15041611Voices: A World Forum for Music Therapy1504-1611Grieg Academy Music Therapy Research Centre, Uni Research
Healthhttps://dx.doi.org/10.15845/voices.v17i3.939Invited Submission - Special IssueThe Irish World Music Café: Performing and Recording as Tools for
Sustainable Social IntegrationPhelanHelenhelen.phelan@ul.ieHennellJulianneChappellDominicRobertsAndrew NathanIrish World Academy of Music and Dance, University of LimerickSanctuary and Singing & Sustainable Social Integration Research
ProjectLearning Hub, Limerick School of Culture and Communication, University of LimerickViegaMichaelForinashMichelePienaarDorothea11120171737620172992017Copyright: 2017 The Author(s)2017
This arts-based and ethnographic research comprises two video submissions; ‘Elikya’
and ‘Irish World Music Café’ as well as an accompanying paper exploring the potential
contribution of live musical performance and video recording to sustainable social
integration for new migrant communities. The research is anchored in an exploration
of an initiative called The Irish World Music Café in Limerick city, Ireland. The
café is a community-based event promoting social singing for new migrants and
Limerick residents in the heart of the city. The paper discusses the growing body of
evidence concerning the role played by music (particularly singing) in supporting
sustainable social integration. It also presents two video-based projects: the first
captures the live performances of the café with the second focusing on Elikya, a
Congolese music group associated with the café. The paper also discusses the growing
importance of video documentation in supporting and disseminating live performance
events such as the café. Using Turino’s categories of cultural formations and
cultural cohorts (2008), it argues for
the role of the café, both as a live event and a recorded phenomenon, in contributing
to the development of alternative values and social change.
This arts-based research comprises two video submissions and an accompanying paper
examining the role of live musical performance and video recording in contributing to
sustainable social integration for new migrant communities. The research is anchored in
an exploration of an initiative called The Irish World Music Café in Limerick city,
Ireland. The café is a community-based event promoting social singing for new migrants
and Limerick residents in the heart of the city. The Irish World Music Café is part of a
wider research project called Singing and Sustainable Social Integration1which supports and researches song-based projects linked to new migrant
communities.
This paper discusses the growing body of evidence concerning the role played by music
(particularly singing) in supporting sustainable social integration, primarily through
the facilitation of identity-negotiation, social bonding, experiences of well-being, and
self esteem in new cultural environments. It discusses the development of the Irish
World Music Café in this context.
Over the course of the last year, the café has attracted two video-based projects: the
first captures the live performances of the café with the second focusing on Elikya, a
Congolese music group associated with the café. The paper also discusses the growing
importance of video documentation in supporting and disseminating live performance
events such as the café. Using Turino’s categories of cultural formations and cultural
cohorts (2008), it argues for the role of
the café, both as a live event and a recorded phenomenon, in contributing to the
development of alternative values and social change.
Methodological Considerations
The authors of this submission are videographers, musicians, and researchers. As the
lead researcher on the Singing and Sustainable Social Integration
project and first author, I agreed to contribute the written component (Phelan, 2017). My own background is strongly
ethnographic, specializing in ethnographies of ritual communities and their music (Phelan, 2001, 2006, 2007, 2008, 2009, 2012, 2017). A key formative moment in my engagement with arts-based research
occurred in 2002. I was working with a women’s choir, which included members from the
asylum seeking community in Ireland. As an ethnographer, I asked a number of women if I
could interview them about their participation. I have always remembered the response of
one of the women who told me that the last time she was interviewed, she had been in a
police interrogation session. Why did I need to ask questions, she wondered? Was it not
enough to sing together? The unintended challenge in her query led me to ask questions
about the relationship between my research and artistic practices, nudging me towards an
investigation of arts-based research: “[D]rawing on the capabilities of the creative
arts, ABR practices offer qualitative researchers alternatives to traditional research
methods and methodologies” (Leavy, 2009, ix.). This journey led to the production of a
documentary film on the music of the choir (Phelan,
2002) and a nascent interest in film as a form of arts-based research.
