Smashing the Center Stage: Bad Bunny, ASL, and the Refusal to Shrink

Bad Bunny might perform at the Super Bowl. In Spanish. And people are mad.

Not because he’s untalented—he’s one of the most streamed artists on the planet. Not because he’s irrelevant—he’s collaborated with everyone from Drake to J Balvin and is a global cultural icon. They’re mad because he’s not singing in English.

Let’s be real: this isn’t about lyrics. It’s about belonging.

The SuperBowl is supposed to be America’s biggest stage. But “America,” for many, still means English-only and able-bodied. When someone breaks that mold—whether it’s Bad Bunny rapping in Spanish or a Deaf performer signing center stage—people get uncomfortable. They say it’s “exclusionary.” They say it’s “not for everyone.” But what they really mean is: “It’s not for me.”

They Say It’s ‘Too Much.’ I Say It’s Not Enough

I’ve seen this play out firsthand. As a DeafBlind woman, I’ve watched Deaf performers bring unmatched energy and artistry to live events—only to be sidelined, cropped out, or given a few seconds of screen time. And when it comes to live TV? ASL is barely there. Maybe a cutaway shot. Maybe a blink-and-you-miss-it moment. But never a consistent picture-in-picture (PIP) feed.

Never equal visibility.

Why?

Because networks say it’s “distracting.” Not because it interferes with sound. Not because it’s technically impossible. But because expressive signing—facial grammar, body movement, intensity—makes people uncomfortable. It demands attention. And that attention, they argue, should stay on the “main” performer.

But here’s the truth: if a Deaf performer is on stage, they are the main performer. If ASL is part of the show, it deserves to be seen. Fully. Consistently. Not as a side note, but as part of the experience.

Calling it “distracting” is just another way of saying “this wasn’t made for you.” And that’s exactly why it needs to change.

It’s the same discomfort people are projecting onto Bad Bunny. He’s not just performing music—he’s performing identity. Spanish lyrics, Puerto Rican pride, unapologetic swagger. And for some viewers, that’s “too much.” Not because they don’t understand the words, but because they don’t understand why someone who doesn’t cater to them is allowed to dominate the biggest stage in America.

Rewriting the Rules: How to Fix the Spotlight Problem

If the backlash to Bad Bunny and the invisibility of Deaf performers tell us anything, it’s this: the problem isn’t language. It’s gatekeeping.

So how do we fix it?

1. Make Multilingual the Default, Not the Exception

Spanish isn’t a “special feature”—it’s the second most spoken language in the U.S. It deserves full-stage treatment, not side-stage tolerance.

• Let artists perform in their native language without pressure to translate.
• Normalize bilingual hosting, commentary, and captions.
• Celebrate linguistic diversity as part of the American experience—not a deviation from it.

2. Put Deaf Performers on Camera—Fully, Consistently, and Proudly

No more three-second cutaways. No more “distracting” excuses.

• Use picture-in-picture (PIP) for ASL during live broadcasts, especially music and cultural events.
• Hire Deaf performers as part of the creative team—not just as accessibility add-ons.
• Treat ASL as performance art, not a utility. It’s expressive, powerful, and deserves the same reverence as spoken word.

3. Redesign the Stage for Everyone

Inclusion isn’t about adding people to a stage built for someone else—it’s about rebuilding the stage.

• Feature multilingual and multisensory elements in set design, lighting, and choreography.
• Use captions, haptic feedback, and visual storytelling as part of the show’s aesthetic—not just its compliance.
• Let Deaf and disabled creatives lead the way in reimagining what mainstream looks like.

4. Challenge the Narrative, Loudly and Often

Visibility isn’t just about being seen, it’s about being understood.

• Call out erasure when it happens.
• Share performances that center Deaf, disabled, and multilingual artists.
• Demand better from networks, producers, and brands. They follow the audience—so let’s lead.

This isn’t about making room. It’s about recognizing that the room was never built for all of us, and rebuilding it with intention, artistry, and joy.

Bad Bunny belongs on that stage. So do Deaf performers. So do we.