IPCITI returns to Heriot-Watt after 4 years!

by Paola Ruffo

The Centre for Translation and Interpreting Studies in Scotland (CTISS) at Heriot-Watt hosted the 13th International Postgraduate Conference in Translation and Interpreting (IPCITI), 9-10 November 2017

IPCITI is an annual postgraduate conference organised by students for students and it marks the consolidation of the collaboration between Dublin City University, Manchester University, the University of Edinburgh and Heriot-Watt University. Its main aims are to promote greater participation in Translation and Interpreting research and foster a supportive and intellectually stimulating environment where research and academia can be accessible in real terms.

This year, the IPCITI 2017 Organising Committee (Jafar Ahmad, Nga-Ki Mavis Ho, Lorraine MacDonald, Michael Richardson and Paola Ruffo) has worked hard to welcome delegates from all over the world to Heriot-Watt and create a diverse and enriching programme, which included meaningful contributions across all areas of Translation and Interpreting Studies.

The conference started with a workshop by Mr Ramon Inglada (CTISS, Heriot-Watt University) on ’CAT Tools: welcome to the cloud-based (r)evolution’ followed by Dr Ana-Frankenberg Garcia’s (University of Surrey)  keynote on ‘The use of corpora in translation research’. Day two saw Interpreting research and practice join forces to discuss ‘Interpreting theory and practice in dialogue’ with a panel formed by Prof Graham Turner (CTISS, Heriot-Watt University), Prof Claudia Angelelli (CTISS, Heriot-Watt University), Mr Martin Gallagher (Police Scotland) and Ms Delphine Jaouen (NHS Scotland).

A variety of topics has been discussed by our international presenters over the course of these two days, covering diverse areas of T&I Studies such as translation and interpreting technologies, literary translation, interpreters’ training, British Sign Language interpreting, risk in translation, and news translation in relation to ideology and human rights.

To quote our Head of School, Prof Robert MacIntosh, who opened the conference: “We have a long heritage of Translation and Interpreting of which we are very proud” – this year’s successful and high-quality IPCITI drove that point home again.

You can follow The International Postgraduate Conference in Translation and Interpreting on twitter (@ipciti) and on the dedicated website www.ipciti.org.uk.

See you in Manchester for IPCITI 2018!

 

MacFarlane Prize 2017 for Dr Emma Hill !

LINCS and IRC graduate Dr Emma Hill has won the prestigious 2017 MacFarlane Prize for the most outstanding contribution to the research of the University.

Emma (pictured here with her supervisors, Prof. Máiréad Nic Craith and Dr Katerina Strani), is the first ever recipient of the prize from any department in the School of Social Sciences.

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She was presented with the award at Heriot-Watt University’s graduation ceremony on 15 November 2017. Professor Garry Pender, Deputy Principal for Research and Innovation, reading her citation, said:

Dr Emma Hill’s thesis “Somali voices in Glasgow: Who speaks? Who listens?” makes an outstanding contribution to knowledge in the ethnographic study of refugees in society. It focuses on the concept of ‘voice’ and researches the multiple ‘voices’ of Somali communities in Glasgow. Her work makes a range of original contributions – from the social scientific fieldwork descriptions of a community during a period of political upheaval in Scotland to the care in presenting, questioning and decolonising the concept of ‘voice’.

Throughout her time in Heriot-Watt, Emma has been an active member of the Intercultural Research Centre. She worked as a research assistant on the EU-funded RADAR (Regulating Anti-Discrimination and Anti-Racism) Project led by Dr Katerina Strani. She has presented her work at conferences in Athens, Montreal and Copenhagen. Emma is also an alumna of the Transformations Network, a doctoral network affiliated to Ludwig Maximillian University in Munich. Her published work has been ranked externally as world-class.

Throughout her PhD, Emma complemented her academic focus with participatory research. She volunteered at community events, provided careers advice and guidance to young Somali adults. As an intern with the Scottish Government during her PhD studies, she worked to develop links between government and Somali groups. Emma’s research has had public impact, achieved through an exhibition of its findings at a Scottish Graduate School for Arts and Humanities event. This has since gained interest from Glasgow Life.