Since 2009, I have also been the programme leader of a PhD in Arts Practice at the Irish
World Academy of Music and Dance. ‘Arts Practice’ is a term used increasingly in Ireland
and other parts of the work to denote practice-based research with an artistic specialization.2 This form of research often combines qualitative engagement with artistic
processes (using, for example ethnographic, autoethnographic, and narrative approaches)
as well as the artistic processes themselves. The written investigation does not
explain the aesthetic processes, which are understood to engage in
data collection, framing, interpreting and analyzing in their own right, but provides a
resonant, theoretically driven, empathetic process of presentation and interpretation
(Bannerman, Sofaer & Watts, 2006).
This understanding of arts practice research has influenced our approach to this
submission in its combination of music, film, ethnographic interview, and theoretical
discourse. The written text does not attempt to interpret the music or film-making, but
to create a resonant, ethnographic discussion around their interpretive and
presentational tropes: in this case, the valuing and celebrating of alternative cultural
cohorts and their contribution to social integration.
Singing and Sustainable Social Integration
According to Global Trends, a report of the United Nations Refugee
Agency, there are more than 65 million people currently displaced across the world. This
is the largest number in recorded history. Approximately one per cent of the global
population is an asylum seeker, a refugee, or a forcibly displaced migrant. This
international migration crisis raises profound humanitarian issues around integration.
While singing may not immediately leap to mind as a way of addressing this challenge,
there is growing evidence that it is one of the more sustainable and accessible cultural
activities to assist with integration (Ahlquist,
2006; Cohen et al. 2009; Phelan, 2017; Welch et al., 2014).
Much of this research focuses on how singing facilitates social bonding (Ford, 2003; Grape et al., 2003; Phelan, 2009,
Weinstein et al., 2016). In an
evolutionary sense, humans have created and maintained larger social groups than most of
their primate relatives and ancestors. Group music making has been seen to increase
feelings of social inclusion, connectivity, positive affect and endorphin release,
fostering a sense of social closeness. Importantly, in the context of migration, this is
seen to be the case even when the group becomes larger and more diverse. Group singing
activates particular behaviours and responses. When singing in a group, for example,
singers will modify their individual ‘best tone’ (formant) for the sake of creating a
more satisfying group tone. In this sense, the individual accommodates difference but
dialogues with it to create a sense of sonic affinity. Singing can therefore create a
sense of temporal inclusion even in political environments where civic belonging is
ambivalent or refused.
Research also demonstrates that access to musical experiences from a culture of origin
can help migrants feel more at home in a new environment
(Jäncke, 2008; Parncutt & Dorfer,
2011; Phelan, 2012). Music promotes intercultural contact in a way that is often more
accessible than language, arouses curiosity and interest, and creates a social
atmosphere. Music is also very efficacious in arousing memory and emotion, allowing
access to former experiences, as well as the emotional and psychological space to
integrate these into new environments.
There is also a great deal of research concerning the educational value of music and
singing as tools of social inclusion (Odena,
2009; Welch et al., 2014).
Children with access to high quality singing education not only demonstrate higher
singing ability but also more positive self-identity and self-esteem, feelings of
well-being, and a sense of social inclusion. Studies also show that singing can assist
language acquisition, group work, and communication skills.
Building on this research, the Singing & Sustainable Social Integration
initiative identified three core elements of singing, which contributed to
sustainable social integration. These include:
Social Singing: singing and/or listening to music in informal, socially integrated
contexts.
Diversity Singing: singing to express and transmit diverse cultural practices.
Educational Singing: singing as a medium through which integration skills (such as
language) may be taught.
The Irish World Music Café is an initiative that integrates all these aspects of
singing.
