Unsettling Hegemonic Whiteness in Cultural Production: Praxis-based Approaches in Concert Dance
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This 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.
URI for this recordhttp://hdl.handle.net/1974/23998
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