Raymond Antrobus, an acclaimed poet, educator, and advocate for the Deaf community, has charted a unique path through poetry, education, and activism. Known as an “investigator of missing sound,” Antrobus has drawn from his rich and varied experiences to craft a voice that speaks to both Deaf and hearing audiences.
Raised in an environment that blended Deaf and hearing cultures, Antrobus’s education spanned mainstream schools, Special Educational Needs units, and schools for the Deaf. This diverse background laid the groundwork for his future as a poet. Poetry was a family tradition for Antrobus, introduced to him at a young age by his parents, who were passionate about the art form. It became a “language of family, ceremony, and familiarity” for him.
“My father introduced me to Jamaican poets like Claude McKay and dub poets like Miss Lou, Linton Kwesi Johnson, and Benjamin Zephaniah,” Antrobus recalls. However, despite this early exposure, he did not initially see poetry as his calling. “I was never recognized as a confident student until we studied poetry,” he admits.
Living with deafness, Antrobus faced challenges that sometimes made him feel isolated, even within his own family. Yet, he found comfort and a sense of identity in poetry. “I wouldn’t have survived without the support of teachers who understood the nuances of deafness,” he reflects. His deafness, complete in the high-frequency range and moderate in the low-frequency range, often led to misunderstandings. But through poetry, Antrobus discovered a refuge and a powerful means of expression.
After struggling to find his place in the workforce, Antrobus decided to pursue poetry full-time. “It was what I was most passionate about, and I’ve managed to sustain myself with it,” he says. Today, his work spans poems, children’s books, and an upcoming memoir, all of which explore themes of communication, perception, and representation of the Deaf and disabled communities.
Antrobus’s poetry challenges conventional notions of deafness and seeks to broaden public understanding. Collaboration plays a significant role in his work. “I collaborate with friends and Deaf people I know because I can sign, but I’m very much an English-based poet,” he explains. Balancing spoken English with British Sign Language (BSL) in his performances is a constant challenge, as BSL is not merely an aid to English but a distinct language with its own culture and context.
During a residency at a Deaf school, Antrobus encountered students who saw sign language as literal and pragmatic, with no room for creativity. He challenged this perception, demonstrating how BSL could convey metaphor and symbolism. “The art students, those who also engaged in theater and painting, had a massive advantage in terms of metaphorical thinking,” he notes, emphasizing the need for greater recognition of sign language as a creative form of expression.
Looking to the future, Antrobus is eager to further integrate sign language into his poetry. He is currently working on a commission for the Guggenheim, where he plans to experiment with a BSL poem inspired by abstract art. “I’m going to get there,” he says, envisioning a future where his work fully embraces both spoken and signed language.
Antrobus’s upcoming memoir will delve deeper into his multilingual education and its impact on his artistic journey. As he continues to push boundaries and challenge perceptions, Raymond Antrobus remains a powerful advocate for creativity and inclusivity within the Deaf community and beyond.
In 2024, Antrobus will be among the seven authors featured at the XVIVth edition of the Malta Mediterranean Literature Festival. This event, organized by Inizjamed, will take place from August 28th to 31st, hosting poets and writers from five different countries at the Valletta Design Cluster and the MCAST Campus in Paola.