The Irish World Music Café
In October, 2015, Doras Luimní 3 called an open meeting in response to the European migration crisis. One of the
outcomes of this meeting was the identification of key events/initiatives designed to
provide opportunities for new migrants to meet Irish people. The Irish World Academy of
Music and Dance at the University of Limerick has a long track record of supporting
culturally-based projects with new migrant communities through its
Sanctuary outreach programme.4 The Irish World Music Café emerged in response to the open meeting following
talks between Doras Luimní and the Academy. Commencing in May, 2016, it is a lunchtime,
monthly gathering of people in Limerick for an open mic style music session with tea,
coffee, cold drinks, and sandwiches. Doras Luimní’s offices are located in Central
Buildings on O’Connell Street, the main street of Limerick city. The cafés take place in
cb1,a community café and art gallery located in the same building and supported by the
Central Buildings Community Project. The noon starting time coincides with the end time
of English language classes for new migrants coordinated by Doras Luimní in the same
building. Many of the participants come directly from class to have lunch and share in
some singing and music-making.
Lylian Fatabong, a journalist from Cameroon now living in Ireland, has first hand
experience of the asylum seeking process in Ireland. Since receiving refugee status, she
has completed a Masters in Journalism at the University of Limerick and regularly
reports on migrant issues in Ireland. Her report on the first Irish World Music Café
featured Zimbabwean born Felix Dzamara. Felix arrived in Ireland three years ago as an
asylum seeker and recounted his experience of participating in a series of community
music workshops, culminating in the performance of the group’s first single at the
café:
For three years, I was idle in the hostel, I had nowhere to go to and very little to
do, but the music workshop came along and helped me to meet, sing and integrate with
people of different cultures, and on Thursday, we were able to showcase our singing
talent through our first music single …this gives me a sense of belonging that, well,
I now belong in Limerick; I am now a part and parcel of Limerick and we are
contributing some form of entertainment in Limerick.5
The café features singers from new migrant communities, students from the Irish World
Academy of Music and Dance at the University of Limerick, and singers from a number of
community-based projects including a community music workshop for newcomers. The role
social singing has played in traditional Irish society (Thacker, 2012; O'Shea,
2007; Ó Laoire, 1997) is well
documented and the café is also supported by a number of well-known Irish traditional
musicians from the local community.
(Photograph by Maurice Gunning)
(Photograph by Maurice Gunning)
Live Performance and Video Recording
Following its inception in May, 2016 two video-projects related to the café were
undertaken. These two projects form the arts-based aspect of this submission.
Since Vogel’s (1974) groundbreaking
publication Film as a Subversive Art, much has been written about the
interface between recording and live performance. In his 2008 publication Music
as Social Life, ethnomusicologist Thomas Turino categorized music making
into four main areas consisting of two contrasting sets of practices. Participatory and
presentational music refers to music where, on the one hand, there is no distinction
between artist and audience and on the other, a separation of identity into those who
make music for those who do not. The second set of categories refers to technology. High
Fidelity Recording involves recordings of live performances while Studio Audio Art is
the creation of a recorded art object, not the capturing of live sound.
Even in the short period since Turino’s publication, there has been wide-scale erosion
of the boundaries between these proposed classifications. One of the key ways in which
audiences (or collaborative performers) participate in concerts (presentational music)
is to record them. These recordings often capture both the live event (high fidelity
recording) but may also be highly edited with personal apps to create studio audio art.
Bennett (2012) reminds us that the expansion
in the use of mobile internet and social media have changed live music engagement in
recent years and further blurred the lines between artistic experience, participation,
communication, and documentation. Through an analysis of fans of touring artists such as
U2 and Tori Amos, she demonstrates how fans use technology to find each other and
connect at live shows, to tweet and text live events to each other and to other fans not
at the live events, to insert themselves into the performance through selfies and
recordings. Bennett argues that these activities contest and reshape the boundaries of
what constitutes live and recorded performance.
Similarly, Irish performance artist Áine Phillips (2012) argues persuasively for the role of the videographer as a co-creator in
performance art. The video, she suggests, acts as the “subconscious” of the performance,
which can “elaborate another layer of meaning” allowing the live performance to be
“enhanced, developed and transformed in new ways” (p. 11). Still photography also opens
up what Phillips calls a “mysterious, open space” (p. 16) into which the viewer can
project imagination, while video tends to try to convince us of the veracity of events.