Emma was co-supervised by Prof. Máiréad Nic Craith and Dr Katerina Strani, both members of the recently-established cultural studies section in LINCS. Emma has already taken up a research position at the University of Edinburgh. She is highly deserving of this award for an exceptional piece of work that presents the voice of one of the most marginalized groups in Scotland today.

The MacFarlane Prize commemorates the contribution to the University made by Professor A G J MacFarlane during his tenure as Principal and Vice-Chancellor. The Prize of £250 is presented annually to the PhD graduate who, in the opinion of the Awards Panel, has made the most outstanding contribution to the research of the University.

Congratulations Dr Emma Hill !!!!

59°N – IRC PhD Student based in Orkney

by Cait McCullagh

Have you ever had the opportunity to peer at some of the many online depictions of Ptolemy’s 2nd Century AD Geography?  You’ll have had to turn your head to one side in order to take in the northern-most extent of Scotland, including the Northern Isles; bent over and squeezed to fit into the realm of what was then believed to be the ‘known world’?  The idea that anything might survive beyond the 59th parallel was, it seems, impossible to consider for Ptolemy and his Graeco-Roman counterparts and so they simply ensured that the Orcades and their farther flung partner archipelago, Ultima Thule (today’s Shetland), were snuck in below their true latitudes.

Perhaps you have also read recent press and social media reports of archaeological findings at the Ness of Brodgar, or even reviews of BBC Television’s Orkney: Britain’s Ancient Capital? Both proclaim aspects of the Islands’ heritage to be ‘weird’ and create the inference that there may be life in the far north, but ‘it’s not as we know it’. More making strange and a framing of the north as remote in culture as well as location.

In reality, experiencing life, and working, in the Northern Isles, does, indeed, require a re-framing of mindset.  For example: Edinburgh seems a terribly remote location from this centre, after all it takes me a car journey, a ferry, a train and another train and all in more than one day allows, to get to Edinburgh.  How does anyone down there cope with being so far from everything up here?  

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The view over the island of Hoy

 

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Kirkwall Harbour

Ah yes, the re-framing is welcome and it is enabling me to explore and research the ways in which being constrained as peripheral and, in some ways, ‘exotically traditional’ may actually inspire creative innovation.  I am already observing this in the ways that islanders are curating and developing their maritime heritage –  this being the topic that is significant for my PhD.  In an environment where the sea is always adjacent and imminent and where most people relate to the sea directly, each day, I’m also aware that this ‘heritage’ can be both past, present and future. It ullulates; an ongoing wave of cultural expressions; from the wrecked to being renewed boats, set adrift across the islands, to my own growing obsession with the Shipping Forecast as I plan field-tripping from one island to another.  The experience is rich and I hope this will be reflected in my research.  All this and next month: Shetland.  It’s a great privilege to be representing this northerly reach of the IRC, here at 59°N and counting!

Cait is  researching  Curating Heritage for Sustainable Communities in Highly Vulnerable Environments: The Case of Scotland’s Northern Isles, an Applied Research Collaborative Studentship supported PhD, supervised in partnership across Heriot-Watt University, The University of the Highlands and Islands Centre for Nordic Studies and Shetland Museum and Archives.  She is based at the university’s Orkney Campus, the International Centre for Island Technology.

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Interior of the boat shed at Lyness on Scapa Flow

 

Edinburgh Festival Fringe 2016 – how accessible was it to Deaf people?

by Michael Richardson

This blog-post is based on an article to be published in the October 2016 edition of the British Deaf News, and is reproduced here with their kind permission.

 

As I write, the final day of the 2016 Edinburgh Festival Fringe is drawing to a close.  During a three-and-a-half week period there will have been over 50,000 performances of more than 3,000 different shows:  it is easy to accept the claim that this is the largest arts festival in the world.  But how many of these performances are accessible to Deaf people?  The Fringe is committed to improving the accessibility of Edinburgh venues and its own box office, but as it takes no role in choosing any of the shows, it is left to each visiting company whether or not to make their performances accessible to Deaf spectators.

