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dc.contributor.authorMoore, Carlaen
dc.date2014-01-30 13:32:15.082
dc.date.accessioned2014-01-30T19:03:23Z
dc.date.available2014-01-30T19:03:23Z
dc.date.issued2014-01-30
dc.identifier.urihttp://hdl.handle.net/1974/8599
dc.descriptionThesis (Master, Gender Studies) -- Queen's University, 2014-01-30 13:32:15.082en
dc.description.abstractThis thesis explores the interweaving of colonial and post-colonial British and Jamaican Laws and the interpretive legalities of sexuality, compulsory heterosexuality, and queerness. The research project begins by exploring the ways in which the gendered colonial law produces black sexualities as excessive and in need of discipline while also noticing how Caribbean peoples negotiate and subvert these legalities. The work then turns to dancehall and its enmeshment with landscape (which reflects theatre-in-the round and African spiritual ceremonies), psycho scape (which retains African uses of marronage and pageantry as personhood), and musicscape (which deploys homophobia to demand heterosexuality), in order to tease out the complexities of Caribbean sexualities and queer practices. I couple these legal narratives and geographies with interviews and ethnographic data and draw attention to the ways in which queer men inhabit the dancehall. I argue that queer men participate in a dancehall culture—one that is perceived as heterosexual and homophobic—undetected because of the over-arching (cultural and aesthetic) queerness of the space coupled with the de facto heterosexuality afforded all who ‘brave’ dancehall’s homophobia. Queer dancehall participants report that inhabiting this space involves the tactical deployment of (often non-sexual) heterosexual signifiers as well as queering the dancehall aesthetic by moving from margin to centre. In so doing, I argue, queer dancehall queers transition from unvisible (never seen but always invoked) to invisible (blending into the queered space) while also moving across and through, as well as calling into question, North American gay culture, queer liberalism, and identity politics.en
dc.language.isoengen
dc.relation.ispartofseriesCanadian thesesen
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.subjectHomophobiaen
dc.subjectAfrican Retentionen
dc.subjectPerformanceen
dc.subjectJamaicaen
dc.subjectPerformativityen
dc.subjectLegal Geographiesen
dc.subjectCaribbeanen
dc.subjectBlack Geographiesen
dc.subjectBlindspoten
dc.subjectQueernessen
dc.subjectGeo-psychic Blindspoten
dc.subjectPerformance as Personhooden
dc.subjectDancehallen
dc.subjectResistance Technologiesen
dc.subjectQueer Visibilityen
dc.subjectBlacknessen
dc.subjectQueerness as Praxesen
dc.subjectIdentity Politicsen
dc.subjectModernityen
dc.subjectQueerness of Blacknessen
dc.subjectDancehall Geographiesen
dc.subjectSexualityen
dc.subjectPlantation Technologiesen
dc.subjectColonial Debrisen
dc.subjectQueer Imperialismen
dc.subjectUnvisibilityen
dc.subjectColonialismen
dc.titleWah Eye Nuh See Heart Nuh Leap: Queer Marronage In The Jamaican Dancehallen
dc.typethesisen
dc.description.degreeM.A.en
dc.contributor.supervisorMcKittrick, Katherineen
dc.contributor.departmentGender Studiesen
dc.degree.grantorQueen's University at Kingstonen


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