Boston-based performance artist Marilyn Arsen argues that this same artistic engagement
between live performance and recording can happen when the recording is archival or
documentary. The use of story-telling or narrative techniques, for example, can allow
the foreground of performance and the background of
commentary and context to merge into a single presentational piece of recorded art
(Phillips, 2012). Young artists in
particular are increasingly drawn to using video as part of their creative process,
often developing expertise and sophistication in their ubiquitous use of social media
and online applications.
For all these reasons, video recording now plays an important companionship role with
many live performance events. The two video recordings included in this submission will
be discussed in light of these observations as well their potential role in contributing
to positive social change in terms of sustainable integration.
The Music Hub
Learning Hub Limerick was established in 2007 to work in partnership with families,
young people and educators to address high levels of education disadvantage experienced
by communities in the north side of Limerick city. Dominic Chappell first became
involved with the Hub as a project worker in 2014. A year later, he was hired as the
studio coordinator with responsibility for running Music Hub Studios, an independent
social enterprise functioning from within the Learning Hub:
Our focus is primarily audio recording and production although we do some video work
as well as some community projects. The studio is available for hire and local
musicians and bands come to the studio to record and rehearse on a professional
basis. One example of our community work is the establishment of Limerick's Homeless
Choir, open to clients of Focus Ireland, Novas and the Simon Community.
Chappell was also involved in the recording of Our Voice, written and
performed by the Youth Advocate Programme Limerick participation group.6 He was introduced to the Irish World Music Café by singer, songwriter, artist,
and fashion designer, Julianne Hennelly. Hennelly is currently undertaking a Masters in
Community Music at the Irish World Academy. She heard about the café and was immediately
interested in becoming involved:
I’m really interested in learning about other cultures. I just love that energy when
all different types of people get together – it’s so special.
As an accomplished singer in her own right, Hennelly initially participated in the café
as a performer and songwriter. However, her work on the community music programme, as
well as her sister’s professional involvement with the Refugee Resettlement Initiative7 led her to developing a community placement with the Syrian community. Here, she
began to meet musicians and singers whom she subsequently invited to perform at the
café:
My sister was bringing the Syrian families to a musical evening … Moustafa stood up
and he sang – he was not a bit shy at all – he was really good with the small kids
and that stuff – the music café was going on maybe a week later and I invited him to
that … his mother is an amazing singer and that is where he learned all the old
Arabic songs and his sister is an amazing singer as well.8
In earlier professional work with Artsquad,9 Hennelly collaborated closely with a videographer. Her background in visual art
as well as music enhanced her appreciation of the collaborative potential of music and
video: “you do these events, but when someone captures them really well, it’s
magical.”
Hennelly contacted Chappell about the possibility of recording the next world music
café. Chappell volunteered his own service and those of the students on placement at the
learning hub:
Many placement students from colleges around Ireland come to the Learning Hub. Some
are involved in all of the general activities at the Hub and some do their internship
solely with Music Hub Studios. When organising the filming of the cafe at the end of
last year, I tasked three students from UL's Music, Media and Performance Technology
undergraduate course to complete the initial recording. An intern from the Video
production course at LCFE took over the initial part of the editing process, which I
then finished before sending it on to Julianne.
Julianne helped to identity three musical items for the final, edited recording. The
first features Moustafa’s initial public performance. The second captures the music of
the Irish traditional musicians who kick-off each café with some tunes. The third
features the Elikya ensemble; the ensemble which would become the focus
of the second video recording. The recording also includes still photography. The
combination of still and moving imagery, as well as music audio, captures some of the
affective and communicative dimensions of the café. While the café has been in a brief
hiatus due to building works in the venue, our plan is to use the recording to help
promote and disseminate a flavour of the café experience: the diverse musical
performances, the sense of community as well as feelings of belonging, inclusion and
mutual cultural learning.
