Welcome to a K3 seminar with Erin Cory, Senior Lecturer in Media and Communication Studies and Hugo Boothby, PhD candidate in Media and Communication Studies.
The title of the seminar is Picturing home: Sharing memories and building solidarities in Malmö
This will be an online seminar, carried out through Zoom, and it will take place on Wednesday, November 25 at 10.15-12.00. Please join here:
https://mau-se.zoom.us/j/61846446118?pwd=SDJqZnhJNFdPN3k4dWZRQUt5TGwzUT09
Abstract for the seminar:
This seminar presents a current overview of a three-year research project called ‘Performing Integration: Participatory Art and New Publics in Malmö.’ Funded by Riksbankens Jubileumsfond, the project set out to observe and theorise the role of community arts spaces in developing solidarities between new arrivals and autochthonous Swedes, and in challenging current discourses about what ‘integration’ means.
In this seminar, we present both the story of this ongoing project, as well as a publication under review. In collaboration with local organisation Konstkupan (Art Hive), Erin developed a series of arts workshops designed around ethnomimetic methods (O’Neill 2010), which were all set to go early in 2020, when the pandemic hit. To adapt to this new state of things, she took the workshops online. The transmedia storytelling (Jenkins 2007) that grew across multiple platforms illustrates both the unexpected convergences and persistent fault-lines of belonging in a ‘postmigration’ (Petersen & Schramm 2017) context.
As part of this pivot to the digital, Hugo came onboard as an expert in radio broadcasting and, in this instance, podcasting. In the final part of the seminar, Hugo and Erin will present a co-authored piece that came out of the spring’s workshops. In this article, currently under review, we work at the intersection of migration studies and radio studies to examine podcasting’s potential as a practice-based research method. We do this primarily by theorising podcasts as ‘boundary objects’ (Star and Griesemer 1989, Star 2010), which do not demand consensus on the meanings they produce, and so afford space for both synchrony and dissonance in participants’ recorded narratives.