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dc.contributor.authorRavensbergen, Lisaen
dc.date.accessioned2020-01-20T21:19:50Z
dc.date.available2020-01-20T21:19:50Z
dc.identifier.urihttp://hdl.handle.net/1974/27550
dc.description.abstractThis MA thesis is a bundle that weaves time, space, and form. It includes personal narrative, considerations and reflections on creation and research as well as the production/ performance script, stage directions, and processes used for the ceremony-performance "Wani’/Lost." 
 Supported by the theoretical and cultural context that gave rise to this work, this bundle includes reflections on a week-long practice-based research devising process that contributed to the "Wani’/Lost" performance staged at the Ka’tarohkwi Festival of Indigenous Arts. This bundle also reflects on the devising process and the performance work ahead. These strands of reflection along with the embedment of spatial and performative theory, propose an evolving set of actions and resurgent framework for Indigenous theatrical performance. The writing also serves to disrupt the MA entity and offers ideas on how one might begin to unsettle the colonial history of theatre and the state apparatus known as ‘Canadian’ theatre. Rather than dictating instructions for readers to follow, these entwined notions serve as interventions and prompts to unravel how loss makes us not see ourselves. This bundle also asks how we can embody intimate acts of defiance, reclamation, and a call to Mino Bimaadiziwin/ the Good Life.en
dc.language.isoengen
dc.relation.ispartofseriesCanadian thesesen
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.subjectTheatrical Indigeneityen
dc.subjectFive Protocolsen
dc.subjectDecolonizationen
dc.subjectTheatreen
dc.subjectIndigenous Theatreen
dc.subjectDevised Worken
dc.subjectWani'/Losten
dc.subjectAnishinabeken
dc.subjectAnishinaabekween
dc.subjectMino Bimaadiziwin/ the Good Lifeen
dc.subjectPerformance Ceremonyen
dc.subjectAncestorsen
dc.subjectLineage of Permissionen
dc.subjectEmbodied Defianceen
dc.subjectPerformative Reclamationen
dc.subjectStone Medicineen
dc.subjectUnlearningen
dc.subjectGrandfather and Grandmother Stonesen
dc.subjectSovereign Indigenous Knowledgeen
dc.subjectCeremonyen
dc.subjectPerformanceen
dc.subjectRelic of Dispossesionen
dc.subjectCeremony as (re)storyingen
dc.subjectState Apparatusen
dc.subjectColonialen
dc.subjectDecolonialen
dc.subjectLossen
dc.subjectMemoryen
dc.subjectAutobiographyen
dc.subjectCarryingen
dc.subjectLanden
dc.subjectWateren
dc.subjectRacism in Theatreen
dc.subjectOskabewisen
dc.subjectFuture Ancestoren
dc.subjectProtocolsen
dc.subjectWays of Beingen
dc.subjectBelonging-Matrixen
dc.subjectResearch Creation Projecten
dc.subjectBundleen
dc.subjectKaandossiwinen
dc.subjectUnsettleen
dc.subjectMemory as Prophesyen
dc.subjectCeremonial Praxisen
dc.subjectKnowledge Keeperen
dc.titleDefiance, Reclamation, and a Call to Mino Bimaadiziwin/ The Good Life
 Through Ceremonial Performance Praxisen
dc.typethesisen
dc.description.degreeM.A.en
dc.contributor.supervisorRobinson, Dr. Dylanen
dc.contributor.supervisorMcKegney, Dr. Samen
dc.contributor.departmentCultural Studiesen
dc.degree.grantorQueen's University at Kingstonen


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