Elikya: Hope
Since its inception, the primary music partner of the Irish World Music Café has been
the Elikya ensemble. Elikya is one of the longest established African music groups in
Ireland. Based in Limerick, it has a track record of educational and musical leadership
in the promotion of African musical culture in general and Congolese culture in
particular.
(Design, Joe Gervin)
In March of 2017, Andrew Nathan Roberts,10 a student on the MA Journalism at the University of Limerick contacted me.
Roberts studied Screen and Media in Melbourne before coming to Ireland. In the context
of these studies, he was introduced to documentary filmmaking and became interested in
how extensive and experimental documentary film could be. In coming to Ireland to study
journalism, he felt drawn to working with new migrant communities here:
My parents were migrants to Australia, so it’s in my background really. My aunty
lives here and knew some people who were doing work in that field. It seemed natural
to want to be involved.
Roberts contacted me to explore the possibility of doing a piece on the café. Although
the next café turned out be too late for his deadline, he was drawn to working with
Elikya and learning more about their story. Roberts’ recording combines musical
soundscapes with narrative, charting the story of Elikya’s origins, identity and
aspirations. In reflecting on the recording, he notes being struck by:
…[T]he magic of the performance and the honesty in the music. Elikya aren’t trying to
fool anyone or be something that they are not. That is really refreshing, and just
being in a room with them demonstrates that. If I could present even 10% percent of
that in the video format, then I think I’m doing well.
Roberts has worked in the space between documentary and artistic recording before. With
Phillips (2012) he notes the collaborative
nature of live performance and recording, as well as what each medium can contribute to
the experience:
I think it’s important to not get in the way of energy of the performer. It’s about
capturing small moments that can provide an insight into the how it would feel if you
were in the room…The camera can get closer to the performer and “trap” little moment
in close-ups and in tiny fragments of detail that might escape the general viewer in
attendance. There is magic in these moments that demonstrate an intimacy in how an
artist performs.
Conclusion
The efficacy of the video recordings must be experienced and evaluated rather than
evidenced, and it is not the point of this paper to do so. However, this paper has drawn
attention to those aspects of the Irish World Music Café and the Elikya documentaries
which foreground the valuing of alternative cultural cohorts and their contribution to
social integration. In these concluding remarks, two key ways in which live and recorded
performances play a role in the contemporary debate around social inclusion will be
suggested. It is also argued that social inclusion is core to any articulation of a just
society and art has a key part to play in this articulation.
Rawls’ (1971) classic theory of social
justice is predicated on what he calls the “liberty” and the “difference” principles.
The liberty principle proposes equal, aspirational access to justice. This exists
primarily in the ideological and legal realm. The difference principle recognizes that
in the real world, justice is distributed unequally and actions are required to promote
equality of access to justice. The difference principle exists in the political,
socio-economic realm. Therefore, social justice depends on activist politics to promote
justice as fairness in the world. Reisch (2002, 2007) both enriches and
complicates this view of justice by noting the cultural nuances of fairness, as well as
by articulating the realms through which social justice operates. Justice depends on
fair access to wealth, health, and social redress. It is hindered by poverty, poor
physical or psychological well-being, or the inability to access systems of redress.
It is these systems of redress, which preoccupy Turino’s (2008) reflections on music and advocacy, making a case for
world music events and education as agents of cultural change. He suggests that culture
manifests in a number of inter-relating layers. What he calls cultural formations are
the primary socializations we are all born into. Cultural cohorts are self-selected and
often select their cultural activities as part of their self-identity. People who attend
the Irish World Music Café form a cultural cohort. Mainstream or prevailing music forms
are an important component of a dominant cultural formation. Creating a cultural cohort
around more diverse and less dominant cultural expressions provides the basis for
alternative values through alternative experiences and the possibility of cultural
change. In other words, performance events such as the Irish World Music Café expose its
participants – both live and online - to alternative cultural experiences and provide a
metaphoric model of a more culturally diverse and fair society (Turino, 2008).
