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Project
When Accessibility Becomes Performance. Sign Language Interpreting in Music and Live Concerts as "Performative Rewriting" (Acronym: WABP)
Goal: The aim of the WABP project is to analyse the work of sign language interpreters-performers who translate a hearing-centric music world into a visual one by transposing songs and live concerts into sign language from the perspective of the intersection between Translation and Performance Studies. WABP seeks to identify ways in which interpreter-performers embody nonverbal elements of a text (rhythm, pitch, etc.), into what I call “patterns of performativity”. While in audio-visual translation Accessibility is a prolific area of research, no Translation Studies scholar has yet analysed sign language interpreting in music, both as an actual performance and as a translation practice designed to allow Deaf and hard-of-hearing signers to experience the multiplicity of the semiotic signs in songs and music performance events, and has investigated whether these practices are effective. WABP addresses this gap in the scholarship, and will thus contribute to the advancement of Translation Studies. Working across disciplines, I will identify patterns of performativity which enable interpreters-performers to translate music into a visual art form, in an effort to understand whether those practices meet the needs of the community for which they are designed. This project is being carried out in the awareness that it takes a Theatre Translation scholar to identify patterns of performativity, but only the d/Deaf community can decide if those patterns are effective in providing access to live music. Working across diverse disciplines, the project findings will increase Translation Studies scholars' understanding of these emerging practices, and their efficacy.
This project has received funding from the European Union’s Horizon 2020 Research and Innovation Programme under the Marie Skłodowska-Curie grant agreement No 101024733.
Date: 1 November 2021 - 31 October 2023
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Project log
The WABP project has been selected for the Science is Wonderful! fair, which will take place in Brussels on 16-17 March. I will explain to children and young adults the importance of thinking about diverse audiences.
"Science is Wonderful! is an initiative of European Union’s Marie Skłodowska-Curie Actions (MSCA), the reference programme for doctoral education and postdoctoral training. Committed scientists funded by the MSCA bring their science closer to children and heighten young people’s interest in science and research careers in fun, inspiring ways. They are also strong role models for children and teenagers from all over the world."
(from the website https://www.scienceiswonderful.eu/)
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I held an online lecture at Monash University on 25/08/2022. A draft of the script is included here. The video of the lecture is available on Zenodo OpenAIRE:
The video is available to view and download.
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My paper titled "When Accessibility Becomes Performance: Performativity as an Element and a Carrier of Accessibility in Sign Language Interpreted Music" will be presented at the following conference:
Performative & Experiential Translation:
Meaning-Making through Language, Art and Media
King’s College London, 13-15 July 2022
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A first theoretical article resulting from the project has been uploaded in Zenodo. This is a preprint, i.e. the submitted version, pre-peer review. Not yet accepted.
10.5281/zenodo.6606356
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The logo for the project was designed by Sarah Styles, in collaboration with Gabrielle Claven. Sarah is a hard-of-hearing, autistic and disabled artist and musician who writes and translates music in Auslan
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The project started on November 1, 2021, and is being carried out at Cardiff University.
What follows is a preliminary list of references (in addition to the ones already included).
Aaltonen, Sirkku. 2013. “Theatre translation as performance.” Target, 25(3): 385-406.
Baldo, Michela. 2019. “Translating Spanish Transfeminist Activism into Italian. Performativity, DIY, and Affective Contaminations.” gender/sexuality/italy, 6, 66-84, p. 74. http://www.gendersexualityitaly.com/?p=3388.
Maniatty, Jo Rose Benfield, and Amber Galloway Gallego). https://www.youtube.com/watch?v=YyEQxJX8eN0. Accessed on 14/06/2020
Bermann, Sandra. 2014. "Performing Translation." In A Companion to Translation Studies, edited by Sandra Bermann and Catherine Porter, 285-297. West Sussex: John Wiley & Sons, Ltd, p. 288 (among others).
Bigliazzi, Silvia, Peter Kofler, and Paola Ambrosi. 2013. "Introduction." In Theatre Translation in Performance, edited by Silvia Bigliazzi, Peter Kofler and Paola Ambrosi, 1-26. New York, NY: Routledge Taylor & Francis, p. 1.
Cagle, Keith M., and Brenda Nicodemus, eds. 2015. Signed Language Interpretation and Translation Research. Selected Papers from the First International Symposium. Washington, District of Columbia: Gallaudet University Press
Cheetham, Dominic. 2016. "Literary Translation and Conceptual Metaphors: From Movement to Performance." Translation Studies 9 (3):241-255. doi: 10.1080/14781700.2016.1180543.
Cripps, Jody H., & Ely Lyonblum. 2017. “Understanding the use of signed language for making music.” SASLJ, 1(1), 78-95.