Deaf people’s involvement in theatre, whether watching or performing, is my own particular interest.  For almost ten years I have been exploring the use of BSL on stage, in both youth theatre and musical theatre.  A show I produced for Edinburgh Music Theatre which used integrated sign language interpreting was featured on the BBC’s See Hear as one of only a handful of performances providing accessibility for Deaf spectators in the 2011 Fringe.

I am now doing a PhD at Heriot Watt University in Edinburgh, researching Deaf people’s participation in theatre, so the 2016 Fringe seemed an excellent opportunity to review progress towards better access for Deaf people.  The timing was particularly appropriate as I have just completed a project interviewing a small group of Deaf people on the subject of theatrical interpreting.  So, debit card at the ready, I logged on to the Fringe website and began my search for sign language interpreted performances.

The first good news I can report is that the amount of interpreted theatre has increased since 2011.  The Fringe website’s own list of performances accessible to Deaf people featured 31 different shows, of which 11 were interpreted on 2 or more occasions.  In addition, in the Free Fringe the Deaf and Hearing Ensemble worked with Forest Fringe to present a whole day of BSL interpreted shows at the venue Out of the Blue.   Certainly there are more options to choose from for Deaf spectators than in earlier years.

Interpreted shows included a wide range of performance styles. Drama, physical theatre, circus, children’s shows and comedy were all represented, as well as traditional Scottish storytelling and music, a choir performing African song and dance, and a skit of the Eurovision Song Contest.  More choice was offered by the use overall of a relatively large pool of interpreters.  Still lacking, however, was a strong presence by Deaf actors.  The Fringe website listed only one bilingual (BSL/English) theatre show, which I will describe later; and a one off spoken word event performed by my colleagues, two Deaf and two hearing from Heriot Watt University (Jemina Napier, Gary Quinn, Stacey Webb and Mark McQueen).

Incidentally, although the accessibility pages of the Fringe website are not easy to find, once you have clicked through they are increasingly good at giving the kind of extra information that Deaf theatre goers asked for in my research project.  75% of the shows described as accessible had a named interpreter advertised, and over 30% either gave the position of the interpreter or offered the option for Deaf spectators to choose appropriate seats when they arrived at the venue.

This kind of pre-show communication is certainly starting to address the first requirement of accessibility:  that target audiences need to be fully aware in advance of all relevant details of the accessible event (although in 2016 no information was presented in BSL, a situation which may change following the BSL (Scotland) Act 2015).  However, I am particularly interested in the communication that occurs during the show, and the ways that it engages Deaf spectators.  My Deaf research participants had been clear that in interpreted theatre they expect a particular style of high impact interpreting that matches the performances of the actors and is presented within the same visual frame as the performance, so I set out to see if theatre companies and interpreters were meeting these expectations.

I was not disappointed.  At Forest Fringe I watched three shows where there had been rehearsal time put aside to integrate the interpreting into the show as much as possible.  In all three the interpreters were costumed effectively to match the actors, but the choices of shows had an impact on the degree of further integration.  Nic Green’s  Cock and Bull, interpreted by Catherine King, was an avant garde political satire that was highly visual and sexually provocative.  This accessible visual style was contrasted with a complex script in which sentences were broken into individual words and even parts of words, with actors overlapping different lines with songs and voice-over.  This combination of a very physical staging with a difficult spoken text unavoidably limited the fuller integration of the interpreter.

The other two Forest Fringe shows, both interpreted by Yvonne Strain, presented fewer challenges.  Greg Wohead’s Celebration Florida allowed her to be both costumed and fully integrated into the action, moving with the two actors and giving Deaf spectators an equivalent experience to hearing audiences of the show’s exploration of nostalgia for forgotten experiences, people and places.  A different approach was taken for Action Hero’s Watch Me Fall, a show which used home-made stunts to question our relationship with ideas of tough-guys and daredevils as celebrities.  Possibly for her own safety as much as for anything else, the interpreter took a fixed position on the side of the performance area.  Rather than being integrated into the show she performed as though a member of the standing audience, reacting as we did to the stunts, but also interpreting the announcements between the stunts and the few short sections of dialogue as they occurred.