Similarly, borders are breaking down between live and recorded performance. The ways in
which these media respect the uniqueness of each, complement each other and at times
merge into a singular artistic experience is one of the most interesting and pervasive
cultural expressions of our time. Harnessing its actual and metaphoric potential as an
example of integration through diversity as well as unity through difference is one of
the ways in which this work hopes to contribute to a more just and creative world.
For further information on the Singing & Sustainable Social Integration
initiative, see http://www.ul.ie/engage/node/1791
See for example https://www.cfplist.com/cfp.aspx?cid=11362 (accessed 21 June 2017) for the use of this term
in the US. It has developed as a way of eliminating qualifying descriptors such as
‘based’, ‘as’, ‘led’, ‘through’ etc., which are often used to prescribe a specific
relationship between ‘practice’ and ‘research’, while maintaining the centrality of
practice which is not present in terms such as ‘artistic research’. See for example
Nelson (2013) and Nimkulrat (2007) for a discussion of terminology
describing this approach to research.
Doras Luimní is an independent, non-profit, non-governmental organisation working to
support and promote the rights of all migrants living in Limerick and the wider
Mid-West region (see http://dorasluimni.org/)
See http://www.irishworldacademy.ie/category/outreach/ for further
information on Sanctuary at the Irish World Academy, University of Limerick.
See
http://www.lylianfotabong.com/first-irish-world-music-cafe-opens-in-limerick/
For more information on this project, see
http://www.yapireland.ie/what-we-do/photos-videos/photos/yap-limerick-participation-group-our-voice.html
The Refugee Resettlement initiative supports the resettlement of Syrian and Iraqi
refugees into the community. It is delivered by PAUL Partnership in cooperation with
other statutory and community agencies . PAUL Partnership is an organisation made up
of communities, state agencies, social partners, voluntary groups and elected
representatives. It works with local communities that have benefited least
from economic and social development and aims to promote social inclusion and improve
the quality of life of people living in these communities (see
https://www.paulpartnership.ie/refugee-resettlement-initiative/).
Moustafa and his family shared parts of their family story in an interview with the
Limerick Leader newspaper – see
http://www.limerickleader.ie/news/home/230746/syrian-family-resettled-in-limerick-speak-of-isis-terror-in-aleppo.html
Established in 1997, Artsquad provides training in community arts skills through the
support of Mayo Council Council (see
http://www.mayococo.ie/en/Services/ArtsOffice/Artsquad/ )
A show-reel of Robert’s work is available at
https://www.youtube.com/watch?v=0UwIy_KBZ9A&t=12s
AhlquistK2006Champaign, ILUniversity of Illinois PressBannermanCSofaerJWattJ2006London, EnglandUniversity of Middlesex PressBennettL2012Patterns of listening through social media: Online fan engagement with
the live music experience225545557https://doi.org/10.1080/10350330.2012.731897CohenM SCoadyJ D2009A protocol for cross-cultural research on the acquisition of
singing112115https://doi.org/10.1111/j.1749-6632.2009.04771.xFordJ K2003Preferences for strong or weak singer's formant resonance in choral
tone quality112947GrapeCSandgrenMHanssonL OEricsonMTheorellT2003Does singing promote well-being? An empirical study of professional
and amateur singers during a singing lesson816574JänckeL2008Music, memory and emotion7621https://doi.org/10.1186/jbiol82LeavyP2009New York, NYThe Guilford PressNelsonR2013Hants, EnglandPalgraveNimkulratN2007The role of documentation in practice-led research3118http://jrp.icaap.org/index.php/jrp/article/view/58/132OdenaO2009Brighton, UKUniversity of Brighton and Bernard van Leer FoundationRetrieved from http://eprints.gla.ac.uk/76420/Ó LaoireL1997Traditional song in Ireland: Living fossil or dynamic
resource?1161170O'SheaH2007Getting to the heart of the music: Idealizing musical community and
Irish traditional music sessions2118ParncuttRDorferA2011The role of music in the integration of cultural
minoritiesDeliègeIDavidsonJNew YorkOxford University Press.PhelanH2001Dublin, IrelandVeritas PublicationsPhelan, H. (2002).