Darrow, Alice-Ann. 2006. “The Role of Music in Deaf Culture: Deaf Students' Perception of Emotion in Music.” Journal of Music Therapy, 43(1): 2–15, p. 2.
Galloway Gallego, Amber. 2015. “Amber Galloway Gallego Hip Hop ASL Interpreter and Diversity Speaker”https://www.youtube.com/watch?v=vTFFhgewe8c. Accessed on 19/08/2020 (among others).
Galloway Gallego, Amber. 2016. “Under the Bridge American Sign Language” https://www.youtube.com/watch?v=MGRWeKeh9NE. Accessed on 14/06/2020.
Galloway Gallego, Amber. 2017. “How sign language can bring music to life.” TedTalk. https://www.youtube.com/watch?v=dkfCD7c2HcQ. Accessed on 14/06/2020.
Galloway Gallego, Amber. 2019. “Sign language interpreter rocks the Guinness World Records’ ‘fastest rapper of all time’ concert” https://www.youtube.com/watch?v=mfRitqVRBoM. Accessed on 14/06/2020.
Good, Arla, Maureen Reed, and Frank Russo. 2014. "Compensatory Plasticity in the Deaf Brain: Effects on Perception of Music." Brain Sciences 4 (4):560-574. doi: 10.3390/brainsci4040560, p. 562.
Gorlée, Dinda L. 2004. On Translating Signs. Exploring Text and Semio-Translation. Edited by Leo Tak-hung; Chan, Gabriela; Saldanha, Şebnem; Susam-Sarajeva, Tom; Toremans and Michaela Wolf. Vol. 24, Approaches to Translation Studies. Leiden: Brill.
Grant, Stuart. 2015. "Heidegger’s Augenblick as the Moment of the Performance." In Performance and Temporalisation. Time Happens, edited by Stuart Grant, Jodie McNeilly and Maeva Veerapen, 213-229. London: Palgrave Macmillan.
Greco, Gian Maria. 2016. "On Accessibility as a Human Right, with an Application to Media Accessibility " In Researching Audio Description. New Approaches, edited by Anna Matamala and Pilar Orero, 11-33. London: Palgrave Macmillan UK.
Greco, Gian Maria. 2017. “L’accessibilità culturale come strumento per i diritti umani di tutti.” In Cetorelli, Gabriella and Manuel R. Guido. Il Patrimonio Culturale per Tutti. Fruitbilità, Riconoscibilità, Accessibilità. Quaderni della Valorizzazione ns 4, pp. 94-102.
Greco, Gian Maria. 2018. "The Nature of Accessibility Studies." Journal of Audiovisual Translation 1 (1):205-232.
Johnston, Trevor and Adam Schembri. 2007. Australian Sign Language (Auslan): An Introduction to Sign Language Linguistics. Cambridge: Cambridge University Press.
Kress, Gunther R., and Theo Van Leeuwen. 2001. Multimodal Discourse: The Modes and Media of Contemporary Communication. London: New York: London: Arnold; New York: Oxford University Press.
Lotman, Yuri M. 1990. Universe of the Mind: A Semiotic Theory of Culture. London: Tauris.
Maler, Anabel. 2013. “Songs for Hands: Analyzing Interactions of Sign Language and Music.” Society for Music Theory 19(1);
Maler, Anabel. 2015. “Musical Expression among Deaf and Hearing Song Signers.” In Howe, Blake, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus (eds.) The Oxford Handbook of Music and Disability Studies. Oxford: Oxford University Press, pp. 73-91.
Maniatty, Holly. 2017. “Holly Maniatty Sign language interpreter. Holly Maniatty steals show from Snoop Dogg” https://www.youtube.com/watch?v=UAGjuPNbkO8. Accessed on 14/06/2020.
Maniatty, Holly. 2018. “Holly Maniatty VS Eminem” https://www.youtube.com/watch?v=zPBLUKu-D_8. Accessed on 14/06/2020
Marinetti, Cristina. 2013. "Translation and Theatre: From Performance to Performativity." Target25 (3):307-320. doi: 10.1075/target.25.3.01mar (among others).
Marinetti, Cristina. 2018a. "Performative Rewriting: Foreign Language Performance as Translation." Paper presented at the conference Performance and Translation, Misano Adriatico.
Marinetti, Cristina. 2018b. "Theatre as a ‘translation zone’: multilingualism, identity and the performing body in the work of Teatro delle Albe." The Translator 24 (2):128-146. doi: 10.1080/13556509.2017.1393122.
McNeill, David. 2005. Gesture and Thought. Chicago: Chicago University Press.
Napier, Jemina. 2009. International Perspectives on Sign Language Interpreting. Washington DC Gallaudet University Press.