Away from Forest Fringe I saw two shows interpreted by Yvonne Waddell, a PhD candidate at Heriot Watt University, in which she had worked independently with the companies to provide as much integration as possible.  Ronan O’Donnell’s Brazil is a one man show set in an imagined Scotland destroyed by the bombs of war and living in poverty and mistrust.  Yvonne provided a highly visual BSL interpretation to match the poetic language of the original, and was fully integrated into the show.  She was costumed, and performed from on the small stage close to the speaking actor.  At significant moments the two made eye contact, effectively suggesting that they represented two different sides of the same character.

A different style of integration was used in Lemons Lemons Lemons Lemons Lemons by Walrus, a play with two characters exploring their changing relationship in a world where they were only allowed to use 140 words per day.  Here Yvonne Waddell worked with Greg Colquhoun, a recent graduate of Heriot Watt University (MA British Sign Language (Translation, Interpreting and Applied Language Studies)).  The interpreters were less integrated into the action, standing on one side of the theatre-in-the-round stage, but each interpreter represented one character throughout, fully costumed, partly shadowing their actors and often using a word to sign literal translation to reflect the way that English words were used in the original.  The matching of the interpreters to the actors was particularly effective and is hopefully a sign of things to come in theatre interpreting.

I cannot finish this article without discussing further the work of the Deaf and Hearing Ensemble.  Individual interpreters are doing what they can to improve the experience of Deaf spectators, but this company bring a strategic approach that is shown in their partnership with Forest Fringe.  In addition, this year they performed their own show People of the Eye, featuring one Deaf and one hearing actor and using a mix of BSL, speech and creative captions to tell the story of a Deaf girl growing up in a hearing family.   The show puts across the combination of humour and anguish that is often a Deaf child’s experience through a mix of emotional dialogue and tightly choreographed physical and visual theatre.  The aim is to create accessible bilingual theatre that both engages and educates audiences, and the four and five star reviews it received demonstrate that this was achieved.

Unfortunately People of the Eye was (to my knowledge) the only theatre show to feature a Deaf actor at the Edinburgh Fringe in 2016, although there was also a bilingual BSL/English poetry event (that I was unable to attend).  For me (and others) this raises the question of why significant sums of money are put into theatrical interpreting rather than using at least some access funding to support Deaf actors and Deaf theatre:  a show like Deafinitely Theatre’s recent production of George Brant’s Grounded would be a perfect fit for the Fringe.  But for now we can be clear about one thing.  The use of BSL in performances at the Fringe is increasing, and interpreters and theatre producers are working hard to do it better, and to make interpreting more integrated.   As signed performances become more common place, hopefully an appetite will grow in theatre audiences to attend performances by Deaf actors using BSL, thus coming to appreciate Deaf language and culture and all they can offer to the creation of high quality physical and visual theatre.

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Introducing our new PhD students

Our vibrant PhD cohort is growing!

Yanmei Wu has joined LINCS as a PhD student in Heritage and Performance. Her study will look into Chinese Kunqu Opera as intangible heritage, as well as its recent revival in 21st century China. Her supervisors are Dr Chris Tinker and Dr Kerstin Pfeiffer.

Yanmei studied ethnomusicology at SOAS, visual anthropology at Goldsmith’s and teaching Chinese as a foreign language at Sheffield. She taught Chinese at Manchester Metropolitan University for three years before deciding to pursue her PhD studies in Heriot-Watt.

In addition to her teaching career and study, Yanmei has worked extensively as a performing artist. Originally from Jiangsu province in China, she was trained in traditional Chinese dance and music from an early age. She performs different styles of trasitinoal Chinese dance as well as zheng, the Chinese zither.

Heather Mole has also joined us this year to embark on her PhD research on sign language interpreting. Her supervisors are Prof Jemina Napier and Dr Katerina Strani.

Heather’s background includes BSL/English interpreting (a degree in Deaf Studies from Bristol University) and a Masters in Disability Studies from Leeds University.

She has worked as an adviser to disabled students in a university setting for 8 years. In that time, Heather reflected on the power dynamics of service provision and interpreting. She has also been fascinated by the concept of “white privilege” and the transposition of this onto “hearing privilege”. Heather hopes to research these two dimensions to see what impact they may or may not have on the interpreter.

For more information on our PhD programmes in LINCS, you can visit this page for research on Translation and Interpreting and this page for intercultural research.