Uploaded August 2019 | Updated September 2026, 1 hour ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
‘A language we all understand’? Translation theory, collaborative songwriting and social integration
Lucy Cathcart Frödén - PhD Candidate, University of Glasgow
/// ABSTRACT
‘A language we all understand?’ is an interdisciplinary, practice-based project drawing on applied linguistic and communication studies, popular musicology and criminology. The project explores the integration of migrants and, in particular, asylum seekers and refugees through creative practice. Its practice-based and iterative approach focuses on collaborative songwriting – and collaborative meaning-making – in partnership with a number of community organisations in Glasgow. Collaborative songwriting is being used in this context to explore how individuals seeking asylum are received by wider communities and to probe key concerns around communication of identity, acceptance and belonging in re/integration processes. The songwriting process is informed by theories of translation and intercultural communication, seeking to shed light not only on linguistic and cultural barriers to re/integration but also, crucially, on what might be ‘found in translation’.
Kirkwood and McNeill (2016) note many similarities between the types of stigma and marginalisation faced by migrants and those facing people with convictions, and reflect on the importance of processes of de-labelling and the construction of positive self-narratives for both. This paper also begins to make an initial comparison between findings in these areas, drawing on links with the Distant Voices project as presented in the initial paper in this session.
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
‘A language we all understand’? Translation theory, collaborative songwriting and social integration
Lucy Cathcart Frödén - PhD Candidate, University of Glasgow
/// ABSTRACT
‘A language we all understand?’ is an interdisciplinary, practice-based project drawing on applied linguistic and communication studies, popular musicology and criminology. The project explores the integration of migrants and, in particular, asylum seekers and refugees through creative practice. Its practice-based and iterative approach focuses on collaborative songwriting – and collaborative meaning-making – in partnership with a number of community organisations in Glasgow. Collaborative songwriting is being used in this context to explore how individuals seeking asylum are received by wider communities and to probe key concerns around communication of identity, acceptance and belonging in re/integration processes. The songwriting process is informed by theories of translation and intercultural communication, seeking to shed light not only on linguistic and cultural barriers to re/integration but also, crucially, on what might be ‘found in translation’.
Kirkwood and McNeill (2016) note many similarities between the types of stigma and marginalisation faced by migrants and those facing people with convictions, and reflect on the importance of processes of de-labelling and the construction of positive self-narratives for both. This paper also begins to make an initial comparison between findings in these areas, drawing on links with the Distant Voices project as presented in the initial paper in this session.
