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dc.contributor.authorNewman, Shawn
dc.contributor.otherQueen's University (Kingston, Ont.). Theses (Queen's University (Kingston, Ont.))en
dc.date.accessioned2018-04-03T21:05:04Z
dc.date.available2018-04-03T21:05:04Z
dc.identifier.urihttp://hdl.handle.net/1974/23998
dc.description.abstractThis dissertation examines the racialized power dynamics in cultural production in Canada by offering a re-reading of critical multicultural discourse through black and Indigenous studies. Although dominant modes of artistic creation circulate in and through colonial logics of domination, my research demonstrates the capacity for concert dance performance to destabilize the uneven power dynamics that shape such practice. Through a case-study approach, augmented by a self-reflexive research-creation component, I interrogate the ways in which current creative practices offer some trajectories for working towards more ethical and decolonial approaches to the creation of artistic work. What emerges is a scholarly analysis and critique of the ways in which hegemonic whiteness within concert dance in Canada persists, as well as a self-reflexive study that suggests some ways forward. I argue that concert dance is a productive and important site of scholarly critique and creative practice that, despite having been largely overlooked in the majority of academic study that attends to identity, power, and social justice, offers a way of re-thinking the decolonial potential of concert dance and dance performance. en_US
dc.language.isoenen_US
dc.relation.ispartofseriesCanadian thesesen
dc.rightsAttribution-NonCommercial-NoDerivs 3.0 United States*
dc.rightsQueen's University's Thesis/Dissertation Non-Exclusive License for Deposit to QSpace and Library and Archives Canadaen
dc.rightsProQuest PhD and Master's Theses International Dissemination Agreementen
dc.rightsIntellectual Property Guidelines at Queen's Universityen
dc.rightsCopying and Preserving Your Thesisen
dc.rightsThis publication is made available by the authority of the copyright owner solely for the purpose of private study and research and may not be copied or reproduced except as permitted by the copyright laws without written authority from the copyright owner.en
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/3.0/us/*
dc.subjectCultural Productionen_US
dc.subjectRaceen_US
dc.subjectNationalismen_US
dc.subjectCanadaen_US
dc.subjectMulticulturalismen_US
dc.subjectBlacknessen_US
dc.subjectIndigeneityen_US
dc.subjectWhitenessen_US
dc.subjectDanceen_US
dc.subjectCitizenshipen_US
dc.titleUnsettling Hegemonic Whiteness in Cultural Production: Praxis-based Approaches in Concert Danceen_US
dc.typeThesisen
dc.description.degreeDoctor of Philosophyen_US
dc.contributor.supervisorWalker, Margaret
dc.contributor.departmentCultural Studiesen_US
dc.embargo.termsPublication in scholarly journals.en_US
dc.embargo.liftdate2023-04-03T18:51:04Z


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Attribution-NonCommercial-NoDerivs 3.0 United States
Except where otherwise noted, this item's license is described as Attribution-NonCommercial-NoDerivs 3.0 United States