Pollitt, Kyra Margaret. 2014. “Signart: (British) sign language poetry as Gesamtkunstwerk.” Unpublished Doctoral Dissertation. The University of Bristol, School of Humanities and Centre for Deaf Studies.
Pollit, Kyra Margaret. 2019. “Affordance as Boundary in Intersemiotic Translation: Some Insights from Working with Sign Languages in Poetic Form” in Campbell, Madeleine and Vidal, Ricarda Translating across Sensory and Linguistic Borders: Intersemiotic Journeys between Media. Cham: Springer International Publishing, 185-216.
Robinson, Douglas. 2003. Performative Linguistics: Speaking and Translating as Doing Things with Words. London and New York: Routledge.
Rocks, Siobhán. 2019. A Method for the Analysis of British Sign Language Interpreted Theatrical Texts. Unpublished Doctoral Dissertation. The University of Leeds, School of Languages, Cultures and Societies.
Schechner, Richard. 2003. Performance Theory. London; New York: Routledge.
Schechner, Richard. 2013. Performance Studies. An Introduction. 3rd edition. London: Routledge.
Schlenker, Philippe. 2018. Sign Language Semantics: Problems and Prospects, Theoretical Linguistics, 44(3-4), 295-353.
Schmitt, Pierre. 2012. "De la musique et des sourds. Approche ethnographique du rapport à la musique de jeunes sourds européens." In Musik – Kontext – Wissenschaft- Musiques – contextes – savoirs: Interdisziplinäre Forschung zu Musik- Perspectives interdisciplinaires sur la musique edited by Talia Bachir-Loopuyt, Sara Iglesias, Anna Langenbruch and Gesa Zur Nieden, 221-233. Bern: Peter Lang.
Schmitt, Pierre. 2017. "Representations of Sign Language, Deaf People, and Interpreters in the Arts and the Media." Sign Language Studies 18 (1):130-147. doi: 10.1353/sls.2017.0023.
Scott, Clive. 2019. "Synaesthesia and Intersemiosis: Competing Principles in Literary Translation." In Translating across Sensory and Linguistic Borders. Intersemiotic Journeys between Media, edited by Madeleine Campbell and Ricarda Vidal, 87-112. Cham: Springer International Publishing, p. 89.
Sütiste, Elin, and Peeter Torop. 2007. "Translation Studies, Semiotics, and Boundaries of the Translation Process." Semiotica 163 (1/4):187–207, doi: 10.1515/sem.2007.0, p 193.
Tarantini, Angela Tiziana. In press. Theatre Translation. A Practice as Research Model (working title). London: Palgrave Macmillan UK.
Tarantini, Angela Tiziana. In preparation. “Performing Translation… literally! The case of Nightwish’s ‘Élan’ Fan Cover Contest as an Example of Transmedial Translation Practices.” (Book chapter based on the conference paper presented at the 2nd International Conference on Intersemiotic Translation Transmedial Turn? Potentials, Problems, and Points to Consider. 8-11 December 2020, University of Tartu, Estonia).
Tymoczko, Maria. 2010. “The Space and Time of Activist Translation.” In Translation, Resistance, Activism. Edited by Maria Tymoczko, 227-254. Amherst and Boston: University of Massachusetts Press.
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- Jan 2018
- Palgrave Macmillan
The aim of the WABP project is to analyse the work of sign language interpreters-performers who translate a hearing-centric music world into a visual one by transposing songs and live concerts into sign language from the perspective of the intersection between Translation and Performance Studies. WABP seeks to identify ways in which interpreter-performers embody nonverbal elements of a text (rhythm, pitch, etc.), into what I call “patterns of performativity”. While in audio-visual translation Accessibility is a prolific area of research, no Translation Studies scholar has yet analysed sign language interpreting in music, both as an actual performance and as a translation practice designed to allow Deaf and hard-of-hearing signers to experience the multiplicity of the semiotic signs in songs and music performance events, and has investigated whether these practices are effective. WABP addresses this gap in the scholarship, and will thus contribute to the advancement of Translation Studies. Working across disciplines, I will identify patterns of performativity which enable interpreters-performers to translate music into a visual art form, in an effort to understand whether those practices meet the needs of the community for which they are designed. This project is being carried out in the awareness that it takes a Theatre Translation scholar to identify patterns of performativity, but only the d/Deaf community can decide if those patterns are effective in providing access to live music. Working across diverse disciplines, the project findings will increase Translation Studies scholars' understanding of these emerging practices, and their efficacy.
This project has received funding from the European Union’s Horizon 2020 Research and Innovation Programme under the Marie Skłodowska-Curie grant agreement No 101024733.
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