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dc.contributor.authorMoore, Carla
dc.contributor.otherQueen's University (Kingston, Ont.). Theses (Queen's University (Kingston, Ont.))en
dc.date2014-01-30 13:32:15.082en
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_US
dc.languageenen
dc.language.isoenen_US
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_US
dc.subjectAfrican Retentionen_US
dc.subjectPerformanceen_US
dc.subjectJamaicaen_US
dc.subjectPerformativityen_US
dc.subjectLegal Geographiesen_US
dc.subjectCaribbeanen_US
dc.subjectBlack Geographiesen_US
dc.subjectBlindspoten_US
dc.subjectQueernessen_US
dc.subjectGeo-psychic Blindspoten_US
dc.subjectPerformance as Personhooden_US
dc.subjectDancehallen_US
dc.subjectResistance Technologiesen_US
dc.subjectQueer Visibilityen_US
dc.subjectBlacknessen_US
dc.subjectQueerness as Praxesen_US
dc.subjectIdentity Politicsen_US
dc.subjectModernityen_US
dc.subjectQueerness of Blacknessen_US
dc.subjectDancehall Geographiesen_US
dc.subjectSexualityen_US
dc.subjectPlantation Technologiesen_US
dc.subjectColonial Debrisen_US
dc.subjectQueer Imperialismen_US
dc.subjectUnvisibilityen_US
dc.subjectColonialismen_US
dc.titleWah Eye Nuh See Heart Nuh Leap: Queer Marronage In The Jamaican Dancehallen_US
dc.typeThesisen_US
dc.description.degreeMasteren
dc.contributor.supervisorMcKittrick, Katherineen
dc.contributor.departmentGender Studiesen


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