and the performance language at the Culture Days. Deaf awareness emphasised awareness, self-acceptance and promoting and standing up for deaf rights. Latest international research on sign language also reached Finland and influenced how people perceived its richness and esteem. The effects of deaf awareness were visible in the performance language from 1982 onwards. At the same time, younger people took a more central role and new types of performances were attempted. Performance topics rose from the everyday lives of the deaf, including themes of frustration, such as the poem Vihaan ja rakastan ('I love and I hate') by Aino Lahdenperä.

However, not everyone was happy with these changes. Novel signing caused both positive and negative reactions especially in choir performances. Some thought signing did not suit them at all, while others considered that signing was taking back the position it held during the days of Albert Tallroth.

In early 1990s, deaf culture was again discussed in Nordic seminars and the term ‘native signing culture’ rose from the discussion. The term ‘native signing’ started to appear in wider contexts. This concept introduced a new point of view to the discussion on the overall community identity. Now language – not the ability to hear or not – was what defined identity. The deaf community also debated whether it should talk about ‘native signing culture’ instead of ‘deaf culture’ and whether ‘native signing culture’ can also be for hearing people who use sign language.

During the era of native signing, beginning at the turn of the century, Culture Days both cherished and restored old traditions and also looked for new directions. The 1999 Culture Days were organised in Espoo under the title Long live Espoo! A Sign Language Cultural Event. This was the first time the Culture Days officially used the term ‘native signing’. Sign language is currently going through a generational change and deaf culture is seeking new ways to express itself.titions. Key community leaders have also been otherwise active in promoting signed culture.