Comhcheol. Film documentary commissioned by the Sanctuary initiative at the
Irish World Academy. Produced by S.M.V.I. Productions.
Phelan, H. (2003). Anáil Dé, Breath of God Festival of World Sacred Music. Film documentary commissioned by the Sanctuary initiative at the Irish World Academy. Produced by McGlynn Brothers Productions.
PhelanH2006Borrowed Space, Embodied Sound: The Sonic Potential of New Ritual Communities in Ireland2021932https://doi.org/10.1093/acprof:oso/9780190672225.001.0001PhelanH2007Let Us Say Yes: Music, the Stranger and Hospitality91113124https://doi.org/10.22140/pv.206PhelanH2008Practice, Ritual and Community Music: Doing as Identity12143158https://doi.org/10.1386/ijcm.1.2.143_1PhelanH2009Religion, music and the site of ritual: Baptismal rites and the Irish
Citizenship Referendum212538https://doi.org/10.1093/acprof:oso/9780190672225.001.0001PhelanH2012Sonic hospitality: Migration, community and music.McPhersonGWelchG168194Oxford, EnglandOxford University Presshttps://doi.org/10.1093/acprof:oso/9780190672225.003.0007PhelanH2017Oxford and New YorkOxford University Presshttps://doi.org/10.1093/acprof:oso/9780190672225.003.0005PhelanHKuolN2005Limerick, IrelandLimerick City Development BoardPhillipsÁ2012Live art & videotape151122ParkerB2009Baltimore, MarylandThe John Hopkins University PressRawlsJ1971Cambridge, MAHarvard University PressReischM2002Defining social justice in a socially unjust world834343354http://dx.doi.org/https://doi.org/10.1606/1044-3894.17ReischM2007Social justice and multiculturalism116792ThackerV2012Experiencing the moment in song: An analysis of the Irish traditional singing session17http://ethnomusicologyreview.ucla.edu/journal/volume/17/piece/601TurinoT2008Chicago, ILUniversity of Chicago PressVogelA2005London, EnglandC.T.EditionsWeinsteinDLaunayJPearceEDunbarR I MStewartL2016Group music performance causes elevated pain thresholds and social
bonding in small and large groups of singers372152158http://doi.org/10.1016/j.evolhumbehav.2015.10.002WelchG FHimonidesESaundersJPapageorgiISarazinM2014Singing and social inclusion5803http://doi.org/10.3389/fpsyg.2014.00803Web sourcesDoras Luimní http://dorasluimni.org/Global Trends, A Report of the UNHCR, the UN Refugee Agency https://s3.amazonaws.com/unhcrsharedmedia/2016/2016-06-20-global-trends/2016-06-14-Global-Trends-2015.pdfIrish World Academy of Music and Dance, University of Limerick Sanctuary Outreach Programme http://www.irishworldacademy.ie/category/outreach/Mayo Artsquad: http://www.mayoartsquad.ie/about.phpMusic Hub Studios https://www.musichubstudios.ie/Paul Partnership Refugee Resettlement: http://www.paulpartnership.ie/refugee-resettlement-initiative/‘Syrian family resettled in Limerick speak of ‘Isis terror’ in Aleppa’ 13 January 2016 in the Limerick Leader http://www.limerickleader.ie/news/home/230746/syrian-family-resettled-in-limerick-speak-of-isis-terror-in-aleppo.htmlUL Engage: Singing and Sustainable Social Integration Project: http://www.ul.ie/engage/node/1791Live and On-Line InterviewsDominic Chappell (29 May 2017)Julie Hennelly (26 April, 2017)Andrew Nathan Roberts (26 April 2017)